ffiTAL

PATRICK

FtrOMENT

TETTPATHY

Patrick Froment
Article Ll22-5 of the Inlellecrual Pioperly Code. under
paragraphs 2 and 3a. autnorhes only, on

tle

one haDd.

'copies oi reproductions srricllr reserved lor the priyate

use

ol lhe coplisr

and not intended lor collectile use'

and, on thc other ha!d, analyses and shon quolalions

lor the purpose ol example and illulration. 'any relrcsenlation or complete oi parrial reproduction nrade

sirho-

rhe

gnees is

lrohibited' (articl L.122

co'"e

, I rfe

c-rhor

C-r. holde'. or asi

4).

Ary

such repre-

RealTelepathy

sentarion or reproduction in any lorm rhus consdtutes

forger\', which is punishable under articles L.335,2

ff ol

the lnlelleclual Properry Code.

Publication ove^een btr Ludovic Mignon

Edired and proofread btr Richard Cauche

Trafflated bl,

Md P.ir.hard

Tlis edilion o 2011- Ma(hand

de

Advanced Pseudo-Telepathy
Tru$

Marchand de T.ucs. 6 ruc du Pl6nCno 56100 Lorietrt

!wi{marchalddelrucs.com
Pr']n1ed

in the EurolcanUnion b)
the publisher

LlV Editiols o, belalfof

Decembei 2013

ISBN : 978-2-95 36660 5 2

EAN :9782953666052

ffi:chand
dc (Lruc_s
.G^

Editions

Contents

I dedicate this publication to all moaicians

and mentalists who are looking for the perfect effect.
MaA our pursuit be fulfilled one dag.

Publisher's

note

.......................

ForeNordby Jeao-Jacques Sanvert

............................

rl

Introduction to the 2o11 edition....................................

15

A personal experience

27

..........................................................

Drau'ing duplication variations

Features ofcold reading
The stock

.....................................

35

---...............................................

43

...................

48

reading

Psychological points

.............................................................

49

Analysis of the rcading ...................................... 55

Some real-life examples

......................................................

57

A few additional Iines

...........................................................

61

The mushroom effect

...........................................................

63

............................................................................-.-...-........

65

Arcana

And what if it doesn't u,ork?

............................................

69

............................................................

73

............-.......................................................................

77

By way of conclusion

Semantics

Publisher's note
When Patdck came to see me and proposed
project,
this
my initial reaction was one of great
excitement. I immediately wanted to try Reol
TelepathA o1Jt on a lew nearby guinea pigs and I
was honestly blown away by the result.

While it's not the best approach, the temptation really was too much for me - the burning
desire to know whether or not it actually worked.
The effect is so strong on paper that you can't
help but hope that it's not merely the sort of
misleading advertising material that you get in
any magic shop catalogue.
Take the time to study the tdck and, more

importantly, make the most of performing it.

You'll no doubt leave your spectators feeling t}lat
they've experienced something very unusual,
the sensation that you were, just for a moment,
actuallv able to read their minds-..
Telepathy: People in psychic union communicating
over a distance by thought

Ludo,
February

zol.

Foreword by
Iean-|acques Sanvert
You have something very precious in your
hands. A masterpiece ofthe genre. Probably the

most devastating pure mentalism effect that

I'ye seen to date. Patrick Froment, its creator,
performed it for me at one of Mindon Mania's
wonderful meetings (he is now the group's
president), and I wish you could have seen the
line-up of magicians Dominique Duvivier,
Ga6tan Bloom, Pascal de Clermont and me
whose jaws couldn't help but drop when Patrick
revealed to us the subject matter of Pascal de
Clermont's drawing. The only possible explanation (apart from a CCTV camera linked to a
television) was stooging. But that's not what it

lVaS,

Here, then, is the explanation for the

ultimate mentalism effect, its list of conilitions
closely resembling what Father Chdstmas might
offer you in the magic shop of your wililest
dreams: thereare no gimmicks, no stooges, it can
be performed via telephone - or, if you prefer,
L1

on a desert island - and, most incredible of all,

you'll be able to learn it in.,. five or six minutes!
That's also why I'm keen to warn you: I'm
sure that a Iot ofmagicians (and not mentalists)
who read the explanation will think, "that can't

work", It would be a serious mistake on your

paft. Bear iI1 mind the performing conditions:
you are offering a real experiment in thought
transmission. I guarantee you that people, particularly those who are most opposedto it, want to
believe in this kind ofthing. If, therefore, of the
three t ?es of statement that you then make to
your spectators, only one is correct (and I really
can't see how that wouldn't be the case) you will
have already done very well. But I should tell
you that that's the worst-case scenado. On many
occasions, two or even all three of your statements will be right, in which case you'll see how
taken aback your spectators are!

As far as I'm aware, this is the first time

in the world that this system has been used:
applying 'cold reading' to an object. What a fantastic idea! You have an absolutely killer effect
that can be carried out in'laboratory conditions',
and, what's more, you know that you're the only
people in the world (for the time being) to have
this ultimate weapon, which makes this effect
even more delightful to perform.

t2-

You're lucky to get your hands on this rare

rlocument, which has a very limited pdnt run.
Make the most of it. It's a perfect eiample ofthe
creative genius that flows out of Mindon Mania
meetings, without which Patdck Froment might

not have had this innovative idea. May this

publication be the first in

long series.

Jean-Jacques Sanvert,
April 1997.

Introduction to
the 2011 edition

thought it might be interesting to introduce

this new edition ofRecl Telepcthy with a history
of the effect. This is the first proper edition, I
should point out, insofar as this manuscript has
bcen kept top secret until now.
I

The story goes back some twenty years, as

it was in the early r99os (1999, to be exact), that,
thinking about the amazing demonstrations that
genuine psychics had per{ormed for me, I came
up with the idea ofusing some ofwhat I had seen
to create a divination effect that didn't use any

standard magic 'tricks'. Thus Real Telepathy

was born, the fruit of my interest in the field of
parapsychology and my passion for mentalism.

Allow me, if you will, to start with a description ofa day in January 1997 - 18th January,
to be exact - when one ofthelegendary meetings
of the late lamented Mindon Mania group was
held. At that time, the meetings took place once
t5

a year. Each one was a real marathon, lasting

from two o'clock on thc Saturday afternoon to
da$,r1 on the Sunday moming. You surely had
to be a little crazy to get through fifteen hours
of non-stop mentalism. My abiding memory of
those meetings. lhough. is one of erperiencing
something unique. It's true - last century, mentalism in France didn't have the impact that it
has today. The magic u,orld sau. Mindon Mania
as a slrange sect praclising high)y e.oteric rile.
(I'm barely exaggerating!).

