by
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mmar
Illustrations by Hannah Tucker © Copyright 1989 by Michael Ammar,
All rights reserved.
Distributed. by Magic City-Paramount, CA 90723
The Crazy Man's Handcuffs Michael Ammar ..
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Effect: A rubber band Is stretched between the index finger and thumb of the left hand, and a second rubber band, dangling from the right index finger is lowered into the half circle created by the left thumb and index finger. The right thumb moves Into the loop of the band dangling from the right index finger, This locks the bands together, stretched between the Index fingers and thumbs of both hands. There seems to be no way the hands could separate without taking the bands off the fingers, and yet that is exactly what happens. With no. cover or confusion whatsoever, the rubber bands seem to melt apart, one strand at a time. The fact that It is repeated twice only 'adds to the mystery. Finally, the spectator himself holds onto one band, as the performer's band melts through it.
Comments: One handling or ·another of this is in the repertoire of a lot of the "in" guys already, and they might be tempted to pass over reading this. That would be a mistake. There will be thoughts and finesse printed here that have never seen print, and I feel this represents the cleanest, most direct handling of one of the greatest close up effects of all time. To be more specific, one of the greatest close up effects of all time Cor a wm:klwl magician. I'm not claiming it is a "High Art Concept" or that the theatrical structure will warm souls, but when your criteria is practicality, portability, clarity of effect, being angle proof, lack of preparation, naturalness of props, and audience Involvement, this one Is close to the top.
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But there are other reasons, more diffkult to explain, that make this a truly great effect. I'll try to explain by talking about Richard Ross. Have you ever seen him do the Unking Rings? His routine was so elegant, and the illusion so magical, that his peers awarded him the Grand Prix of magic for his performance. He was named the number one manipulator on our planet, largely because of how beautifully he manipulated the rings. I was young when he won his title, but I reasoned out that he didn't win because of new methods. Just like the ancient Chinese, he used a ring with a gap in it to link the rings, but made it . magic was that no one could tell when the links and unlinks took place.
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He took advantage of the fact that from stage you just can't tell if the rings are actually linked together or if they are just being held against one another. Richard made me believe he was capable of truly impossible links and unlinks because of his understanding of this principle. After watching him, you realize this property of the rings is one of the primary keys (no pun Intended) to the success of this classic. Are you still with me? Fine. So what does that have to do with "The Crazy Man's Handcuffs"? Everything. When done correctly, this simple rubber band trick takes full advamageofthe exact same principle as the rings do on stage, because an aucl1ence can't tell
when they are Just being held flush, but locked together, or If they are being held flush, but are actually separate. And far from being less effective done close up, I feel the principle is made all the more effective. But principles are little more than words if they are not put to use. Many did the linking rings before Richard Ross, but he perfected a handling that took full advantage of the illusion. Many have done versions of . the rubber band penetration, but few, if any, milk the illusion as effectively as the handling that follows. Before going Into my presentation and handling, I want to make certain that historical credil remains accurate. Arthur Sutherington, from England, apparently invented the effect itself. Herb Zarrow (of shuffle fame) realized it's potential and cleaned up the handling enough 10 fool those who might have seen this little known effect before. He showed it to LDu Tannen, who then pushed for It's Inclusion into Tarbell Seven. Harry LDrayne, one of magic's greatest authors, wrote Tarbell Seven, but since Herb didn't walk through the handling with Harry himself, it was inaccurately written up. In the meantime, Dennis Marks (one of New York's "inner circle") moved to 1.Ds Angeles. Dennis was able to perform this beautifully, so before long, It became a pet secret of the LA magic underground. Finally, Dennis showed ilto Bob Jardine, who became the resident magician at the MagiC Castle for awhile. Few ever performed this as well as Bob, so it soon became his
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trademark. It Is fairly ....fe to say that anyone else in the country who does this effect, and that Includes myself and Oavld Copperfield, does It because they saw one or these three people doing it. The tlmlng. thinking, tlnesse and structure of what follows is my own. Why do I spend so much time on the history? Because, as I sa id. I feel it is one or the greatest close up magic effects or all time, and If you learn it fcolII here, It will be one of the most useable effects youll ever add to your repertoire.
