ffiTAL PATRICKFtrOMENT

TETTPATHY

Patrick Froment

Article Ll22-5 of the Inlellecrual Pioperly Code. underparagraphs 2 and 3a. autnorhes only, on tle one haDd.'copies oi reproductions srricllr reserved lor the priyateuse ol lhe coplisr and not intended lor collectile use'and, on thc other ha!d, analyses and shon quolalionslor the purpose ol example and illulration. 'any relrc-senlation or complete oi parrial reproduction nradesirho- rhe co'"e r , I rfe c-rhor C-r. holde'. or asignees is lrohibited' (articl L.122 4). Ary such repre-sentarion or reproduction in any lorm rhus consdtutesforger\', which is punishable under articles L.335,2 ff olthe 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 Tru$Marchand de T.ucs. 6 ruc du Pl6nCno 56100 Lorietrt

!wi{marchalddelrucs.comPr']n1ed in the EurolcanUnion b)

LlV Editiols o, belalfof the publisherDecembei 2013

ISBN : 978-2-95 36660 5 2EAN :9782953666052

RealTelepathy

Advanced Pseudo-Telepathy

ffi:chand.G^ dc (Lruc_sEditions

I dedicate this publication to all moaiciansand mentalists who are looking for the perfect effect.MaA our pursuit be fulfilled one dag.

Contents

Publisher's note ....................... 9ForeNordby Jeao-Jacques Sanvert ............................ rlIntroduction to the 2o11 edition.................................... 15A personal experience .......................................................... 27Drau'ing duplication variations ..................................... 35Features ofcold reading

---............................................... 43The stock reading ................... 48Psychological points ............................................................. 49Analysis of the rcading ...................................... 55Some real-life examples ...................................................... 57A few additional Iines ........................................................... 61The mushroom effect ........................................................... 63Arcana ............................................................................-.-...-........ 65And what if it doesn't u,ork? ............................................ 69By way of conclusion ............................................................ 73Semantics ............-....................................................................... 77

Telepathy: People in psychic union communicatingover a distance by thought

Publisher's note

When Patdck came to see me and proposedthis project, my initial reaction was one of greatexcitement. I immediately wanted to try ReolTelepathA o1Jt on a lew nearby guinea pigs and Iwas honestly blown away by the result.

While it's not the best approach, the temp-tation 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'thelp but hope that it's not merely the sort ofmisleading advertising material that you get inany magic shop catalogue.

Take the time to study the tdck and, moreimportantly, make the most of performing it.You'll no doubt leave your spectators feeling t}latthey've experienced something very unusual,the sensation that you were, just for a moment,actuallv able to read their minds-..

Ludo,February zol.

Foreword byIean-|acques Sanvert

You have something very precious in yourhands. A masterpiece ofthe genre. Probably themost devastating pure mentalism effect thatI'ye seen to date. Patrick Froment, its creator,performed it for me at one of Mindon Mania'swonderful meetings (he is now the group'spresident), and I wish you could have seen theline-up of magicians

- Dominique Duvivier,

Ga6tan Bloom, Pascal de Clermont and me -

whose jaws couldn't help but drop when Patrickrevealed to us the subject matter of Pascal deClermont's drawing. The only possible expla-nation (apart from a CCTV camera linked to atelevision) was stooging. But that's not what itlVaS,

Here, then, is the explanation for theultimate mentalism effect, its list of conilitionsclosely resembling what Father Chdstmas mightoffer you in the magic shop of your wililestdreams: thereare no gimmicks, no stooges, it canbe 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'msure that a Iot ofmagicians (and not mentalists)who read the explanation will think, "that can'twork", It would be a serious mistake on yourpaft. Bear iI1 mind the performing conditions:you are offering a real experiment in thoughttransmission. I guarantee you that people, parti-cularly those who are most opposedto it, want tobelieve in this kind ofthing. If, therefore, of thethree t ?es of statement that you then make toyour spectators, only one is correct (and I reallycan't see how that wouldn't be the case) you willhave already done very well. But I should tellyou that that's the worst-case scenado. On manyoccasions, two or even all three of your state-ments will be right, in which case you'll see howtaken aback your spectators are!

As far as I'm aware, this is the first timein the world that this system has been used:applying 'cold reading' to an object. What a fan-tastic idea! You have an absolutely killer effectthat can be carried out in'laboratory conditions',and, what's more, you know that you're the onlypeople in the world (for the time being) to havethis ultimate weapon, which makes this effecteven more delightful to perform.

t2-

You're lucky to get your hands on this rarerlocument, which has a very limited pdnt run.Make the most of it. It's a perfect eiample ofthecreative genius that flows out of Mindon Maniameetings, without which Patdck Froment mightnot have had this innovative idea. May thispublication be the first in a long series.

Jean-Jacques Sanvert,April 1997.

Introduction tothe 2011 edition

I thought it might be interesting to introducethis new edition ofRecl Telepcthy with a historyof the effect. This is the first proper edition, Ishould point out, insofar as this manuscript hasbcen kept top secret until now.

The story goes back some twenty years, asit was in the early r99os (1999, to be exact), that,thinking about the amazing demonstrations thatgenuine psychics had per{ormed for me, I cameup with the idea ofusing some ofwhat I had seento create a divination effect that didn't use anystandard magic 'tricks'. Thus Real Telepathywas born, the fruit of my interest in the field ofparapsychology and my passion for mentalism.

Allow me, if you will, to start with a des-cription ofa day in January 1997

- 18th January,

to be exact -

when one ofthelegendary meetingsof the late lamented Mindon Mania group washeld. At that time, the meetings took place once

t5

a year. Each one was a real marathon, lastingfrom two o'clock on thc Saturday afternoon toda$,r1 on the Sunday moming. You surely hadto be a little crazy to get through fifteen hoursof non-stop mentalism. My abiding memory ofthose meetings. lhough. is one of erperiencingsomething unique. It's true

- last century, men-

talism in France didn't have the impact that ithas today. The magic u,orld sau. Mindon Maniaas a slrange sect praclising high)y e.oteric rile.(I'm barely exaggerating!).