We were definitely forerunners, the first

in

France with a different approach to performing mentalism. We invited guests Iike Patdce
Serres (the creator of the foftune-telling game
Goral) and even Jean-Pierre Girard (the 'French
Uri Geller', much maligned among magicians).
Believe me when I say that we weren't scared
of anlthing. The techniques that we used and
lreasured r'rere called cold reading. pumping.
neuro-linguistic programming, Cumberlandism,
Eriksonian hlpnosis, gray code, mnemonics and
mulliple ouls... Wlile fhe French magic communitlr is now somewhat more au Aitwith these
techniques, these strange-sounding terms were
fearsome and dangerously heretical fifteen or
twenty years ago.

Mindon was a wonderlul proving ground

in which to test and expe ment with all these

16

techniques. I confess that while I've always

believed that mentalism had a great future
ilhead of it, I'm amazed by the position ihat it
now occupies. I wonder ifthere'll soon be more
mentalism shows to see than magic ones. And if
vorid have told me fifteen years ago that there'd
be a hit American series called ?he Mentaiist ..
Well...l Let's head back to that day on 18tr' January 1997...

I wasn't feeling great o[ that occasion.

Arter a long illness, my father had passed ai\,ay a
f'ew days earlier and I hadn't got anlthing ready
fbr the meeting. Given the circumstances, I was
debatingwhetherornotto go at all, but then again
I did need to take my mind off things and the
theme for the eyent was impromptu mentalism,
too (a fantastictopic for someone v\'ho didn't have
anlthing prepared) . The meeting was also pretty
special because of who was attending. That day
(and that night), Mindon played host to three
big names from the magic world: Ga6tan Bloom,
Jean-,Jacques Sanvet and Dominique Duvivier.
,{s I made my way to the meeting, I couldn't have
dreamt ofthe impact it would have for me.
With nothing prepared, 1 decided to
perform a little effect that I'd developed four
or five years earlier, when I lived in Rodez. The
effect consisted ofduplicating a drawing made by
a spectator

in completely impossible conditions.

-17-

knew that the effect was a good one, albeit

slightly rislf,,, but I never imagined that it would
become the highlight of the evening and that
people would talk about it for years afterwards.

It must have been just after midnight when

began my performance of the effect. Pascal

de Clermont was the 'guinea pig' and he drew a

Iightbulb. I remember the moment that I stafted
describing Pascal's drawing in front of that prestigious audience. remember Jean-Jacques

Sanvert's nervous laughter, accompanied by

that of Gadtan Bloom and Dominique Duvivier.
I remember seeing them spending some time
looking for the "hidden micro-camera" or
attempting to discover "who the stooge in the
audience was and howhe had communicated the
drawing to me".
As you can imagine, I was under a lot of
pressure, from a lot ofpeople, to 'spill the beans'
that eve[i[g. I should stress that I held out. I was
also helped by my friends from Mindon, who
spread the word that there wasn't any tdck to
what I had done (iust irtuition and feeling).

A few weeks after the meeting, 1 read an

article in the magazlne Le Mqgtcien Gr' ].46
- march 1997 - page 5246) in which JeanJacques Sanvert wrote about a Jaw-dropping
effect', describing the very demonstration that
18 -

he'd witnessed that evening. Jean-Jacques, who

at the time didn't know the method that I was
using, attributed the unusual experiment to my

intuition alone, reluctantb lending support to

the notion tlat I hadn't used any'tricks' that
evening.

I alreaily knew that the effect was a real

gem. It was the first time that it hail been pertbrmed to mentalists and magicians and it was
a hit! In addition, the only explanation for the
cffect was breathtaking in its simplicity. However, I felt that lying beneath this simplicity, the
cffect, like a millefeuille cake, hail a number of
layers to it and that it would be worth describing
them in iletail. Now, fifteen years on, I believe
that the ideas explained in Real ?eiepathy form
what may be t}le essence of mentalism.
So I knuckled do$.n to it and spent seveIal weeks putting together a modest work tlat
rlescribed the ins, outs and all-arounds of the
rnethod that used to divine the spectator's
drawing. In doing so, I indulged in a thorough
study of drawing duplications as well as adding
a few philosophical insights and a lot of psycholog/ into the mix. I ended up with around twenty
pages of material, which I asked a few close
Il'iends who were also mentalists to read for
rne. They were enthusiastic in their responses. I
showed the manusc pt to Jean-Jacques Sanvert

t9

and asked him to write the foreword, which he

agreed to do. I felt that Jean-Jacques was the
right person to introduce the publication as he
had seen the effect, had once been convinced by
the 'trickless' explanation and, finally, had been
pd!l, to the actual method. I was also impressed
by Jean-Jacques' open-minded approach and
his passion for cetain divinatory arts as well
as the history of Rennesle-Chdteau (this openminded approach is, ironicafu, relatively rare
among magicians). All that remained was to find
a title. It was Olivier Gutenberg, my late friend,
gone all too soon, who inspired the title. Olivier
was one ofthe people who read the first clrafts of
this book. One day he said to me, "If real telepathy did exist, that's what it would look like." I'd
founil the title!

In the months that followed, a photocopied version of Real Telepathv was distributed
to a select few, mainly the members of Mindon
Mania at the time and a few friends, amounting
to a handfirl of people (a few dozen).
On 6th October 1997, a short time after I
had furtively circulated my manuscript, Mindon

l)uvivier came to see me and asked, "Will you be

tloing your killer trick this evening?" I realised,
of course, that the killer tdck in question was
lleal Telepathy - which I had planned not to do,
hoping to remain tight-lipped about an effect
that was, fran}ly, getting out ofcontrol.

Dominique was able to convince me to

perform a demonstration of my miracle divination that evening. It was a hit again, resulting in
a number of friendly but insistent requests from
people eager to know the method. Once more, I
held out...
The years went by and I made the most of
an appearance by Jean-Pie[e Girard at Mindon
Mania to show him Real Telepathy.In his usual
mischievous style, France's number one psychic
drew a chamber pot (!). He was amazed by my
description of the drawing, which he kept carefully hidden in his pocket. That evening, JeanPiene Gimrd stated that I was an extraordinary
psychic.