Presentation : "Would you Uke to eee the trick that drove 14.000 pttycblatrlats craz,p" (liooe being able to open with this Onel) "ReaIJyI I once perf"....ed for the APA, the Amezlcaa P8ych1atrlc: As8ocIatlon. In ChJc:ago. and over 14.000 psychIatrlata _ the.-e. Of ... the things I did. this la the one that drove them nuts. I'll lJI"Iftt you this. It . . . a pretty ebort bip for _me of them. but even the aane ones wanted to eee It qaln." .. caB It "The Crazy Man'e HllIldc:uIliI". and It etarta Uke this. Now. I don't caB It "The Crazy Man'e Handc:uffa" be of the I caB It "The Crazy Man'e Handc:uffa" bf,,,.nse It would seimcrazy to ",e them _1umcIcufr. bee..... they're Juet rubber! But It eU worIca. be came you can't go over the fingers or the thumba • the bands would pc:.p off. But watch doseIy and you'll actually eee the ebancIs melting through one anothu. lan't that
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your lingers this way. we wID have an unmoVlllble banier. I'D lock my band Into yours. _ _ clearly
can't _ .....ate. yet eU. one etrend at a time. the baacls melt .part. Can you see why 14.000 psychIatrlate _nt nuts?' Procedures: Number 19 rubber bands IIIOrk best, if you are getting yours from an office supply store. If you are looking through your prop drawer, look for thin rubber bands that lIIOuld make about a three Inch oval. Don't take the advice I've heard others give, as they encourage the use or different types as well as different colors of bands. They feel it enhances the illusion If they use different color rubber bands. They even build Into their presentation that the different colors w1II allow you to know the instant they part. But that's just It! You can tell when different styles or colors of bands are unlinked! Do this, and you have cut the legs off what makes this IIIOrk. Take advantage of the illusion by using thin. Iclenllcal rubber bands. Begin by stretching the tlrst band between the index tlnger and thumb of the left hand. The right hand approaches the left with it's rubber band dangling from the Index finger. III. 1. Lower the band Insicle the area of the left thumb crotch. and insert the right thumb Into the lower loop, locking the bands on either side of each other. III. 2.
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"Now moat of th,.e paycbIatrIat wlaWd that I do It qaIn. They claimed they didn't know what to look for. be 12"'e they didn't kilOW . . . .t . . . going to happen. They had _ idea I'Ubber bands could melt through one anothu. but _ .... thell " ' - . and I did _methIng for them laormlllly don't do. Not only did I repeat the effect for them, but I let them ",aJ.ch me from behind. Ciet _ cIoH _ you'd Uke, look over my ahouIder. and you'll e •• the eI'JIct view of this _ I do. Clearly locked together, they can't go over the fingers without pc:.pplng off. yet one etrand at a time. they melt apart!
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'One more time, this time, watch _ from beIowi Can't come through. <:...'t go over. yet one strand at a time melts through. I do thIa for myaeIf at home. and I Juet laugh and 1aughI" (All old Slydinl One that WOI'ka perfectly here.)
m.l Oae band .. IItretched ...twet" .... til. . . . . . . _ ~ 0I1IIe left IoloDd. The IIgIIt . .piela l' ..... It'. bmId ......IIIlg "GIll tile -~. t
"But aWl, one of the .:cc"sod me of cheating. FJlQlae me. but have _ _ worked together? No? You don't have to look _ happy u-ilhatl Youwoulcln't cheat tMH people would you? PIne. Hold your Indelt fingers this W9)', pleaH. If you'll hooIl the rubber band on
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suspect it, the dirty work Is done. Very. very few effects can be structured with such elegant liming.
m.2 11Ie rillht thumb oten the Io_Joop of the ..........11 Ioddnllit 1M:hI......... _ 01 the left ha • .
