Eva Carrière

[6] A newspaper article in 1906 revealed that an Arab coachman known as Areski, who had previously worked at the villa, had been hired to play the part of Bien Boa and that the entire thing was a hoax.

Photos taken during the séances show Carrière in the nude emerging from her cabinet and others revealing fake ectoplasm strings hanging from her breasts.

[16] According to historian Ruth Brandon, Juliette Bisson and Carrière were in a sexual relationship, and they worked in collaboration with each other to fake the ectoplasm and eroticize their male audience.

[18] Ruth Brandon wrote that Carrière produced some of her effects by regurgitation, hiding her ectoplasm in the séance cabinet and using her secret accomplice Bisson.

[17] According to Harry Price, the photographs of her ectoplasm taken with Schrenck-Notzing looked artificial and two-dimensional, made from cardboard and newspaper portraits, and that there were no scientific controls, as both her hands were free.

[19] In 1954, Donald West wrote that Carrière's ectoplasm was made of cut-out paper faces from magazines and newspapers, on which fold marks could sometimes be seen from the photographs.

A photograph of Carrière taken from the back of the ectoplasm face revealed it was made from a magazine cut out, complete with the letters "Le Miro".

[17]Carrière used cut out faces of Woodrow Wilson, King Ferdinand of Bulgaria, French president Raymond Poincaré, and actress Mona Delza.

[23] Lambert had studied Gustav Geley's files on Eva Carrière and discovered photographs taken by her companion Juliette Bisson depicting fraudulent ectoplasm.

Eugéne Osty, the director of the Institute, and members Jean Meyer, Albert von Schrenck-Notzing and Charles Richet all knew about the fraudulent photographs, but were firm believers in spirituality phenomena, so demanded the scandal be kept secret.