Over the years that followed,

took

Mania had the privilege of hosting a lecture at Le

Double Fond, at Dominique Duvivier's behest.
Four of us were scheduled to lecture: Didier
Chant6me, Philippe Lange , J. Proley and me. A
few minutes before the eyent started, Dominique

something of a step back from the magic world,

delving into a whole host of subjects (psychotherapy techniques, personal development, human
i[teraction, Tantra, Eastem spi tuality, sphynx
cats, art, antiquity and more!). I nevertheless
retained a passion for magic and mentalism and

-20-

-21

Real Telepathy

always kept abreast of developments in these

areas. As lhe yeals went b). imagine my surp se
when people would rcfet to Reql Telepathy fiom
time to time (on magic forums, for example),
One person wanted to know if he could get hold
of the book, someone else said that it vr'as the
purest and most baffling drawing duplication
ever created. The buzz was still there,..

During this period, people from the magic

world would occasionally express the desire to
publish Real Telepathy on a less limited scale
- there was even talk of a DVD project. Strangely enough, all these projects ultimately fell by
the wayside, disappearing one after the other as
though some unconscious will had determined
that these ideas shouldn't be shared.
Some t\,vo decades have passed since I
began developing Lhis effecL after drawing inspiration from the work of psychics and telepaths.
It has now been fifteen years since I wrote and
secretly distributed Real TelepathA. Re-reading
the tq't, I feel that it has remained amazingly
contempomry. Despite the fact that mentalism
has made giant leaps forward in France since
the mid-nineties, Real Telepathy is still pure
dynamite! As a result, I have decided to publish
it as is, without amending the text.

22

Keeping a secret for eighteen years is good

going. The time has come to take the d)-namite
out of the drawer, so that the cuuent highly
promising * crop of mentalists can put it to use.
When I think about the basic concept behind
Real Telepathy and its philosophical implications (which are explored a little in the 'Arcana'
section), I can't help but feel that there's enough
behind it to inspire people for a few more years,
I(eeping the miracles coming.

In my opinion, t}le concept can be further

developed... I have in mind a book test, for
instance, that makes use of this principle. Maybe
one day I'll bring that out of one of my drawers,
but in the meantime - shh!
Real Telepathg has proved astonishing for
eighteen years, not only in terms of the reactions that it provokes but also the thinking and
developments that it stimulates. I get amazing
feedback from mentalists who've performed it by
telephone and even on Lhe lnternet using instant
messaging. Something tells me that it's not over
yet and that this 'little trick' still has a bright
future ahead ofit.

Still, I will make this observation about it: a

number of mentalists and magicians have pointed out to me, wit11 good reason, that Real Tlepafhy isn't as easy to perform as it might appear.

Real Telepathy

It

requires a fair amount of nerve, particular

staging, a good understanding of the right time
to do it, a decent amount of charisma and also,
perhaps, some form of persuasive ability. Put
together, these skills are what make a good mentalist. It is perhaps partly in this sense that Real
?elepafhy represents the essence of mentalism.

It also seems that this

essence has something to do wit}l the very nature of the principles

outlined in Real Telepqthy. As you will discover over the pages that follow, these principles

are entirely psychological. It stdkes me that

in modern times, we can't study paranormal
phenomena in the same way that people did in
the nineteenth century. Mediums don't make
messages appear on slates or produce ectoplasm

from their mouths nowadays. If there is an

explanation for psychic phenomena, telepathy
and channelling, this explanation no longer lies
in gimmicked slates, special flaps or double lifts.
The explanation lies inside the human mind.
Real Telepathg isn't just a trick with which
to amaze your friends, it's an invitation to reflect
on how the human mind works. The secret exploits a particular cognitive error in terms of how
our consciousness operates and how we perceive

things.

24-

I am convinced that these techniques, so

close to 'the real thing', form much of the mentaIism of tomorrow.
Welcome to the world of (almost) real telepathyl

Patrick Froment,
Januarv 2011

A personal experience,
or ReaI Telepathy:

the effect

It

was the end of summer, the days were

llreadygetting shofter and night had fallen fairly
,,urly on the capital ofthe Rouergue province.

Like every Saturday eve[i[g, the small,

rlark interior ofthe Caf6 de la Paix was busy: the
bar, with its wealth of beers on tap, was where
l broad selection of Rodez's youths had decided
lo meet. It was also home to the kind of hustle,
bustle and badinage that's only found in small
provincial French towns. As usual, Jean-Louis,
lhe owner, uas behind the bar. The Caf6 de Ia
l)aix occasionally hosted concefts in which diflcrentlocal groups would per{orm. The standard
wasn't the highest, certainly, but those fun-filled
cvenings remained in everyone's memory, high
points of conviviality.
Some years earlier, Jean-Louis had met
I)at ckthe Magician. His abilities had very much
27

Real'ldeParhy

was quick to ask him

beeuiled Jean-Loui:' who
nights at his establishment'
room was the
i"rrJ i. t"'a"'ir'p. ir's"small inner
f", close-uP show so it was thal
" Parrick would appear in this
."";;;i ;i;""t ;i".t.
with
he carries lhese experiences
ii" *
""4highlights o[ his Iife as a magrcran'
lim forever,

,""""".".i.r*i.
;:;#;;
i"l.

were
That evening, no Performances as
he
b1'
p.,frtk had

"topped
"f-r"il'frr,
a goodtreer and chat Lo
Jia. to enjoy'ngut"t
I.-",i.".
Lhat were certain

:::;i';;; i".run"n r
Il'l'JL"raiir.t",JacquJt the ageing anarchist'
'""":";t:;hi;;;;nial spot ai Lhe corner of
perpetual
i'fJ u*,'p'rrlrippi. irt; painter with.the blowhis
iili#o., u"J.l' r"d again popped in to

lhe beautitul c6cile' object of

practi'ing
ilir,'"i".rii.r.""tu"ys affeclions' wasintellectuals
ir-r" ;a piano as a lew
""
of che"" beMeen suPs of

)i"]l'-.i*.

rn,r-rir"

il. t."i*

&il;';;;;""
beer.

people knew Patrick .u"d k?"1

All these
'
Jiu'i. i. few close-up-. shows , had
"lr""t^rritu""r'lr,n" bin ai tle c{6.& h llT;

ffii,this occasion. Patrick had agatn been asked

On
t'J:

had gone.intolis
il'Jm,ill;; Jean-Louis
deck
!",.;";;;; ;;;e"*d a belote
ITt li:li
Patdck had ben
and
state
sorry
;';#;l"ri,
p",-fo,- ut reouSsled, T:-.Pl::1s-";
;;;";;;" r[*
r"r.lnes, cards travelled' iumped

irl""iti"*

-28-

around, transformed into other cards and the

audience reacted well, with a small crowd soon
forming around the magician..,

And yet... And yet something indescribable had occurred. Patrick was there, perforrning his effects, but (was it an itlusion?) he felt
that something had changed, something new
had taken shape in his spectators' minds. It was
as though his effects, while good, were being
pholed in. The spectators were doubtless unable
to explain what was happening before their very
cyes, and yet Patrick felt that he was no longer
seen as a magician, but a juggler. Juggling, that
was definitely the word his tricks were now
just juggling and ultimately, the impossible had
l)ecome something ordinary. Patdck felt that
his magic had lost its sparkle, he no longer felt
the indescribable moment that Einstein called
'the experience of the mysterious' in his spectators'eyes. No longer a magician, he had become
someone who was simply highly skilled with a
rlcck of cards.