m.3 Mow the ..... _ ........ aature of the
_lilt to cIIopIoy the t _ , 1NIld_
----Resist the temptation to show the bands locked together by pullIng them against each other. In fact. do not allow the bands to touch each other at all. Particularly Important. Is not to allow them to rest flush against one another. Why? Because In Just a few seconds. )'Ou are going to hold them flush against each other while they are actually already apart. but their mind will see them _ stili together. SInce _ will be depending on the strength of this view as an illusion, _ don't ever want them to get a view of what the reality looks like. We can better get away with the illusion If_ don't display the discrepancy of the reality.· To display . the bands locked together. show views such as III. 3. Make absolutely certain they understand the nature of the bands locked together. as)'Ou say'l call It the "Crazy Man's Handcuffs'. and It starts like this...• The fact that the bands are so narrow that the mlnd's eye can'tlnstantly tell which strand Is In front and which Is behind Is only one of the key factors In this effect. The other fact fundamental to it's success Is that the secret move takes only one second to execute, and It happens at the perfect moment In the routlne. Erdnase said "The resourceful professional. failing to Improve the method, changes the moment.' It was his way of saying that technique Is only part of deception. Equally, If not more Important. Is the moment the move Is done. In this routine there are several ways to prove the bands are locked together. and It Is durlng the most convincing of all locked displays that the secret move takes place. At the moment It seems least possible )'Ou could deceive them. at the Instant they would least
Once they have clearly seen the bands locked together. )'Ou will separate the hands several Inches. pulling the bands against one another. How many limes do )'Ou do this? Do you do It twice. to establish the move before doing the dirty work? Do you do Ifth~ or four times to _ar down their attention? No. No. NO! Only puB the bands agllinst each other once. As)'Ou do. )'Ou11 execute the key ITlQIIe Illustrated In III. 4-9. The stretching and relaxing of the bands takes only two seconds. One for the stretching. and one for returning to)'OUt original posltion. Move any faster and )'Ou'lI seem rushed. move any slower or add any movements• and )'Ou'li only detract from the clarity. As the hands start to separate, the left hand wlli move at a slight angle away from )'OU. as the right hand moves back towards )'OU. The band should have no trouble staying on the left hand. because of the angle of the hand moving away. To prevent the right hand's band from popping off, the thumb should be held as straight as possible. but the Index finger calls on support from the middle finger. The pad of the right middle finger holds the band against the base of the Index fingernail. III. 4.· Look closely at this illustration. because it Is exact. Notice the middle finger Is not hooked onto the rubber band. For the moment. It Just rests there. Continue separating the hands. with the right hand moving back towards you. As It does. the right Index finger and thumb start to move towards one another. Notice that In III. 5. the middle finger still just pinches the band between Itself and the top of the Inclex finger.
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"The middle finger does not enter the loop from the
opposite side. It simply braces the band against the Index finger. The Index finger, meanwhile, can move out from under the tension of the stretched band, because It's no longer what keeps the band from popping off, Rather, the band I emalns held by the tip of the middle finger. iii. 6. If you wanted to, you could remove the right Index finger entirely, while the middle finger supports the band. But you are In this position less than a second. The Index finger now moves down towards the right thumb, lind begins to move Into the opening the thumb lain, going Into the hole In the AllIe dIJection _ the thumb. ill. 7. This Is the big moment of this move. Notice that the middle finger stili just pinches the upper strand against the top of the Index finger. It doesn't take the band fUlly onto It, although It could have. All you want is very temporary support while the index finger moves back and out of the upper half of the rubber band, and Into the right thumb's opening of the band. This stretching of the bands against one another lasts only about one second. The hands move towards each other again, reducing the tension on the bands. At the same tlme, the right Index finger and thumb start to separate again. The more these two separate, the closer the hands come together. iii. 8. The right middle finger still controls a small portion of the band, only letting go when.the right Index finger extends above the left hand'. blind. Make a mental note about this extension of the right index finger about the left hand's band. At the end of the movement, you should be in the position shown In iii. 9, with the bands free from one another.
UL5 Ala the left _lid ..ova: _ y from you, the tight bacia IIDger .tmts to IIMt'Ye to. .rds the lhQmb. The pooItton or the rigbt mtddle ""ger 10 erucl811 It ouppo.... IIle _ d _ top or the ..... Onger, allowing It &0 _OM on toward. the th....... •
D1.6 The Jlght mWdIe lIngeJtlp fully .up....... the ...orllle right .......'. 11Ie ....t Ie alida It touching the thulftb, _10 to _ I n t o the openl... 01 the . . . . 1IM: diu" .. Ia.
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........... aa • • .,... --...... TIoe light JIIIddk _ _ .. Ie ....,. pasltloD.
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_ . /Willey do, the dglat _linger -.of 7 - V the tIwmIJ. C08t1DUIDg ....ide IIle thumJ>'o oltbe ........ The riglat . middle _ _ 10 jaol placbleg IIle top or the ...........tthe top or IIle right middle linger.