We were definitely forerunners, the firstin France with a different approach to perfor-ming mentalism. We invited guests Iike PatdceSerres (the creator of the foftune-telling gameGoral) and even Jean-Pierre Girard (the 'FrenchUri Geller', much maligned among magicians).Believe me when I say that we weren't scaredof anlthing. The techniques that we used andlreasured r'rere called cold reading. pumping.neuro-linguistic programming, Cumberlandism,Eriksonian hlpnosis, gray code, mnemonics andmulliple ouls... Wlile fhe French magic com-munitlr is now somewhat more au Aitwith thesetechniques, these strange-sounding terms werefearsome and dangerously heretical fifteen ortwenty years ago.

Mindon was a wonderlul proving groundin which to test and expe ment with all these

16 -17-

techniques. I confess that while I've alwaysbelieved that mentalism had a great futureilhead of it, I'm amazed by the position ihat itnow occupies. I wonder ifthere'll soon be morementalism shows to see than magic ones. And ifvorid have told me fifteen years ago that there'dbe a hit American series called ?he Mentaiist ..Well...l Let's head back to that day on 18tr' Janua-ry 1997...

I wasn't feeling great o[ that occasion.Arter a long illness, my father had passed ai\,ay af'ew days earlier and I hadn't got anlthing readyfbr the meeting. Given the circumstances, I wasdebatingwhetherornotto go at all, but then againI did need to take my mind off things and thetheme for the eyent was impromptu mentalism,too (a fantastictopic for someone v\'ho didn't haveanlthing prepared) . The meeting was also prettyspecial because of who was attending. That day(and that night), Mindon played host to threebig names from the magic world: Ga6tan Bloom,Jean-,Jacques Sanvet and Dominique Duvivier.,{s I made my way to the meeting, I couldn't havedreamt ofthe impact it would have for me.

With nothing prepared, 1 decided toperform a little effect that I'd developed fouror five years earlier, when I lived in Rodez. Theeffect consisted ofduplicating a drawing made bya spectator in completely impossible conditions.

I knew that the effect was a good one, albeitslightly rislf,,, but I never imagined that it wouldbecome the highlight of the evening and thatpeople would talk about it for years afterwards.

It must have been just after midnight whenI began my performance of the effect. Pascalde Clermont was the 'guinea pig' and he drew aIightbulb. I remember the moment that I stafteddescribing Pascal's drawing in front of that pres-tigious audience. I remember Jean-JacquesSanvert's nervous laughter, accompanied bythat of Gadtan Bloom and Dominique Duvivier.I remember seeing them spending some timelooking for the "hidden micro-camera" orattempting to discover "who the stooge in theaudience was and howhe had communicated thedrawing to me".

As you can imagine, I was under a lot ofpressure, from a lot ofpeople, to 'spill the beans'that eve[i[g. I should stress that I held out. I wasalso helped by my friends from Mindon, whospread the word that there wasn't any tdck towhat I had done (iust irtuition and feeling).

A few weeks after the meeting, 1 read anarticle in the magazlne Le Mqgtcien Gr' ].46-

march 1997 -

page 5246) in which Jean-Jacques Sanvert wrote about a Jaw-droppingeffect', describing the very demonstration that

18 - t9 -

he'd witnessed that evening. Jean-Jacques, whoat the time didn't know the method that I wasusing, attributed the unusual experiment to myintuition alone, reluctantb lending support tothe notion tlat I hadn't used any'tricks' thatevening.

I alreaily knew that the effect was a realgem. It was the first time that it hail been per-tbrmed to mentalists and magicians and it wasa hit! In addition, the only explanation for thecffect was breathtaking in its simplicity. Howe-ver, I felt that lying beneath this simplicity, thecffect, like a millefeuille cake, hail a number oflayers to it and that it would be worth describingthem in iletail. Now, fifteen years on, I believethat the ideas explained in Real ?eiepathy formwhat may be t}le essence of mentalism.

So I knuckled do$.n to it and spent seve-Ial weeks putting together a modest work tlatrlescribed the ins, outs and all-arounds of thernethod that I used to divine the spectator'sdrawing. In doing so, I indulged in a thoroughstudy of drawing duplications as well as addinga few philosophical insights and a lot of psycho-log/ into the mix. I ended up with around twentypages of material, which I asked a few closeIl'iends who were also mentalists to read forrne. They were enthusiastic in their responses. Ishowed the manusc pt to Jean-Jacques Sanvert

and asked him to write the foreword, which heagreed to do. I felt that Jean-Jacques was theright person to introduce the publication as hehad seen the effect, had once been convinced bythe 'trickless' explanation and, finally, had beenpd!l, to the actual method. I was also impressedby Jean-Jacques' open-minded approach andhis passion for cetain divinatory arts as wellas the history of Rennesle-Chdteau (this open-minded approach is, ironicafu, relatively rareamong magicians). All that remained was to finda title. It was Olivier Gutenberg, my late friend,gone all too soon, who inspired the title. Olivierwas one ofthe people who read the first clrafts ofthis book. One day he said to me, "If real telepa-thy did exist, that's what it would look like." I'dfounil the title!

In the months that followed, a photoco-pied version of Real Telepathv was distributedto a select few, mainly the members of MindonMania at the time and a few friends, amountingto a handfirl of people (a few dozen).

On 6th October 1997, a short time after Ihad furtively circulated my manuscript, MindonMania had the privilege of hosting a lecture at LeDouble Fond, at Dominique Duvivier's behest.Four of us were scheduled to lecture: DidierChant6me, Philippe Lange , J. Proley and me. Afew minutes before the eyent started, Dominique

l)uvivier came to see me and asked, "Will you betloing your killer trick this evening?" I realised,of course, that the killer tdck in question waslleal Telepathy

- which I had planned not to do,

hoping to remain tight-lipped about an effectthat was, fran}ly, getting out ofcontrol.

Dominique was able to convince me toperform a demonstration of my miracle divina-tion that evening. It was a hit again, resulting ina number of friendly but insistent requests frompeople eager to know the method. Once more, Iheld out...

The years went by and I made the most ofan appearance by Jean-Pie[e Girard at MindonMania to show him Real Telepathy.In his usualmischievous style, France's number one psychicdrew a chamber pot (!). He was amazed by mydescription of the drawing, which he kept care-fully hidden in his pocket. That evening, Jean-Piene Gimrd stated that I was an extraordinarypsychic.