He needed to react quictly and get back on

his feet - that evening, he needed to per{orm a
rrriracle, not a trick. Patrick had already spent

st'veral months immersing himself in mentalism, determinedly following the roadto'the real
lhing'. That was what was needed!

"It's late and I'm going to have to Ieave you

soon", said Patrick, retuming the deck to its halfdestroyed box.
The audience insisted on one last tdck.
"I've already done quite a fewthings, and I
don't have anphing else on me, but as you know,
I'm also fascinated by parapsychology. I recently read an interesting book in which the author

explains simple methods for achieving mental

communication and even for attempting to read
someone else's thoughts... We could try that
kind ofexperiment: it's by no means guaranteed
to work. Telepathy is rather like hlpnosis, the
subject mustn't fight it. I need to do this with
someone who's happy to go along with it and
really wants to give mental communication a go."
C6cile seemed very interested and eagerly
agreed to take part in the experiment.

"Okay, C6ci1e, I'm going to ask you to think

ofan object, preferably something simple... Have
you got one?!"
"Erm... Yes!"
Patrick grabbed a beermat, a piece ofcardboard of the kind that litter the bars of every
drinking establishment around the world, and
borrowed a pen. On the blank side of the beermat, he drew a square.
30

"You're going to focus your thought here.

l)raw your object in the middle of the square."

With these words, Patrick turned around

lnd stood back to leave C6ci1e free to draw her
rnasterpiece as she wished.

"'When you ve finished the drawing. put

in one ofyour pockets," Patdck stated.

it

The conditions in which the drawing was

made were nothing if not straightforward and
open. The spectators who where there that
cyening weren't expefts in magic or trickery, but
cach of them could see that it would be absolutely
impossible for Patrick to know what C6cile had
drawn. All the objects used (pen and beermat)
had been borrowed and as soon as the drawing
was finished, it had been immediately hidden,
out ofPatdck's sight and reach.
Had a magician, even a mentalism expert,
been there that evening, he couldn't have found
lault with anlthing that Patrick had done, no
possible gimmicks or trickery.
The image had been drau.n, then, and was
safely in C6cile's pocket.
Patrick's expression grew intense, everybody could feel that this was the critical moment.,.

3l

"Concentrate, C6ci1e.,. Visualise your

object... Try to project its overall shape to me,
imagine a giant version ofit in fiont ofyou..."
Patrick closed his eyes briefly, his hands
clasped together by his 1ips. When he opened
his eyes again, they sparkled with light. Subconsciously, everyone felt it: "He's picked up on
something".

"I sense round shapes

circular, cylindri-

cal... There's a shape that goes up, like this..."

The same glint that flashed in Pat ck's eyes
appeared in C6cile's. These few words had left
C6cile, and those spectators who had seen the
drawing, visibly shaken. Finally, Patrick saw in
his audience the 'expe ence of the mysterious'
that was so dear to Albert Einstein.

Later, Patrick would learn that alongside

C6cile's experience of the mystedous was a hint
offear. The first thing that she had said to herself
was: "So telepathy really does exist!" Then she
felt naked, stripped ofher innermost thoughts.

After a few seconds of renewed concentration, Patrick said that he also sensed that the
object in the drawing had a see-through aspect
to it. A collective 'ahhhh' greeted this new revelation.
-32-

Patrick asked C6cile to reveal hcr druwing,

which corresponded exactly to the telepathic intpressions that he had felt.
Outside, it was late, and the almost-full
rnoon flooded Rodez's cathedral with light.

For a long time afterwards, people in the

Caf6 de Ia Paix asked Pat ck to try the drawing
divination again. It had become something that
few people had seen but that everyone was talking about. Patdck never again performed the
expedment in the Caf6 de la Paix, but if you're
ever passing through Rodez and pop in to the
Caf6 de la Paix for a drink, be sure to speak to
,Iean-Louis about Patrick the Magician.
Maybe, just maybe, Jean-Louis will go to
his drawer and pull out an old beermat with a
square sketched out on the back and, in the
middle ofthis square, a drawing of a bottle.

Drawing duplication
variations

"If real telepathy did exist, that's what it

would look like!" A fellow magician said this to
me after he'd witnessed the effect just ilescribeil,
which is the focus of the book that you're now
holding.

When performing, I've always sought the

clearest, most straightforward and most direct
cffects, alongside pudty of effect and method. In
my opinion, Real Telepathy represents an important stage along this route,
The basic effect resembles what, in mentalists'jargon, is known as a'drawing duplication'.
ln Real Telepathg , however, you're not going to
duplicate the drawing, but describe it exactly.
A drawing duplication or divination is very
powerful in spectators' minds, for the following
reasons:

Generally, when a divination effect is

per{ormed, the spectator has a relatively limited
choice (of lifty-two cards, for example). With
drawing divinations, however, the choice is huge
and the spectator is free to draw whatever she
wants.
- The effect is extremely simple (a drawing
is divined), bringing the spectators' imaginations
into play and Ieaving them with a long-lasting
memory ofthe effect.

I would now like to briefly go over some

methods that are used by mentalists and
magicians to achieve this effect. This list isn't
exhaustive in any way, but I still think that it
covers a good many solutions.

The centre teari This is a very old

technique in which the spectator has to draw
in the centre of a sheet of paper, which is then
folded and torn up by the magician for whatever
reason. At this poiflt, a small sleight is pedormed, enabling the magician to 'steal' the centre
of the paper (containing the drawing) before
sureptitiously Iooking at it.