The bands should be flush against one another, with a perfect square formed by the two bands In the exact center of the four flngers. As I said, the strelchlng and relaxing of the bands takes only two seconds, and should only be done once. The position shown In ill. 9 should be held for Just a beat before continuing the movement. If yo" pause Justa beat, you won't seem rushed, but obviously, you can't let them stare at the bands.
ut; • The right _linger .. IOOW pe.. l"g ....."" til.. etAacIo of the ..... ha....•......... c"",pktoly the Ibum\>. Pl_ Ibot the I""'" linger ......... !.h. 1.1t
_ ... _If•...,_
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........ Ibe I1ght ..ld4le linger .." -rel•••e It'. pmch .......t Ibe Indu: linger.
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1'hI8 .. the key _III.... "!'IoIch the d. The right hand'....... Ie free froIIII the Wt. d'. II wWdIJ .~ __ .t.t ....tched _ , t. The _re r..., '''ed by Ibe f..... aoeoIlIg . _ ahould ... "'IUlOI dl._. _ . l l f.............. r
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The movements just described ere perfectly timed \Q the words •...because they are just rubber.' II's Importlll1t that tbesewords, poIntl119 out the nature of the substance, are limed to the actions whIch illustrate the propertles or that substance. TIme this single showing mQVement to this lIlatement, lind It wUl pass as a meaningless gesture, instead of a technically funda· menta1m~.
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It Is crucially important to the illusion that when you bring the bands to the position shown In ill. 9, that your hands do not cross a certain plane. For the iIIuslon to work there is one. and only one. specific plane for both strands of both bands to occupy, and is the plane that puts all four strands perfectly flat against one another. If the bands bend against each other at aU, then you destroy the Illusion. ill. 10 shows how pressing the bands against one another reveals the actual condllion or the bands, Take care not to cross this plane, and the eye of the spectator's mind will see them as still locked together.
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IlL 10 _ I 0 0 .... _ AlI _ _
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lflbo ....... _ .~I , .lIIIlght ., ..... !hey wUI reo 01 the _ltIooolag of lb..........
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There are now four possible movements for 'proving' the bands are S,llfllocked together. We'll use only three of
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them, once each. course, many movements are _PQ$SibIe, but I refer to the only four which relllln the .Integrity of the illusion. lve chosen straight movements QIIeI' c/tcularones, because they seelll more controllecl and easier for the spectators to watch.
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Remaining on the single plane that puts all four strands flush without bending them, the right hand smoothly continues Its movement by ITlCIIlng dOllln past the left Index: finger. m11 shows how the right hand moves pIIst the left index finger, stretching it's band. Be sure to move slowly enough that >ou remain above suspicion. Continue by ITlCIIlng along the single plane to m. 12, and finally, to the position shown in III. 13. From there, return to the starting position shOllln in III. 9. By keeping the band moving In these 'meaningful' direcUons, you seem to be continuing to verify the situation without ovelJll'OVin8. while preventing them from focUsing on the strands long enough to make out the reality. Pause with the 'square' in the bands centered between the four fingers, then slowly seem \0 separate one strand at a time. I look them In the eyes and say "Isn't that wild'"
1'1. this point I Intend to repeat the effect twice, but notice that as I do, I am continually changing their view . of the effecL My presentation makes It seem that I am giving them a better and better perspective, but I am actually making certain they never get a chance to focus! The view from the front is actually best fro the spectator, SO I give them this view before they really know what Is going to happen. Once they know what Is suppos,cd to happen, I tum around and make them watch over my shoulder. On'the third penetration, I've turned back around, but I am holding my arms in the air so they can see It from below. By attitude says "Good. Better. Best.". but theperspectlves are actually "Good. Bad. Worst." Are >ou slaf'llng to see why I love this!
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m. 11. 12, &
13
_.wty_ _hID __ ""'" -......-.
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• IIIplMe1y-'" .......... _ ...... DoII't .1IIlIIbIall....t ......t . .
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"-It tile op•.•tiItar '" pabot _ -
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/--III. III 0,0., bend .. bold lInnl)' by the .""",,,,10(, '" "'" . .p dI w1lb your be"" dongllllll_ ~"r I".....