Over the years that followed, I tooksomething of a step back from the magic world,delving into a whole host of subjects (psychothe-rapy techniques, personal development, humani[teraction, Tantra, Eastem spi tuality, sphynxcats, art, antiquity and more!). I neverthelessretained a passion for magic and mentalism and

-20--21 -

always kept abreast of developments in theseareas. As lhe yeals went b). imagine my surp sewhen people would rcfet to Reql Telepathy fiomtime to time (on magic forums, for example),One person wanted to know if he could get holdof the book, someone else said that it vr'as thepurest and most baffling drawing duplicationever created. The buzz was still there,..

During this period, people from the magicworld would occasionally express the desire topublish Real Telepathy on a less limited scale-

there was even talk of a DVD project. Stran-gely enough, all these projects ultimately fell bythe wayside, disappearing one after the other asthough some unconscious will had determinedthat these ideas shouldn't be shared.

Some t\,vo decades have passed since Ibegan developing Lhis effecL after drawing inspi-ration from the work of psychics and telepaths.It has now been fifteen years since I wrote andsecretly distributed Real TelepathA. Re-readingthe tq't, I feel that it has remained amazinglycontempomry. Despite the fact that mentalismhas made giant leaps forward in France sincethe mid-nineties, Real Telepathy is still puredynamite! As a result, I have decided to publishit as is, without amending the text.

22

Real Telepathy

Keeping a secret for eighteen years is goodgoing. The time has come to take the d)-namiteout of the drawer, so that the cuuent

- highly

promising * crop of mentalists can put it to use.When I think about the basic concept behindReal Telepathy and its philosophical implica-tions (which are explored a little in the 'Arcana'section), I can't help but feel that there's enoughbehind it to inspire people for a few more years,I(eeping the miracles coming.

In my opinion, t}le concept can be furtherdeveloped... I have in mind a book test, forinstance, that makes use of this principle. Maybeone day I'll bring that out of one of my drawers,but in the meantime

- shh!

Real Telepathg has proved astonishing foreighteen years, not only in terms of the reac-tions that it provokes but also the thinking anddevelopments that it stimulates. I get amazingfeedback from mentalists who've performed it bytelephone and even on Lhe lnternet using instantmessaging. Something tells me that it's not overyet and that this 'little trick' still has a brightfuture ahead ofit.

Still, I will make this observation about it: anumber of mentalists and magicians have poin-ted out to me, wit11 good reason, that Real Tle-pafhy isn't as easy to perform as it might appear.

Real Telepathy

It requires a fair amount of nerve, particularstaging, a good understanding of the right timeto do it, a decent amount of charisma and also,perhaps, some form of persuasive ability. Puttogether, these skills are what make a good men-talist. It is perhaps partly in this sense that Real?elepafhy represents the essence of mentalism.

It also seems that this essence has some-thing to do wit}l the very nature of the principlesoutlined in Real Telepqthy. As you will disco-ver over the pages that follow, these principlesare entirely psychological. It stdkes me thatin modern times, we can't study paranormalphenomena in the same way that people did inthe nineteenth century. Mediums don't makemessages appear on slates or produce ectoplasmfrom their mouths nowadays. If there is anexplanation for psychic phenomena, telepathyand channelling, this explanation no longer liesin gimmicked slates, special flaps or double lifts.The explanation lies inside the human mind.

Real Telepathg isn't just a trick with whichto amaze your friends, it's an invitation to reflecton how the human mind works. The secret ex-ploits a particular cognitive error in terms of howour consciousness operates and how we perceivethings.

I am convinced that these techniques, soclose to 'the real thing', form much of the menta-Iism of tomorrow.

Welcome to the world of (almost) real tele-pathyl

Patrick Froment,Januarv 2011

24-

A personal experience,or ReaI Telepathy:

the effect

It was the end of summer, the days werellreadygetting 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: thebar, with its wealth of beers on tap, was wherel broad selection of Rodez's youths had decidedlo meet. It was also home to the kind of hustle,bustle and badinage that's only found in smallprovincial French towns. As usual, Jean-Louis,lhe owner, uas behind the bar. The Caf6 de Ial)aix occasionally hosted concefts in which dif-lcrentlocal groups would per{orm. The standardwasn't the highest, certainly, but those fun-filledcvenings remained in everyone's memory, highpoints of conviviality.

Some years earlier, Jean-Louis had metI)at ckthe Magician. His abilities had very much

27

Real'ldeParhy

beeuiled Jean-Loui:' who was quick to ask him,""""".".i.r*i. nights at his establishment'i"rrJ i. t"'a"'ir'p. ir's"small inner room was the;:;#;; f",

"

close-uP show so it was thal."";;;i ;i;""t ;i".t. Parrick would appear in thisii" * i"l.

""4 he carries lhese experiences with

lim forever, highlights o[ his Iife as a magrcran'

That evening, no Performances were

"f-r"il'frr, p.,frtk had

"topped b1' as he

I.-",i.". Jia. to enjoy a goodtreer and chat Lo:::;i';;; i".run"n r 'ngut"t Lhat were certainIl'l'JL"raiir.t",JacquJt the ageing anarchist''""":";t:;hi;;;;nial spot ai Lhe corner ofi'fJ u*,'p'rrlrippi. irt; painter with.the perpetualiili#o., u"J.l' r"d again popped in to blowhis)i"]l'-.i*. rn,r-rir" lhe beautitul c6cile' object ofilir,'"i".rii.r.""tu"ys affeclions' was practi'ingil. t."i*

""

ir-r" ;a piano as a lew intellectuals&il;';;;;"" of che"" beMeen suPs ofbeer.