Clipboards: A gamut of gimmicked

accessories fall under this category usually
designedtolooklike some sort ofjotter, notebook,
notepad or desk pad on which the spectator is
asked to draw an image. The principle often relies
36

on ingenious carbon-paper systems whereby the

magician is able lo discover what the image is.
.

Peekingr This method consists of having

the image drawn on a business card and, under
the guise of placing it in a wallet (or envelope),
performing a small secret move that enables the
image to be flashed for a split second.
' Glimpsingr This is a rather bold method
in which the performer turns around for a split
second while the spectator draws an image.
If certain psychological principles have been
mastered, this brief turling around passes unnoticed by the audience. It goes without saying that
such a method requires a perfect performance
and an excellent sense of timing.

Enuelopes: With this method, the

drawing is first placed into one envelope (which

has a secret window in it) and then a second
(normal) one. As the magician places the first
envelope into the second, he glances at the
drawing through the secret window.

Gimmickeil card u,alletsi Various

models of gimmicked card wallet have appeared
on the magic market in recent years. They allow
a performer to secretly discover the image drawn
or word written on a business card that's placed
in the card wallet.

Electronic systems, These

methods
make use of expensive equipment. To discuss
them would be exposure, so I shall mention them
onlybriefly here.

Pencil reading; This is a mentalism

technique rvhereby a spectator's actions $'hile

drawing an image are studied, in such a r,ay that
it is then possible to work out what this image is.

magicians use
duplications.

in

order to pedorm drawing

. With many of these meLhods. lhe magicia n

must, at some point, touch the paper on which
the image is drawn. This is highly problematic
tbr anybody who, like me, seels the clearest and
most straightforward effect possible.

Few methods are complete\ impromptu,

So that's basically a summary of the tech-

niques used by magicians and mentalists to

divine an image drau,Tr by a spectator.
Obviously, with all these techniques, the
impact of the effect lies solely in the revelation and the manner in which this is presented.
The magician must draw on his full theatrical
abilities in order to reveal the drawing in the
most entefiaining way possible. Generally, the
best approach is to reveal the impressions and
shapes sensed in stages, bringing the suggestion
of failure into play.

This idea is based on deliberately making

mistakes while performing the divination.
This makes the effect believable and increases
suspense among spectators.

A number of

. Certain techniques use special or gimmicked accessories, which is a further drawback for
itnybody who wants to be as clean as possible.
In shoft, then,let's say that allthe standard

(lnd lesr slantlard) methods that magicians

llse have a weak point from the point of view
of someone looking for the truly perfect effect.
And yet, and yet... There are people who sometimes pedorm drawing duplications using other
rnethods and other principles, psychics being
a good example. In this modest work, I have
lttempted to explore and create a theoretical
basis for these methods.
Here we come to what I belieye to be the

rrost impofiant contribution to mentalism

in recent years - studFng the methods and

observations can be made

in light of this overvierv of the techniques that

concepts used, consciously or unconsciously, by

people who claim to be mediums, psychics and

38

39

parapsychologists and attempting to apply these

to our effects in mentalism.

in magic. It's normal for someone per{orming

parapsychological effects to fail sometimes,
something that also makes the rest of your

Now consider the following:

. the effect described here is completely
impromptu ;
. you need only a piece ofpaper and a pen ;
. the mentalist never touches the paper ;
. the effect uses no stooges ;
. the mentalist can be in another room
while the image is drawn ;
. the effect can also be performed over the
telephone or even on the Internet, through instant messaging!
. no clipboards are used ;
. no carbon-paper systems are used ;
. there's no 'pencil reading' ;
. there are no electronics...

per{ormance believable.

Real Telepathy thus surpasses all the

methods explored above.
Honesty, however, compels me to acknowIedge the one weak point in my method, which I
shall now explain to yoLt i\ detail: Reql Telepctthy
is an effect that depends on certain psychological risks, which mean that it may not work.
This will happen very rarely. Moreover, those
of my readers who are very experienced mentalists know that an effect that doesn't work has
much less significance in mentalism than it does
40

But now let's get down to the nitty-gritty...

Features of
cold reading

My aim here is not to offer a comprehensive

study of cold reading but to explain both what it
is and the basic techniques that it uses. This is
necessary in order to properly understand the
methods employed i\ Reql Telepathy.

The French magic community seems to

have discovered cold reading relatively recently.
It is, however, a fairly oldtechnique on the other

side of the Atlantic (having first been w tten

about in the 192os). Books by Robert Nelson,
William Larsen and, more recently, Bascom
,Iones, Herb Dewey, Ron Martin and Richard
Webster make up a sizeable proportion of the
literature available on the subject.

Unfofiunately, there is very little about

in French.

43

it

What is it?

When performed well, with

Cold reading is a range of techniques that

enable performers to 'read' a person they've
never metbefore - giving the person the impression that they know a wealth of relatively detailed
information about people's character, past,
present and future. Cold reading is the closest
thing in mentalism to psychic ability. Reputations have been built entirely on this technique.
Some people believe that psychic abilities
are nothing more than cold reading, but that's a
separate discussion.

good

a Iot of psychology, cold

reading can slay an audience (particular\
women and spectators who have an interest
in psychic abilities). As he delivers his lines, a
cold reader continually attempts to involve his
audience, which is where the principle of'reframing' comes into play: every comment resonates
with spectators at a peNonal level, and it is the
presentation and

spectators who connect various somewhat vague

statements, linking them back to their orvr experiences. The spectators, we might say, 'reframe'
the comments.

Hou does it uork?

A collection of lines is knowl as a reading

or a stock reading.

Cold reading makes use of a number of

techniques, many of which come directly from
psychology. They range from morphopsychologr
to neuro-linguistic programming ria various
theories of personality t}?e. The foundation
common to all schools ofcold reading, however,
is what are known as stock readingc.

Below, for reference, is an example of a

basic stock reading, this one is based on research
ca[ied out by Forer, an American psychologist,
in the r94os and r95os. Note that some modem
stock readings are absolutely incredible in terms
oftheir detail and subtlety.

Forer readbrg
Stock readings are based on the premise
that ceftain statements or assertions (also known
as 'lines') appear to be very personal but can be
successfully applied to anyone. In cold reading,
these are also known as 'statements with a high
accuracy rating'.