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Corlc:luQe by ~119 tm llpec\liltor to point their Index lingers at each otht:r, lind thlM'l Cl,Irling them. Ill. 14. HlIYt! them hold onto the ~nd very firmly with their In'" Ilnge'" 11$ yQt.Iapprollch with the second band, Ill. IS, The mechanics and timing of this release are the same lI$ before, l>ut this time, all )lOur rigot hand moves ~ck towards )IOU, stretching the bands, use )'OUr left hand to steadY the hanqs of the spectator. III. 1(i. If both hands move at the same moment, the geslul'\!S will once again seem naturel and spontaneous. Once free. return . to position 17. move )lOur band right and left once or twice. then slowly separate tile bands to conclude. Bob Jardine was the flrst person to Involve the spectator with the Eiffect. He would have someone at the bar hold onto a llwiZZle stick, and he would rubber blinds to pass throuQh that. T\1e above ending was inspired by Bob, and III printed here with his permlsslen, •
QI.l. ", •• ~ t _ .... ' " the tinge... 11110 '""~'" Df 11""'11..... Try 10 kilP the_-d,. tII,e h-,• ., ........
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m.19
111.17 Your be..d .. ".., _ elI~cutJIIlI the _ _ wIlb the Jlllbt Index B Return to lb. ~ , po_ 'or. ",ove the IIgbt beOld ..... -"" 'oo1h .~I ...I the .pec;tator'. ....d WON d1.p"y1"l1 lbe _ _ lion.
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lbe uppu . _ d the r\glIl ....d . n o l the lop of the 11gb< nQddle ~ . The Jlgbtllliddle BIIlIer .... _ _ 1010 the ....m..•• -""'g oIlbe be..... BaT the Jlgbl middle linger .. the e It'••upport be'o... the "'dell ~ the "'ad'. beIOd.
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Flneeee: Just a c;ouple of more points to make. Look at III. 18. Thls reveals a very common problem. The bands are too deep on the fingers. By having the bands !hIs far onto the fingers. you restrict the view. Ideally. the bands should c;lrde the fingers at the base of the fingernails. III. 19 and 20 show the second most common problem. In III. 18 the rlghllndex finger has reentered the band.
but .... not extended above the left hanclll band; ~
the right middle finger Is about to release II's p1nc:hed portion. If this happens, you end up as In III. 19, without the bands being crossed, and you definitely wanlto try to end up as In III. 9. because the lIIuslon Is so good.
Ideally, again, you should try to create this Interest In the area that will be equal dlstance from all four fingers. S1nc;e this Is where the penetreuons ac;tually take place. It Is here their unconsclous Inlerests are drawn. III, 21 highlights another greal quality of this effec:Vmethod. The point where the rubber bands meet Is dearly the most dynamic; spot, ~ this Is the furthest polnl from the . true action. Try to Interseclthe bands at an equal dlstanc:e from all the lingers.
1U.2O The _ or not extending the JIgIIlIBdu ling... • bo the left hend·. You _'lbe ID pollUon to bike .dwnblge of the UluoioD . . _ ..... p.....deyoD.
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Finally. I tried to structure this with the thought that any ITKl'IIeltlenl that doesn't add, detracts, Every extra move. literally, has been eliminated., Only one pull bac;k for the release and only three or less proving movements to follow. Nothln!j, e\se; , feel like I've just given you a mental vitamin cepsule, full of ten years thought and polish. If you've followed through this write up with 1Il1O rubber bands In hand. and you've understood all the esoteric; things I've tried to say. then we should both be dellghtedl
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JU. 21 "oIk:e ..... ~ the.pot .......... the _ .tenetL. Y_ . . 0111)''' tWa ,POdIOD _ t. .u.... _t.ued on the ..._ _lie, the right m1dclle IIIIger .. pIDchI. . the .........._ the Indu ...._ .......... It to do the dIrtr _rk co_ of the -
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"THE CRAZY MAN'S HANDCUFFS" is better known as one of the only effects David Copperfield chose to perform TWICE on his television specials, and one of the only close-up effects he performed in. his traveling illusion show. "But it's more than that. It is the complete presentation of one of the best walk around performance pieces of all time. If you perform corporate shows, hospitality suites, restaurants, bars or just casually for friends, this will surely become one of your favorites. Every detail of the technique is explained, with sharply focused illustrations of every movement." "But it takes more than funny patter and technical secrets to create a classic. You'll need to understand the timing, the routining, and the psychological principles that fool the mind - not just the eye - of the most critical observer. You'll learn these true secrets of performing this effect here. " "By following these instructions precisely, you will create a close-up illusion with ordinary rubber bands that would make the finest magicians in the world proud!"
Michael Ammar World Sleight of Hand Champion 5 time Academy of Magical Arts Award Winner
