Chain Link Handcuffs
I have written about this subject over the years but have decided to bring the whole subject together in one set of works and add to it. Some call this item slip chains or those chains with an oval link but when I started they were called chain link handcuffs.
Recently someone wrote on line asking if anyone knew a good routine for these cuffs. I was not really surprised at the answers because unfortunately the cuff has gained the reputation as a joke.
It is too bad that this item is not appreciated for what it really is. The post basically said there were no good routines and the item was not worth using. In fact good routines are only limited by limited imaginations.
One problem with these cuffs is that many are not made right today and they are used to much in too many acts with mostly just getting locked up and get out. With a good routine this item works like magic. This item works well as a mystery if you can create one. My effect causes people to wonder how I did it, like I did it.
This item is GOLD for the showman in magic or escapes. Years ago I worked with England’s sensation Alan Alan. He performed very slick chain link cuff routine. It was slick, the audience loved it and he got more out of that than people get out of big escapes.
It was a magic show and everyone knew how he did it but respect came because of how good it he performed it not for what the item was or was not.
Now to the first point of these cuffs. They are chains on oval shaped links. The ones I see are too big. If we were dealing with circles larger or smaller, smaller is what they should be. This makes a big difference. It hides the gaff better for visual aspects of it.
My pair came from my teacher Reno. He made them by hand and I have had and used them since I was about sixteen. Here are the inside dimensions of the oval. They are ten and one half inches in length x one and one half inches in width. The device is slimmer than a big oval. The look is all different. The steel rod that the cuff is made from is one quarter inch steel rod and is strong. The pieces of chain are strong and it all gives the item weight which helps them slide right of with ease.
Today on many cuffs the bar is sealed at its open part with a sleeve that is riveted on. This obstruction just should not be there. Nothing should block movement in any direction. Then there are the pieces of chain which always seems to be short. This may be for business reasons but again the cuff is not made correct. When you are locked in the cuffs and you're on your last links you have no way to steel another link for slack. Plus this cuts of visual theatrical effect that could be presented if they were made right.
When the chains are padlocked there should be four to six links extra to use if you want to. This means you can put four to six more borrowed padlocks on for theatrical enhancement. I have had five pair of chain link cuffs on my wrist with four sets of borrowed padlocks on each side of each cuff. The effect was great on the audience.
Cuffs made like mine have what I call balance. You don't have to take them off, positioned right and they will just fall off.
Good weight is important. These work perfect in the routine that I invented called, “Fast as Lightening.” And I have included it in this document for you.
This was published in MUM March, 1994 Vol. 83 No 10. It was called the Inventors and in this article I talk about being creative, opening locks with your mind, how to make miniature handcuff pick sets and this time tested Chain Link Cuff routine that I created for college shows.
Now if you don't think you dare do this in full view as I did at college after college, I have a covered routine that works equally as well. With this method the cuffs are locked on in front. Then your assistant holds a silk hanging straight down. You go up with the cuffs and show them to the audience then come down in front of the silk. As you do you move both hands to the center of the bar. At this point if you have the right cuffs with solid chains and locks they will just side over your knuckles. Come up under the silk bring the silk and your arms chest high. Then throw the silk and cuffs to one side.
This is all one flowing move.
N. Bigelow
