He talks her into taking a risk with her life in a different way. He propositions her to become the woman in his act. This is a dangerous job, with Gabor tossing sharp knives at his assistants as they spin on a wheel. And it's apparent from the sales pitch that he gives the melancholy Adele that Gabor is quite experienced at recruiting only women who are suicidal. Adele accepts the offer rather quickly.
Matters happen fast here, as they often do in movies.
She's clearly addicted to men, as obsessed with them as Gabor is with his own demons. The baggage of these two people keeps them apart physically, and yet with Gabor, Adele has the most erotically charged relationship that she's had with any man in her life. The assorted knife-throwing sequences, which Leconte uses in a cleverly metaphoric way, are all sexually charged. We become aware of Gabor's grunting thrusts as he tosses each knife, of Adele spinning on that wheel, moaning and of the arousing violence of this act as knife after knife penetrates the wheel, sometimes just narrowly missing Adele and sometimes not. It may not be about much, but it definitely casts a spell.