You have a need for other people to like and

admire you, although you tend to be critical of

yourself.
You have considerable unuscd abilities that
you have not turned to your advantage.
45,

Real'lelePrriry

Some

listic.

ofyour aspirations tend to be unrea-

At times you have serious doubts as to

whether you have made the right decision or not'

You do not find it easy to accept restrictions
or limitations.
And so on...
Real Telepathy is nothing less than a cold
reading applied to a drawing of an object lt is a

stock r-eading that seems to be very accurate but

that co[esponds to most objects that a spectator
can be expected to draw.
The concept of applying cold reading to
something other than the human personality is
ouite orisinal and hugell effective Some menralists alJo refer to lhis principle using Lhe term
'specific generalisations'. Once again, these
(in my humble opinion), a royal
."thod.
road for anyone seeking pure effects that are

it"

very close to real ParaPsYchologY.

On occasion, I have attended psychometry
demonstrations by psychics. These are a further
basis for mythinking. I noticed that the psychicsoften gave cold readings without being aware of

it.
have thus developed a formula that can
he aoolied to a wide range of objects as part ola
singie stock reading. This lormula is com posed of
thrie statements and only three statements, so if

46

you can memorise just three sentences, you,ll bc

able to pedorm an amazing effect anyrrhere and
at anytime, forthe rest ofyourlife!

Experience has also taught me Lhat the

shorter the formula. the more effeclive it is.

And now for the magic words to be revealed...

The stock reading

Psychological points
to ensure that the effect is
as strong as possible

ftrst thmg tfrat

'Ike

roun[

sfiapes

sense are

circu[ar, c1[in[rical,.

I'm getting tfie inpression of a

sliape that goes up, wit{t sonetfiing
Qing on top.

I'm

d[so getting a see throuqli

aspect anf a sense of frglit.

Real TelepothA can either bomb or be

a miracle. This isn't a problem if you let your
audience krow in adrance that it is a genuine
experiment, and thus something that may not
work. From my ou,n experience, my hit rate is
80 %. A'hit', for me, is when the object drawn
fits the description exactly (we'll see numerous
examples below).In the remaining 20 % ofcases,
you'll be amazed to see the extent to which spectators are more likely to remember the correct
parts ofyour reading than the misses.
You need to use some suggestion before
you perform your effect:

. It is imperative that you tell the spectator in advance that what you'll be doing is a real
expe ment in telepathy with no trickery, as we
have just seen.

You should ask the spectator to think

of an object (not an abstract shape), preferably
something simple. This enables you to avoid
any Bpe of strange drawing that might not be
suitable.

. It is a good idea to draw a square in the

middle of the paper and then ask the spectator to draw her object inside this square. This
is a subliminal suggestion that means that the
spectator is more likely to draw a round object
(people don't draw squares inside squares). As a
result ofthis subtlety, your first statement will be
a hit (l sense round shapes - circular, cylindrical...). If, when you explain to the spectator what
you would like her to do, you also make a circular
gesture while you show her where she should do
her drawing, the first comment is unlikely not to
fit.

The reading shouldn't be

repeated
parrot-fashion. You are an actor playing the paft
of someone witr telepathic powers. give your
script some terlture and play with your vocal
intonation as though you're genuinely sensing
psychic vibrations. Take your time.
.

You'll notice how the expressions 'I sense'

and'I'm getting the impression' are repeated
in the scdpt. Once again, you're conducting
a genuine experiment in telepathy. Someone
capable of reading thoughts would, like you,
sense fleeting images, vague shapes etc.

have to show her

drawing to the other spectators. Not doing so
eliminates the idea of a stooge, although doing
so does give you an advantage: you're no longer
dealing with a single spectator who will reframe
your statements, but the whole audience, which
is much more entertaining and experience shows
that the effect is thus heightened. Very often it's
not the spectator who's directly involved who
recognises her object first, but other spectators
who have seen the drawing.

Actions play an absolutely essential anil

fundamental role in Recl ?elepathg. You should
illustrate your statements using clear actions.
It is this visual siile of the effect that futher
enables your spectators to reframe your words to
fit their object. Your actions add a visual element
to your reading. I have sometimes noticed spectators recognising their object more because of
my actions than my words. \^Ihen you talk about
round and circular shapes, then, be sure to perform the corresponding actions with your hands.
Wten you say "o shape thctt goes up", yo:u ca\
gesture as follows: bring together the fingers of
both hands, moving them from low to high and
high to low. Then, when you talk about "something lying on top", bdng both hands up to your
face, as if you're covering something round. Be

50

5l

. The spectator doesn't

'

careful, though... Make sure tlat you adapt these

actions to suit your own personality, so if you're
not used to'talking with your hands', change
your actions. From the sublime to the ddiculous
is always a very small step!

Real TelepathA is a performance piece

with a set script, set actions and set direction.

. The hardest part of the effect to malage

is, in my opinion, the end. You've just said your
three statements and at this point you'll already
be able to tell from your spectators' reactions
whether you've hit or not. It's hard to manage
this stage because you'll need to proye to your

spectators that what just happened required intense concentration from you and that it
would be dimcdt for you to go any fufiher. For
the majo ty of spectators, however, it's obvious
that you divined the object and know what it is.

. As a result, you're going to call on your

acting abilities and show that the effect has
exhausted you. Generally I end by going back to
the round and circular shapes, which are really
the key idea that I sensed, and I ask the spectator
to display her drawing.
. I have sometimes performed Reol ?elepathy without making the spectator do a drawing
- I simply ask her to think ofan object and then

-52-

give her the reading. This is a way of presenting

the effect, but having the spectator draw the

object seems better to me, for all the reasons that
we've seen.

. You'll

notice that, as with any mental

effect, the memory of Real ?elepothu that's left
in your spectators' minds will be significantly
greater and more developed than the initial
effect. Spectators never remember your reading
word-for-word and they have a tendency to
improve and adjust it so that it fits perfectly with
the object that's been drauryr. This is a typical
instance of the phenomenon of re fra ming.

. It

goes without safng that Recl Ielepat/ty isn't an effect that you can perform twice for

lhe same audience. You should also give a lot

of thought to where you place it in your performance.

LaslTy, Reql Telepothy seems to be more

of a close-up or parlour effect than a stage one.

Analysis of the reading

The first thing that I sense qre round

shapes - circular, cylindical...

This statement will fit a wealth of objects

tlat t}Ie spectator can be expected to draw. A
great many objects are generally round or circuIar in shape or, at least, have round or circular
parts to them. The use of suggestion also helps
you to influence your spectator somewhat.
MoreoYer, you are expressing three
different but complementary ideas in a single
sentence, although t}Ie spectators will remember
only the idea Lhat fiLs wilh lheir drawing.
I have always been stunned to note just
powerful
how
a feature this statement becomes
in spectators' minds,
I'm getting the impression of a shape that
goes up, with something lVing on top.
.