All these people knew Patrick .u"d k?"1

"lr""t^rrit ' Jiu'i. i. few close-up-. shows

,

had

ffii, u""r'lr,n" bin ai tle c{6.& h llT;been askedOn this occasion. Patrick had agatnt'J: il'Jm,ill;; Jean-Louis had gone.intolis!",.;";;;; ;;;e"*d a belote deck ITt li:li;';#;l"ri, sorry state and Patdck had ben;;;";;;" p",-fo,- ut reouSsled, T:-.Pl::1s-";irl""iti"* r[* r"r.lnes, cards travelled' iumped

-28-

around, transformed into other cards and theaudience reacted well, with a small crowd soonforming around the magician..,

And yet... And yet something indescri-bable had occurred. Patrick was there, perfor-rning his effects, but (was it an itlusion?) he feltthat something had changed, something newhad taken shape in his spectators' minds. It wasas though his effects, while good, were beingpholed in. The spectators were doubtless unableto explain what was happening before their verycyes, and yet Patrick felt that he was no longerseen as a magician, but a juggler. Juggling, thatwas definitely the word

- his tricks were now

just juggling and ultimately, the impossible hadl)ecome something ordinary. Patdck felt thathis magic had lost its sparkle, he no longer feltthe indescribable moment that Einstein called'the experience of the mysterious' in his specta-tors'eyes. No longer a magician, he had becomesomeone who was simply highly skilled with arlcck of cards.

He needed to react quictly and get back onhis feet

- that evening, he needed to per{orm a

rrriracle, not a trick. Patrick had already spentst'veral months immersing himself in menta-lism, determinedly following the roadto'the reallhing'. That was what was needed!

"It's late and I'm going to have to Ieave yousoon", said Patrick, retuming the deck to its half-destroyed 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 recent-ly read an interesting book in which the authorexplains simple methods for achieving mentalcommunication and even for attempting to readsomeone else's thoughts... We could try thatkind ofexperiment: it's by no means guaranteedto work. Telepathy is rather like hlpnosis, thesubject mustn't fight it. I need to do this withsomeone who's happy to go along with it andreally wants to give mental communication a go."

C6cile seemed very interested and eagerlyagreed to take part in the experiment.

"Okay, C6ci1e, I'm going to ask you to thinkofan object, preferably something simple... Haveyou got one?!"

"Erm... Yes!"

Patrick grabbed a beermat, a piece ofcard-board of the kind that litter the bars of everydrinking establishment around the world, andborrowed a pen. On the blank side of the beer-mat, he drew a square.

30 3l

"You're going to focus your thought here.l)raw your object in the middle of the square."

With these words, Patrick turned aroundlnd stood back to leave C6ci1e free to draw herrnasterpiece as she wished.

"'When you ve finished the drawing. put itin one ofyour pockets," Patdck stated.

The conditions in which the drawing wasmade were nothing if not straightforward andopen. The spectators who where there thatcyening weren't expefts in magic or trickery, butcach of them could see that it would be absolutelyimpossible for Patrick to know what C6cile haddrawn. All the objects used (pen and beermat)had been borrowed and as soon as the drawingwas 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 foundlault with anlthing that Patrick had done, nopossible gimmicks or trickery.

The image had been drau.n, then, and wassafely in C6cile's pocket.

Patrick's expression grew intense, everybo-dy could feel that this was the critical moment.,.

"Concentrate, C6ci1e.,. Visualise yourobject... Try to project its overall shape to me,imagine a giant version ofit in fiont ofyou..."

Patrick closed his eyes briefly, his handsclasped together by his 1ips. When he openedhis eyes again, they sparkled with light. Sub-consciously, everyone felt it: "He's picked up onsomething".

"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 eyesappeared in C6cile's. These few words had leftC6cile, and those spectators who had seen thedrawing, visibly shaken. Finally, Patrick saw inhis audience the 'expe ence of the mysterious'that was so dear to Albert Einstein.

Later, Patrick would learn that alongsideC6cile's experience of the mystedous was a hintoffear. The first thing that she had said to herselfwas: "So telepathy really does exist!" Then shefelt naked, stripped ofher innermost thoughts.

After a few seconds of renewed concen-tration, Patrick said that he also sensed that theobject in the drawing had a see-through aspectto it. A collective 'ahhhh' greeted this new reve-lation.

-32-

Patrick asked C6cile to reveal hcr druwing,which corresponded exactly to the telepathic int-pressions that he had felt.

Outside, it was late, and the almost-fullrnoon flooded Rodez's cathedral with light.

For a long time afterwards, people in theCaf6 de Ia Paix asked Pat ck to try the drawingdivination again. It had become something thatfew people had seen but that everyone was tal-king about. Patdck never again performed theexpedment in the Caf6 de la Paix, but if you'reever passing through Rodez and pop in to theCaf6 de la Paix for a drink, be sure to speak to,Iean-Louis about Patrick the Magician.

Maybe, just maybe, Jean-Louis will go tohis drawer and pull out an old beermat with asquare sketched out on the back and, in themiddle ofthis square, a drawing of a bottle.

Drawing duplicationvariations

"If real telepathy did exist, that's what itwould look like!" A fellow magician said this tome after he'd witnessed the effect just ilescribeil,which is the focus of the book that you're nowholding.

When performing, I've always sought theclearest, most straightforward and most directcffects, alongside pudty of effect and method. Inmy opinion, Real Telepathy represents an im-portant stage along this route,

The basic effect resembles what, in menta-lists'jargon, is known as a'drawing duplication'.ln Real Telepathg , however, you're not going toduplicate the drawing, but describe it exactly.

A drawing duplication or divination is verypowerful in spectators' minds, for the followingreasons:

- Generally, when a divination effect is

per{ormed, the spectator has a relatively limitedchoice (of lifty-two cards, for example). Withdrawing divinations, however, the choice is hugeand the spectator is free to draw whatever shewants.

- The effect is extremely simple (a drawing

is divined), bringing the spectators' imaginationsinto play and Ieaving them with a long-lastingmemory ofthe effect.

I would now like to briefly go over somemethods that are used by mentalists andmagicians to achieve this effect. This list isn'texhaustive in any way, but I still think that itcovers a good many solutions.

. The centre teari This is a very oldtechnique in which the spectator has to drawin the centre of a sheet of paper, which is thenfolded and torn up by the magician for whateverreason. At this poiflt, a small sleight is pedor-med, enabling the magician to 'steal' the centreof the paper (containing the drawing) beforesureptitiously Iooking at it.

. Clipboards: A gamut of gimmickedaccessories fall under this category usuallydesignedtolooklike some sort ofjotter, notebook,notepad or desk pad on which the spectator isasked to draw an image. The principle often relies

36

on ingenious carbon-paper systems whereby themagician is able lo discover what the image is.

