Michael Ammar - The Crazy Man's Handcuffs

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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. 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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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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~ r i g b l , - BIIlI'" pi...

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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