1. INTRODUCTORY.
Now, first as to introductory matter. Suppose a conjuror is able to perform Trick 3—the “Dancing Egg”—it will waken up his audience if, instead of proceeding at once with the trick, he can by sleight-of-hand find out an egg in the whiskers or necktie of some unwatchful spectator, and afterwards substitute for it the egg prepared with a hair and wax.
The chief aim of introductory matter should be to enlist the thoughts and expectations of your audience under your command, so as to preclude their watching what you are driving at. Show all you can safely show openly; enlarge upon the things being submitted to their own eyes and touch; engage their eyes and ears with certain appearances leading their thoughts to adopt your suggestions, so that, when you approach the development intended, they have had no reason to suspect your motives; thus having their confidence, you can jump at once to their credulity, though there may, in fact, exist some gap, or illogical process, which they omit to notice.
2. DURING THE SUCCESSIVE STAGES OF A TRICK.
I often vary and render more interesting the development of a trick by some little by-play.
For instance, in the trick which I often use as my first trick I make a candle an amusing helper, by snatching it from the candle-stick, and asking some one to hold it wrapt up in paper.
And this unexpected service of the candle is wrought into the body of the trick which I have in hand.
I change also a crystal ball into an orange by skilful manipulation.
By such brief diversion of the attention of the spectators, their eyes are withdrawn from watching too narrowly some manœuvre that is requisite to carry out the more important trick which you have in hand.
Or you may actually make an act, which is a mere accessory, cover some important portion of the trick; as in the tape trick (No. 20.) While PRETENDING TO SHOW YOUR ASSISTANT HOW TO HOLD the tape in HIS hand, you slip the knot away unperceived wider YOUR OWN hand.