. Peekingr This method consists of havingthe image drawn on a business card and, underthe guise of placing it in a wallet (or envelope),performing a small secret move that enables theimage to be flashed for a split second.

' Glimpsingr This is a rather bold methodin which the performer turns around for a splitsecond while the spectator draws an image.If certain psychological principles have beenmastered, this brief turling around passes unno-ticed by the audience. It goes without saying thatsuch a method requires a perfect performanceand an excellent sense of timing.

. Enuelopes: With this method, thedrawing is first placed into one envelope (whichhas a secret window in it) and then a second(normal) one. As the magician places the firstenvelope into the second, he glances at thedrawing through the secret window.

. Gimmickeil card u,alletsi Variousmodels of gimmicked card wallet have appearedon the magic market in recent years. They allowa performer to secretly discover the image drawnor word written on a business card that's placedin the card wallet.

. Electronic systems, These methodsmake use of expensive equipment. To discussthem would be exposure, so I shall mention themonlybriefly here.

. Pencil reading; This is a mentalismtechnique rvhereby a spectator's actions $'hiledrawing an image are studied, in such a r,ay thatit is then possible to work out what this image is.

So that's basically a summary of the tech-niques used by magicians and mentalists todivine an image drau,Tr by a spectator.

Obviously, with all these techniques, theimpact of the effect lies solely in the revela-tion and the manner in which this is presented.The magician must draw on his full theatricalabilities in order to reveal the drawing in themost entefiaining way possible. Generally, thebest approach is to reveal the impressions andshapes sensed in stages, bringing the suggestionof failure into play.

This idea is based on deliberately makingmistakes while performing the divination.This makes the effect believable and increasessuspense among spectators.

A number of observations can be madein light of this overvierv of the techniques that

38 39

magicians use in order to pedorm drawingduplications.

. With many of these meLhods. lhe magicia nmust, at some point, touch the paper on whichthe image is drawn. This is highly problematictbr anybody who, like me, seels the clearest andmost straightforward effect possible.

. Few methods are complete\ impromptu,

. Certain techniques use special or gimmic-ked accessories, which is a further drawback foritnybody who wants to be as clean as possible.

In shoft, then,let's say that allthe standard(lnd lesr slantlard) methods that magiciansllse have a weak point from the point of viewof someone looking for the truly perfect effect.And yet, and yet... There are people who some-times pedorm drawing duplications using otherrnethods and other principles, psychics beinga good example. In this modest work, I havelttempted to explore and create a theoreticalbasis for these methods.

Here we come to what I belieye to be therrost impofiant contribution to mentalismin recent years

- studFng the methods and

concepts used, consciously or unconsciously, bypeople who claim to be mediums, psychics and

parapsychologists and attempting to apply theseto our effects in mentalism.

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 ins-tant messaging!

. no clipboards are used ;

. no carbon-paper systems are used ;

. there's no 'pencil reading' ;

. there are no electronics...

Real Telepathy thus surpasses all themethods explored above.

Honesty, however, compels me to acknow-Iedge the one weak point in my method, which Ishall now explain to yoLt i\ detail: Reql Telepctthyis an effect that depends on certain psycholo-gical risks, which mean that it may not work.This will happen very rarely. Moreover, thoseof my readers who are very experienced menta-lists know that an effect that doesn't work hasmuch less significance in mentalism than it does

40

in magic. It's normal for someone per{ormingparapsychological effects to fail sometimes,something that also makes the rest of yourper{ormance believable.

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

Features ofcold reading

My aim here is not to offer a comprehensivestudy of cold reading but to explain both what itis and the basic techniques that it uses. This isnecessary in order to properly understand themethods employed i\ Reql Telepathy.

The French magic community seems tohave discovered cold reading relatively recently.It is, however, a fairly oldtechnique on the otherside of the Atlantic (having first been w ttenabout in the 192os). Books by Robert Nelson,William Larsen and, more recently, Bascom,Iones, Herb Dewey, Ron Martin and RichardWebster make up a sizeable proportion of theliterature available on the subject.

Unfofiunately, there is very little about itin French.

43

What is it?

Cold reading is a range of techniques thatenable performers to 'read' a person they'venever metbefore

- giving the person the impres-

sion that they know a wealth of relatively detailedinformation about people's character, past,present and future. Cold reading is the closestthing in mentalism to psychic ability. Reputa-tions have been built entirely on this technique.

Some people believe that psychic abilitiesare nothing more than cold reading, but that's aseparate discussion.

Hou does it uork?

Cold reading makes use of a number oftechniques, many of which come directly frompsychology. They range from morphopsychologrto neuro-linguistic programming ria varioustheories of personality t}?e. The foundationcommon to all schools ofcold reading, however,is what are known as stock readingc.

Stock readings are based on the premisethat ceftain statements or assertions (also knownas 'lines') appear to be very personal but can besuccessfully applied to anyone. In cold reading,these are also known as 'statements with a highaccuracy rating'.

45,

When performed well, with a goodpresentation and a Iot of psychology, coldreading can slay an audience (particular\women and spectators who have an interestin psychic abilities). As he delivers his lines, acold reader continually attempts to involve hisaudience, which is where the principle of'refra-ming' comes into play: every comment resonateswith spectators at a peNonal level, and it is thespectators who connect various somewhat vaguestatements, linking them back to their orvr expe-riences. The spectators, we might say, 'reframe'the comments.

A collection of lines is knowl as a readingor a stock reading.

Below, for reference, is an example of abasic stock reading, this one is based on researchca[ied out by Forer, an American psychologist,in the r94os and r95os. Note that some modemstock readings are absolutely incredible in termsoftheir detail and subtlety.

Forer readbrg

You have a need for other people to like andadmire you, although you tend to be critical ofyourself.

You have considerable unuscd abilities thatyou have not turned to your advantage.

Real'lelePrriry

Some ofyour aspirations tend to be unrea-listic.

At times you have serious doubts as towhether you have made the right decision or not'

You do not find it easy to accept restrictionsor limitations.

And so on...

Real Telepathy is nothing less than a coldreading applied to a drawing of an object lt is astock r-eading that seems to be very accurate butthat co[esponds to most objects that a spectatorcan be expected to draw.

