A whirring slowed down to a recognizable slapping of playing cards stuck in bike spokes, and then stopped at the studio door.
'Drew's head pears around,
“I need one of those puppets on strings of an old man that I can make walk and close one eye to wink, and I need him dressed in black, with big funny clown shoes on. Do you have one of those?”
“No, but I have a Chinese dog parade head with closing eye lids and a yak beard.”
“Oh, that will be perfect!”
Dexterity or Deceptiveness.
Sleight of Hand is often used in close-up magic. It makes use of simple everyday props, such as cards and coins. The guiding principle is be natural. A well-performed sleight looks like an ordinary, natural and completely innocent gesture.
The hand is quicker than the eye is usually not the case. Along with manual dexterity, sleight-of-hand depends on the use of psychology, misdirection, and natural choreography to accomplish a magical effect. Misdirection is perhaps the most important component to the art of sleight-of-hand. The magician choreographs his actions so that the spectator will look where he wants them to. More importantly, they do not look where the performer does not wish them to look.
Two types of misdirection are time and movement.
Time is simple; by allowing a small amount of time to pass after an action, events are skewed in the viewer's mind.
Movement is a little more complicated. A phrase often used is "a larger action covers a smaller action." Careful not to make the larger action so big that it becomes suspicious.
This is worth more study...
I'm Going to Act Like I Don't Know What's Going On.