by

tc

ae

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
..

. . . . . . . . . . .

. . . . . .. . . . . . . . . .

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.

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.

..

. .

. . .

..

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

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

.11_

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.

.'ld!

"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!

e._

'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

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.

"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.

_nd.

-=:~

/W _ _

....
UoeYn 00lIJ

palIlIle

--. _

D1. T

_
....

........... aa
.,...
--...... TIoe light JIIIddk _ _ .. Ie ....,.
pasltloD.

-- -'-;:7';/-;.....--"

TIle . . . .

8Naaw """011'."'. towarcla ODe

_ . /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...,_

"'"t1'

........ Ibe I1ght ..ld4le linger .." -rele It'.

pmch .......t Ibe Indu: linger.

'lI_

u_

11.9

wh"'.

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

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~.

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.

you

abo

IlL 10
_ I 0 0 .... _
AlI _ _

n_, lout un"'nL

lflbo ....... _
.~I
, .lIIIlght ., .....
!hey wUI
reo 01 the
_ltIooolag of lb..........

po"",,

There are now four possible movements for 'proving' the

bands are S,llfllocked together. We'll use only three of

or

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.

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!

m. 11. 12, &

13

_.wty_ _hID __ ""'"

-......-.

lIMoaJy

__ I
~
Koepbolh_aa-.

IIIplMe1y-'"
.......... _ ...... DoII't .1IIlIIbIall....t ......t . .

JD.14

"-It tile op.tiItar '" pabot _

-

......... lIIeIII....

_.t

bIdez .....

,
\

/--III. III
0,0., bend .. bold lInnl)' by the .""",,,,10(, '" "'"
. .p
dI w1lb your be"" dongllllll_ ~"r I".....

1In1l

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-, .,
........

...'*'"

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.

_I.

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

0'

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.

_I

Ie"

'.

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.

"'nd.

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

,w

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 -

_.U"'_"

_.

un_

"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