-55

With this statement, you cover any object

that has a handle, foot, base or other form of
supporl The idea of 'something on top' is also a
particularly powerful comment here and means
that you have

wide range of objects covered.

I'm also getting

a sense oflight.
.

a see-through qspect

Some real-life examples

cnd

Many objects have see-through elements to

them, while experience has shown me that the
idea of light is one that hits very frequently.
Oh yes! One last anecdote, quickly: one
day, I showed the effect to a psychic in her psychic reading room. She had drawn a crystal ball
on its stand... Alleluia!

Crrndle

A cylindrical shape.
A shape that goes up.
Something Iying on top.
A sense oflight.

57-

Bottle

Telephone

r--\

A cylindrical shape that goes up.

A see-through aspect.

Round and circular shapes.

A shape that goes up.
Something lying on top.

Lishtbulb

Sign

Round shapes.
A sense of light
and a see-through aspect.

A cylindrical shape that goes up.

Something lying on top.

Amazing, isn't it?!

-58,

-59-

A few additional lines...

The stock formula that's given in this

modest work is the reading that I use myself.
Generally, I stick to these three sentences rvith
no embellishment. However, there are other
magic phrases with which you can supplement
or pad out the basic formula somewhat. Belowis
a selection of examples,
. There's a rough ideq of symmery in
aour

drawing.
. I sense something that suggests

thctt

part

of the object could be smooth.

. cqn sense a wqrm sort of colour..,
Magbe yelloug orange or brown.
. get the impression of some parallel
lines.
. It seems to me that your object is something that you can fill up.

I
I

61

The mushroom effect

I thought long and hard before deciding to

publish the idea that I'm now going to describe.
Ifs something that I use at the end of my reading
and only when I feel tlat my formula has already
had a strong impact (and therefore that it's a
close fit with the object that's been drawn).

If I think this is the

case, and before the spectator reveals her design, I
grab a pen and paper. At

this point I draw the image

shorvn

in;Egure r. As I do

this, I make t}te point that

I'm trying to depict the overall shape and general idea
of the drawing.

fgurc

You'll be amazed by the power of this kind

of statement and the many ways in which your
drawing can be intepreted. This time, the spec-

I'

63

tators really will recognise their drawing or, at

the veryleast, part of it, Sometimes you r,r,ill have
to turn your sketch around, reframingitto match
the spectator's dra\aing this will only enhance
the mystery in the minds ofyour audience.

With this 'mushroom effect', what you're

doing is no longer a mere divination, but a bona
fi de drawing duplication.

similar principle

is

referred

to

Arcana, or thoughts
on the true nature of the
secret behind Real Telepittlty

in

Banachek's book Psychological Subtletres (see

chapter ro: Subtle Drara,ings).

The map is not the territory and ihc wolrls

that we use are conventions with which wt, t|v lo
describe reality.
Reality. houever. remains forever i1tr,,,.,.'
sible. We can certainly perceive part of it thlorrglr
our senses (themselves a collection of frtrr-lror rsr.
mirrors). but is it eren possihle lo exl)rri(.r.r.
ultimate reality?

It is very difficult to answer

as simplc rrrrrl
fundamental a question as that of asking: whirt
is reality?
Perhaps this is r.hat, In Buddhist tr ditiorr,
is relerred to as 'niwana'...

For 'ordinary' human beings, rcdlity

is

simply what we're able to perceive through our

five (six?) senses and what our brains interpret. Notice, incidentally, that every ltuman
65

being experiences a different reality because

of the different se[ses that we each favour and
the interpretatiols that we each arive at. Each
interpretation is heavily conditioned by our
individual worldview, which itself develops over
time as we go through life.
Our life experiences - our successes) our
failures, our frustrations and our moments of
joy - shape our worldvieu, as much as our attractions and our taboos.

like this story, which shows how we're

constantly interpreting reality:
Tuto employees arriue at thei wotk in the
morning. On their desks, thelj both rtnd a note
from the boss, asking them to come ond see him
in the next few hours.
'Ihe rtrst is delighted as he heeds in: he
belieues he'll set the promotion he want;
The second, more qnxious in noture, is
extremely wotried and imaglnes that he's going
to getlted.

Likethe characters in this storythat reframe

the note liom their boss according to their own
beliefs, hopes and fears, our spectatorc relrame
the words that $'e use according to the drawing
that they've done.

Ultimately, we constantly reframe the

messages that are given to us, we filter them
through own personal frame of reference
and that's undoubtedly why it's so difiicult to
communicate.

AL the same lime. relraming gires us

immense power, as changing our perception of
reality is a way of changing reality slightly.

I'm going to finish these psycho-philosophical considerations now, at the dskofchanging

the purpose of this work, which is in danger of
becoming a book about self-improvement rather than mentalism. And I'll end by Ieaving the
reaaler to reflect on the following thought:

The ptLrpose of

magic
is to change the magician

And what if

it doesn't work?

i
I
I

It emerged from discussions that I had with

Ludo while preparing the new edition of this
book that we both thought that it would be interesting to address this question.

From the outset, though, I would like to

stress that the risks are very alifferent depending
on whether you're a mentalist or a magician.
The issue of an experiment failing is much less
problemaLic in mentalism tlan it is in magic.
Mentalists can even make their predictions
or divinations vague in order to ensure that they
are more credible (even though it is possible to be
completely accurate) - in mentalism, mistakes
cease to be obstacles and instead become risks
that support and strengtlen t}le rest of a performance.

The greatest performers have always

worked in this way, from Joseph Dunninger to
Uri Gel]er.
69-

The complete or patial failure of Real

TelepGtfty is something that I've neverbeen overly concerned by. Of course, $'hen I get ready to
per{orm the effect, I'm aware that it has its risks

and that how deeply it affects spectatorc wil]

vary somewhat. Once again, this is something
that I accept completely r,hen I suggest that it's
an experiment rather than a trick. "What's the
difference?" some people rvill respond. I believe
that the fundamental difference lies in the effect's completely disarming purity. I'm inclined
to believe that rvhen we use impression pads
or other gimmicled acces5ories (however ingenious these devices may be), there's something
'impure' about them that subconsciously arouses
spectators' suspicions. The question will be:
"How and when did he get hold of the information?"
This brings me to a broader (and also more
radical) thought about magic and mentalism.
It seems to me that in a Iot of cases, spectators (who are often much less 'stupid' than we
imagine) know rvhat's going on during a trick or
an expedment. They knorv that we're controlling their card, they knowthat the choice that we
give them isn't as fair as it appears, they know
that a padicular item must have beell switched,
they know tiat the magician's assistant t$,ists
and bends her body around inside thc box and
so o11. What they do['t tnolv is how or when that

I realise that I'm labourirg this point

and am in danger of becoming tiresome, but

happens.

unfortunately magic can very often be summed

up by this question: how and when?
ReaI TelepathA turns this question inside
out: 'how' and'when' no longer exist because
nothing happens.,, In an ideal scenario, the
experiment appears to be a pure moment of
communion.

