Two weeks later, by sheerest accident, Harris Collins made the discovery for himself of what Michael was good for. In a spare moment in the arena, he had sent for him to be tried out by a dog man who needed several fillers-in. Beyond what he knew, such as at command to stand up, to lie down, to come here and go there, Michael had done nothing. He had refused to learn the most elementary things a show-dog should know, and Collins had left him to go over to another part of the arena where a monkey band, on a sort of mimic stage, was being arranged and broken in. Frightened and mutinous, nevertheless the monkeys were compelled to perform by being tied to their seats and instruments and by being pulled and jerked from off stage by wires fastened to their bodies. The leader of the orchestra, an irascible elderly monkey, sat on a revolving stool to which he was securely attached. When poked from off the stage by means of long poles, he flew into ecstasies of rage. At the same time, by a rope arrangement, his chair was whirled around and around. To an audience the effect would be that he was angered by the blunders of his fellow-musicians. And to an audience such anger would be highly ludicrous. As Collins said: "A monkey band is always a winner. It fetches the laugh, and the money's in the laugh. Humans just have to laugh at monkeys because they're so similar and because the human has the advantage and feels himself superior. Suppose we're walking along the street, you and me, and you slip and fall down. Of course I laugh. That's because I'm superior to you. I didn't fall down. Same thing if your hat blows off. I laugh while you chase it down the street. I'm superior. My hat's still on my head. Same thing with the monkey band. All the fool things of it make us feel so superior. We don't see ourselves as foolish. That's why we pay to see the monkeys behave foolish." It was scarcely a matter of training the monkeys. Rather was it the training of the men who operated the concealed mechanisms that made the monkeys perform. To this Harris Collins was devoting his effort. "There isn't any reason why you fellows can't make them play a real tune. It's up to you, just according to how you pull the wires. Come on. It's worth going in for. Let's try something you all know. And remember, the regular orchestra will always help you out. Now, what do you all know? Something simple, and something the audience'll know, too?" He became absorbed in trying out the idea, and even borrowed a circus rider whose act was to play the violin while standing on the back of a galloping horse and to throw somersaults on such precarious platform while still playing the violin. This man he got merely to play simple airs in slow time, so that the assistants could keep the time and the air and pull the wires accordingly.