The Prestige

The effect grows larger. It is seen by many audiences, other magicians copy or adapt it, the magician himself will let it evolve, so that his presentation changes over the years, making the trick seem more elaborate or more impossible to explain. Through all this the secret remains. It also remains small and trivial, and as the effect grows so the triviality seems more threatening to his reputation. Secrecy becomes obsessive.

So to the real subject of this.

I have spent my lifetime guarding my secret by appearing to hobble (I am alluding to Ching Ling Foo, not, of course, writing literally). I am now of an age, and, frankly, of an earned wealth, where performing on stage has lost its golden allure. Am I therefore to limp figuratively for the rest of my natural life so as to preserve a secret few know exists, and even fewer care about? I think not, and so I have set out at last to change the habit of a lifetime and write about The New Transported Man. This is the name of the illusion that has made me famous, said by many to be the greatest piece of magic ever performed on the international stage.

I intend to write, firstly: a short description of what the audience sees.

And then, secondly: A Revelation of the Secret behind It!

Such is the purpose of this account. Now I set aside my pen, as agreed.

I have refrained from writing in this book for three weeks. I do not need to say why; I do not need to be told why. The secret of The New Transported Man is not mine alone to reveal, & there's an end to it. What madness infects me?

The secret has served me well for many years, & has resisted numerous prying assaults. I have spent most of my lifetime protecting it. Is this not reason enough for the Pact?

Yet now I write that all such secrets are trivial. Trivial! Have I devoted my life to a trivial secret?

The first two of my three silent weeks slipped by while I reflected on this galling insight into my life's work.

This book, journal, narrative — what should I call it? — is itself a product of my Pact, as I have already recorded. Have I thought through all the ramifications of that?

Under the Pact, if I once make a statement, even something ill-advised or uttered in an unguarded moment, I always assume responsibility for it as if I had spoken the words myself. As do I when roles are reversed, or so I have always assumed. This oneness of purpose, of action, of words, is essential to the Pact.

For this reason I do not insist that I go back & delete those lines above, where I promise a revelation of my secret. (For the same reason I may not later delete the very lines I am writing now.)

However, no revelation of my secret may be made, & is not even to be considered again. I must hobble a while longer.

I am ignoring the fact that Rupert Angier yet lives! I do indeed sometimes put him from my mind, wilfully drawing veils of forgetfulness across him & his deeds, but the wretch continues to draw breath. So long as he remains alive my secret is at peril.

I hear he still performs his version of The New Transported Man, & during his execution of it continues to make that offensive remark across the footlights that what the audience is about to see "has often been copied, but has never been improved upon". I rankle at these reports, & more at other reports from insiders. Angier has hit on a new method of transportation, & it is said to look good when performed. His fatal flaw, though, is that his effect is slow. Whatever he might claim, he still cannot do the trick as quickly as me! How he must burn to know my truth!

The Pact must remain in place. No revelations!

Since Angier has been brought into the story I shall describe the problem he first presented to me, and give a detailed account of how our dispute began. It will soon become apparent that I started the feud, and I make no bones about this responsibility.

However, I was led astray by adhering to what I thought were the highest principles, and when I realized what I had done I did try to make amends. Here is how it started.

On the fringes of professional magic there are a few individuals who see prestidigitation as an easy way of gulling the credulous and the rich. They use the same magical devices and apparatus as legitimate magicians, but they pretend their effects are "real".

It can be seen that this is only a shade away from the artifice of the stage magician, who acts the role of sorcerer. That shade of difference is crucial.