As stated earlier, even in the worst case,

at least one of your three statements will pique
your spectatom' interest to a significant degree.
There are also very few tangible features that
spectatoN can latch on to in order to come up
with a rational explanation.
As you will have realised, I'm not a fan of
being absolutely correct in mentalism, although
I appreciate that not everyone agrees with this.

ifyou don't want to do effects in which

you're not in control of every element, or if
you'd like to pefibrm Real Telepctfty without
taking any risks at all, all you have to do is what I
So,

advised against earlier on in this section: use an

impression pad.

A numbel of pads are commelcially

available to magicians and you can even make
71

one youEelf usingjust a notepad and some carbon paper,

Ask the spectator to drai{ the picture in

your notepad, tear the sheet offand hide it in her

By way of conclusion

pocket.

Once you've given your reading, if any

features don't hit, just take the pad back, obtain
the information and reveal it.

As I mentioned, though, I'm not a fan of

using impression pads in mentalism. As Ted
Karmilovich said, "Less is more" in mentalism,
in other words, small mistakes and imperfections are more perplexing than a divination or
prediIlion lhaL s completely accuraLe...

As I've already highlighted several times

throughout this modest work, it was bywatching
performances by people who claim to be psychic
that I was able to formulate a theoretical basis
for the ideas developed ir ReoI l'elepathA.

I would now like to talk about a demonstmtion that was conducted on live television by a
psychic during a discussion about the topic. As is
oftenthe case, passions had started running high
on both sides, for and against. At this point, the
psychic silenced many sceptics by per{orming
the effect that I shall now describe. It makes use
of the same ideas that have been developed in
this book, which is n'hy I mention it.
The presenter of the programme

was

holding an envelope, which was impossible to

through and in u,hich a photograph had been
placed. AII that ourfriend the psychic knew about
the photograph was that it depicted a building
that had been constructed relatively recently and
that was located somewhere in France.
see

73

The purpose of the experiment, of course,

was to divine what was in the envelope. Here is
the descdption offered by the psychic:

"I

sense that both modern and classical

styles were explored when this building was
constructed. There's water flowing near it. I can
also see red and blue colours at the top of this
building. I can see an upside-dowa 'U' shape. I
can also sense a lot ofclearness and light around
and inside it, I can sense a lot of movement and
activity in this area, too."

It emerged that the building shown in the

photograph was the headquarters of TF1 on the
banks of the Seine. All the guests on the show
that evening were blown away!
And yet... I had a bit of fun reframing the
description using a whole host of modern buildings - it hits every time!
Let's think about this:
It's very unusual for any location in France
not to be near water or flowing water. Red and
blue colours ate often on top of a wide range
of buildings (think about the French flag). The
upside-donl 'U' shape will fit any arch or curve.
As for the 'clearness', many modern buildings
are constructed using huge quantities of glass
71

and other materials that let light through. The

list goes on.,.
Once again, then, we have a formula that,
while appearing to be very precise and to fit the
details, can be applied. to a wealth of different
things.
When pedorming the basic effect described
in Real Telepathy, you'll notice that once your
spectators have reframed your comments to fit a
particular object, it's extremely ilifncult for them
to backtrack and realise that what you said could
apply to other things.
Was our friend the psychic aware of this?
Or was he actually so convinced of his own
power that he was able to create a cold reading
that could fit any modern buililing without realising it? No-one knows!

Voild - we've reached the end of this great

joumey to the centre of a miracle mental effect.
As with a lot of miracles, the explanation for it
is very simple, but it's the details that you add
around it that make it a real miracle. I sincerely believe that the principles outlined here
can be u"ed to creale killer etfecls. opening new
avenues for mentalists seeking purity in their
per{ormances.

Anyone who delves deep into my scdpt and

the techniques described throughout this book
will understand that a pafticular colception of
mentalism lies hidden behind the text. I believe
that these approaches are worthy ofstudy.

Semantics

One Iast comment: contrary to what some

people may believe, this publication is not an
attempt to demystify telepathy...

It only remains for me to wish you as much

success with Rol Telepathy as I've had with it.
Be sure to keep the secret safe alld don't abuse it,
or l ou risk doing it a great disservice.

MaA

the

force be with Aou!

Patrick Froment

From a theoretical perspective, the fielcl

of semantics covers eveq.thing in a languagc
that is related to meaning, both in terms of thc
meanings expressed by grammatical structures
(morphologr, s],ntax) and the lexicon. Words,
though, are the primaryunit ofmeaning. Forthis
reason, semantics remains firm1y rooted in lexicology. Ferdinand de Saussure (Cours de lingur.stique gdndrale, 1916) formulated the principlc

of the arbitrary nature of the sign. His findings

can be summarised as follows: there is a dircct
link between, on the one hand, the referent (thc
object referredto) and the signified (e.g. betwcen
a particular table and the concept 'table') antl,
on the other hand, between the signified and thc
signifier (e.g. the concept 'table' and the phonc
tic form /terbl/), but there is only an indircr:t lin li
between the signifier and the referent.
O Hachette Livrc. l99li

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'53[ERT

TETEPAIHY
IF TELEPATHY EXISTED,
THIS IS WHAT IT WOULD LOOK LIKE!
BeaL rcLeparHr i,s one of the purest draulng dlvrnatlons
Ln nentaLi"so. Fn unde.!round pLrbLicatLon ulth a v0rU s0aLL
LnLtiaL prlnt run,
uas knoon to onLU a seLecr fe! for

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Uou uant to pe.foro an experLljlent'rn thought transnLssLon,

Leave spectators thankLng that !o!'ve read their nLnds,

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add an Lnprofiptu hentaLLsri effect to Uour .pertoLre

one that gou can do anuuhere and at anu tine !hi.s is

Jean-Jaceues sanvert

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