The concept of applying cold reading tosomething other than the human personality isouite orisinal and hugell effective Some men-ralists alJo refer to lhis principle using Lhe term'specific generalisations'. Once again, these."thod. it" (in my humble opinion), a royalroad for anyone seeking pure effects that arevery close to real ParaPsYchologY.

On occasion, I have attended psychometrydemonstrations by psychics. These are a furtherbasis for mythinking. I noticed that the psychics-often gave cold readings without being aware ofit.

I have thus developed a formula that canhe aoolied to a wide range of objects as part olasingie stock reading. This lormula is com posed ofthrie statements and only three statements, so if

46

you can memorise just three sentences, you,ll bcable to pedorm an amazing effect anyrrhere andat anytime, forthe rest ofyourlife!

Experience has also taught me Lhat theshorter the formula. the more effeclive it is.

And now for the magic words to be revea-led...

The stock reading

'Ike ftrst thmg tfrat I sense areroun[ sfiapes

- circu[ar, c1[in[rical,. . .

I'm getting tfie inpression of asliape that goes up, wit{t sonetfiingQing on top.

I'm d[so getting a see throuqliaspect anf a sense of frglit.

Psychological pointsto ensure that the effect is

as strong as possible

Real TelepothA can either bomb or bea miracle. This isn't a problem if you let youraudience krow in adrance that it is a genuineexperiment, and thus something that may notwork. From my ou,n experience, my hit rate is80 %. A'hit', for me, is when the object drawnfits the description exactly (we'll see numerousexamples below).In the remaining 20 % ofcases,you'll be amazed to see the extent to which spec-tators are more likely to remember the correctparts ofyour reading than the misses.

You need to use some suggestion beforeyou perform your effect:

. It is imperative that you tell the specta-tor in advance that what you'll be doing is a realexpe ment in telepathy with no trickery, as wehave just seen.

. You should ask the spectator to thinkof an object (not an abstract shape), preferablysomething simple. This enables you to avoidany Bpe of strange drawing that might not besuitable.

. It is a good idea to draw a square in themiddle of the paper and then ask the specta-tor to draw her object inside this square. Thisis a subliminal suggestion that means that thespectator is more likely to draw a round object(people don't draw squares inside squares). As aresult ofthis subtlety, your first statement will bea hit (l sense round shapes

- circular, cylindri-

cal...). If, when you explain to the spectator whatyou would like her to do, you also make a circulargesture while you show her where she should doher drawing, the first comment is unlikely not tofit.

. The spectator doesn't have to show herdrawing to the other spectators. Not doing soeliminates the idea of a stooge, although doingso does give you an advantage: you're no longerdealing with a single spectator who will reframeyour statements, but the whole audience, whichis much more entertaining and experience showsthat the effect is thus heightened. Very often it'snot the spectator who's directly involved whorecognises her object first, but other spectatorswho have seen the drawing.

50 5l

. The reading shouldn't be repeatedparrot-fashion. You are an actor playing the paftof someone witr telepathic powers. give yourscript some terlture and play with your vocalintonation as though you're genuinely sensingpsychic vibrations. Take your time.

. You'll notice how the expressions 'I sense'and'I'm getting the impression' are repeatedin the scdpt. Once again, you're conductinga genuine experiment in telepathy. Someonecapable of reading thoughts would, like you,sense fleeting images, vague shapes etc.

' Actions play an absolutely essential anilfundamental role in Recl ?elepathg. You shouldillustrate your statements using clear actions.It is this visual siile of the effect that futherenables your spectators to reframe your words tofit their object. Your actions add a visual elementto your reading. I have sometimes noticed spec-tators recognising their object more because ofmy actions than my words. \^Ihen you talk aboutround and circular shapes, then, be sure to per-form the corresponding actions with your hands.Wten you say "o shape thctt goes up", yo:u ca\gesture as follows: bring together the fingers ofboth hands, moving them from low to high andhigh to low. Then, when you talk about "some-thing lying on top", bdng both hands up to yourface, as if you're covering something round. Be

careful, though... Make sure tlat you adapt theseactions to suit your own personality, so if you'renot used to'talking with your hands', changeyour actions. From the sublime to the ddiculousis always a very small step!

. Real TelepathA is a performance piecewith a set script, set actions and set direction.

. The hardest part of the effect to malageis, in my opinion, the end. You've just said yourthree statements and at this point you'll alreadybe able to tell from your spectators' reactionswhether you've hit or not. It's hard to managethis stage because you'll need to proye to yourspectators that what just happened requi-red intense concentration from you and that itwould be dimcdt for you to go any fufiher. Forthe majo ty of spectators, however, it's obviousthat you divined the object and know what it is.

. As a result, you're going to call on youracting abilities and show that the effect hasexhausted you. Generally I end by going back tothe round and circular shapes, which are reallythe key idea that I sensed, and I ask the spectatorto display her drawing.

. I have sometimes performed Reol ?elepa-thy without making the spectator do a drawing-

I simply ask her to think ofan object and then

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give her the reading. This is a way of presentingthe effect, but having the spectator draw theobject seems better to me, for all the reasons thatwe've seen.

. You'll notice that, as with any mentaleffect, the memory of Real ?elepothu that's leftin your spectators' minds will be significantlygreater and more developed than the initialeffect. Spectators never remember your readingword-for-word and they have a tendency toimprove and adjust it so that it fits perfectly withthe object that's been drauryr. This is a typicalinstance of the phenomenon of re fra ming.

. It goes without safng that Recl Ielepa-t/ty isn't an effect that you can perform twice forlhe same audience. You should also give a lotof thought to where you place it in your perfor-mance.

. LaslTy, Reql Telepothy seems to be moreof a close-up or parlour effect than a stage one.

Analysis of the reading

. The first thing that I sense qre roundshapes

- circular, cylindical...

This statement will fit a wealth of objectstlat t}Ie spectator can be expected to draw. Agreat many objects are generally round or circu-Iar in shape or, at least, have round or circularparts to them. The use of suggestion also helpsyou to influence your spectator somewhat.

MoreoYer, you are expressing threedifferent but complementary ideas in a singlesentence, although t}Ie spectators will rememberonly the idea Lhat fiLs wilh lheir drawing.

I have always been stunned to note justhow powerful a feature this statement becomesin spectators' minds,

. I'm getting the impression of a shape thatgoes up, with something lVing on top.

-55

With this statement, you cover any objectthat has a handle, foot, base or other form ofsupporl The idea of 'something on top' is also aparticularly powerful comment here and meansthat you have a wide range of objects covered.

. I'm also getting a see-through qspect cnda sense oflight.

Many objects have see-through elements tothem, while experience has shown me that theidea of light is one that hits very frequently.

Oh yes! One last anecdote, quickly: oneday, I showed the effect to a psychic in her psy-chic reading room. She had drawn a crystal ballon its stand... Alleluia!

Some real-life examples

Crrndle

A cylindrical shape.A shape that goes up.

Something Iying on top.A sense oflight.

57-

Bottle

A cylindrical shape that goes up.A see-through aspect.

Lishtbulb

Round shapes.A sense of light

and a see-through aspect.

-58,-59-

Telephone

r--\ARound and circular shapes.

A shape that goes up.Something lying on top.

Sign

A cylindrical shape that goes up.Something lying on top.

Amazing, isn't it?!

A few additional lines...

The stock formula that's given in thismodest work is the reading that I use myself.Generally, I stick to these three sentences rvithno embellishment. However, there are othermagic phrases with which you can supplementor pad out the basic formula somewhat. Belowisa selection of examples,

. There's a rough ideq of symmery in aourdrawing.

. I sense something that suggests thctt partof the object could be smooth.

. I cqn sense a wqrm sort of colour..,Magbe yelloug orange or brown.

. I get the impression of some parallellines.

. It seems to me that your object is some-thing that you can fill up.

61

I'

The mushroom effect

I thought long and hard before deciding topublish the idea that I'm now going to describe.Ifs something that I use at the end of my readingand only when I feel tlat my formula has alreadyhad a strong impact (and therefore that it's aclose fit with the object that's been drawn).

If I think this is thecase, and before the spec-tator reveals her design, Igrab a pen and paper. Atthis point I draw the imageshorvn in;Egure r. As I dothis, I make t}te point thatI'm trying to depict the ove-rall shape and general ideaof the drawing. fgurc

I

You'll be amazed by the power of this kindof statement and the many ways in which yourdrawing can be intepreted. This time, the spec-

63

tators really will recognise their drawing or, atthe veryleast, part of it, Sometimes you r,r,ill haveto turn your sketch around, reframingitto matchthe spectator's dra\aing this will only enhancethe mystery in the minds ofyour audience.

With this 'mushroom effect', what you'redoing is no longer a mere divination, but a bonafi de drawing duplication.

A similar principle is referred to inBanachek's book Psychological Subtletres (seechapter ro: Subtle Drara,ings).

Arcana, or thoughtson the true nature of the

secret behind Real Telepittlty

The map is not the territory and ihc wolrlsthat we use are conventions with which wt, t|v lodescribe reality.

Reality. houever. remains forever i1tr,,,.,.'sible. We can certainly perceive part of it thlorrglrour 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 rrrrrlfundamental a question as that of asking: whirtis reality?

Perhaps this is r.hat, In Buddhist tr ditiorr,is relerred to as 'niwana'...

For 'ordinary' human beings, rcdlity issimply what we're able to perceive through ourfive (six?) senses and what our brains inter-pret. Notice, incidentally, that every ltuman

65

being experiences a different reality becauseof the different se[ses that we each favour andthe interpretatiols that we each arive at. Eachinterpretation is heavily conditioned by ourindividual worldview, which itself develops overtime as we go through life.

Our life experiences -

our successes) ourfailures, our frustrations and our moments ofjoy

- shape our worldvieu, as much as our attrac-

tions and our taboos.

I like this story, which shows how we'reconstantly interpreting reality:

Tuto employees arriue at thei wotk in themorning. On their desks, thelj both rtnd a notefrom the boss, asking them to come ond see himin the next few hours.

'Ihe rtrst is delighted as he heeds in: hebelieues he'll set the promotion he want;

The second, more qnxious in noture, isextremely wotried and imaglnes that he's goingto getlted.

Likethe characters in this storythat reframethe note liom their boss according to their ownbeliefs, hopes and fears, our spectatorc relramethe words that $'e use according to the drawingthat they've done.

Ultimately, we constantly reframe themessages that are given to us, we filter themthrough own personal frame of referenceand that's undoubtedly why it's so difiicult tocommunicate.

AL the same lime. relraming gires usimmense power, as changing our perception ofreality is a way of changing reality slightly.

I'm going to finish these psycho-philoso-phical considerations now, at the dskofchangingthe purpose of this work, which is in danger ofbecoming a book about self-improvement ra-ther than mentalism. And I'll end by Ieaving thereaaler to reflect on the following thought:

The ptLrpose of magicis to change the magician

II

iI

I

i

I

I

I

And what if it doesn't work?

It emerged from discussions that I had withLudo while preparing the new edition of thisbook that we both thought that it would be inte-resting to address this question.

From the outset, though, I would like tostress that the risks are very alifferent dependingon whether you're a mentalist or a magician.The issue of an experiment failing is much lessproblemaLic in mentalism tlan it is in magic.

Mentalists can even make their predictionsor divinations vague in order to ensure that theyare more credible (even though it is possible to becompletely accurate)

- in mentalism, mistakes

cease to be obstacles and instead become risksthat support and strengtlen t}le rest of a perfor-mance.

The greatest performers have alwaysworked in this way, from Joseph Dunninger toUri Gel]er.

69-

The complete or patial failure of RealTelepGtfty is something that I've neverbeen over-ly concerned by. Of course, $'hen I get ready toper{orm the effect, I'm aware that it has its risksand that how deeply it affects spectatorc wil]vary somewhat. Once again, this is somethingthat I accept completely r,hen I suggest that it'san experiment rather than a trick. "What's thedifference?" some people rvill respond. I believethat the fundamental difference lies in the ef-fect's completely disarming purity. I'm inclinedto believe that rvhen we use impression padsor other gimmicled acces5ories (however inge-nious these devices may be), there's something'impure' about them that subconsciously arousesspectators' suspicions. The question will be:"How and when did he get hold of the informa-tion?"

This brings me to a broader (and also moreradical) thought about magic and mentalism.It seems to me that in a Iot of cases, specta-tors (who are often much less 'stupid' than weimagine) know rvhat's going on during a trick oran expedment. They knorv that we're control-ling their card, they knowthat the choice that wegive them isn't as fair as it appears, they knowthat a padicular item must have beell switched,they know tiat the magician's assistant t$,istsand bends her body around inside thc box andso o11. What they do['t tnolv is how or when that

happens. I realise that I'm labourirg this pointand am in danger of becoming tiresome, butunfortunately magic can very often be summedup by this question: how and when?

ReaI TelepathA turns this question insideout: 'how' and'when' no longer exist becausenothing happens.,, In an ideal scenario, theexperiment appears to be a pure moment ofcommunion.

As stated earlier, even in the worst case,at least one of your three statements will piqueyour spectatom' interest to a significant degree.There are also very few tangible features thatspectatoN can latch on to in order to come upwith a rational explanation.

As you will have realised, I'm not a fan ofbeing absolutely correct in mentalism, althoughI appreciate that not everyone agrees with this.

So, ifyou don't want to do effects in whichyou're not in control of every element, or ifyou'd like to pefibrm Real Telepctfty withouttaking any risks at all, all you have to do is what Iadvised against earlier on in this section: use animpression pad.

A numbel of pads are commelciallyavailable to magicians and you can even make

71

one youEelf usingjust a notepad and some car-bon paper,

Ask the spectator to drai{ the picture inyour notepad, tear the sheet offand hide it in herpocket.

Once you've given your reading, if anyfeatures don't hit, just take the pad back, obtainthe information and reveal it.

As I mentioned, though, I'm not a fan ofusing impression pads in mentalism. As TedKarmilovich said, "Less is more" in mentalism,in other words, small mistakes and imperfec-tions are more perplexing than a divination orprediIlion lhaL s completely accuraLe...

By way of conclusion

As I've already highlighted several timesthroughout this modest work, it was bywatchingperformances by people who claim to be psychicthat I was able to formulate a theoretical basisfor the ideas developed ir ReoI l'elepathA.

I would now like to talk about a demons-tmtion that was conducted on live television by apsychic during a discussion about the topic. As isoftenthe case, passions had started running highon both sides, for and against. At this point, thepsychic silenced many sceptics by per{ormingthe effect that I shall now describe. It makes useof the same ideas that have been developed inthis book, which is n'hy I mention it.

The presenter of the programme washolding an envelope, which was impossible tosee through and in u,hich a photograph had beenplaced. AII that ourfriend the psychic knew aboutthe photograph was that it depicted a buildingthat had been constructed relatively recently andthat was located somewhere in France.

73

The purpose of the experiment, of course,was to divine what was in the envelope. Here isthe descdption offered by the psychic:

"I sense that both modern and classicalstyles were explored when this building wasconstructed. There's water flowing near it. I canalso see red and blue colours at the top of thisbuilding. I can see an upside-dowa 'U' shape. Ican also sense a lot ofclearness and light aroundand inside it, I can sense a lot of movement andactivity in this area, too."

It emerged that the building shown in thephotograph was the headquarters of TF1 on thebanks of the Seine. All the guests on the showthat evening were blown away!

And yet... I had a bit of fun reframing thedescription using a whole host of modern buil-dings

- 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 andblue colours ate often on top of a wide rangeof buildings (think about the French flag). Theupside-donl 'U' shape will fit any arch or curve.As for the 'clearness', many modern buildingsare constructed using huge quantities of glass

and other materials that let light through. Thelist goes on.,.

Once again, then, we have a formula that,while appearing to be very precise and to fit thedetails, can be applied. to a wealth of differentthings.

When pedorming the basic effect describedin Real Telepathy, you'll notice that once yourspectators have reframed your comments to fit aparticular object, it's extremely ilifncult for themto backtrack and realise that what you said couldapply to other things.

Was our friend the psychic aware of this?Or was he actually so convinced of his ownpower that he was able to create a cold readingthat could fit any modern buililing without reali-sing it? No-one knows!

Voild -

we've reached the end of this greatjoumey to the centre of a miracle mental effect.As with a lot of miracles, the explanation for itis very simple, but it's the details that you addaround it that make it a real miracle. I since-rely believe that the principles outlined herecan be u"ed to creale killer etfecls. opening newavenues for mentalists seeking purity in theirper{ormances.

71

Anyone who delves deep into my scdpt andthe techniques described throughout this bookwill understand that a pafticular colception ofmentalism lies hidden behind the text. I believethat these approaches are worthy ofstudy.

One Iast comment: contrary to what somepeople may believe, this publication is not anattempt to demystify telepathy...

It only remains for me to wish you as muchsuccess 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

Semantics

From a theoretical perspective, the fielclof semantics covers eveq.thing in a languagcthat is related to meaning, both in terms of thcmeanings expressed by grammatical structures(morphologr, s],ntax) and the lexicon. Words,though, are the primaryunit ofmeaning. Forthisreason, semantics remains firm1y rooted in lexi-cology. Ferdinand de Saussure (Cours de lingur.s-tique gdndrale, 1916) formulated the principlcof the arbitrary nature of the sign. His findingscan be summarised as follows: there is a dircctlink between, on the one hand, the referent (thcobject referredto) and the signified (e.g. betwcena particular table and the concept 'table') antl,on the other hand, between the signified and thcsignifier (e.g. the concept 'table' and the phonctic form /terbl/), but there is only an indircr:t lin libetween the signifier and the referent.

O Hachette Livrc. l99li

HTAI '53[ERT

TETEPAIHYIF TELEPATHY EXISTED,

THIS IS WHAT IT WOULD LOOK LIKE!

BeaL rcLeparHr i,s one of the purest draulng dlvrnatlonsLn nentaLi"so. Fn unde.!round pLrbLicatLon ulth a v0rU s0aLLLnLtiaL prlnt run, it uas knoon to onLU a seLecr fe! forrf Uou uant to pe.foro an experLljlent'rn thought transnLssLon,Leave spectators thankLng that !o!'ve read their nLnds,o. add an Lnprofiptu hentaLLsri effect to Uour .pertoLreone that gou can do anuuhere and at anu tine !hi.s is

Jean-Jaceues sanvert

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o6ra,d lakner !I

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r{P-r en,r"l9 uv'EDrno srsstr-978-r-95366605,