NEW Paul Brook - Photobomb (smgfreetrick.blogspot.com)

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Copyright © Paul Brook
Published April 2020

No portion of this book or illustrations may be reproduced in
any manner without written permission of the copyright owner.

Inner Truth Productions Limited
Highbrook House | Strath | Watten | Caithness | KW1 5UQ | Scotland

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Page 6
Contents Page 13
Page 20
Introduction: Paul Brook Page 23
Page 24
The Effect
Methodology
Additional Thoughts
Final Thoughts
Citations and References

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Introduction

By Paul Brook

The one-ahead 1,2,3,4 principle (wait, don’t get ahead of me here) is a
principle that is often overlooked as ‘obvious’ to the mentalist. Mainly
because it is a mentalism method that is taught as part of magic trick
sets and is somewhat known to the public.
Like any piece of mentalism subterfuge, the strength really lies in the
performance and the framing of what is occurring. With the correct
combination the one-ahead principle is apt enough to fool even a
learned mentalist, and has done!
Think back to the first time you encountered the one-ahead principle,
and remember how fooled you were by it. For me it was when I was a
teenager and on holiday an older teen incorporated it into a card trick,
utterly fooling me along with all the adults watching; apart from the
grandad who has imparted the arcane information to him.
It was only looking back at that memory many years later and after my
induction into the world of mentalism that I realised what had happened
and how obvious it seemed.
So remember a time that you were fooled using the one-ahead principle
and reconnect with the power that it has. Don’t allow your methodological
mind to see it as something easy to spot and understand.
It is this thinking that stops people from also using a secret writer in their
mentalism, but like the swami or boon, while it seems simple, you have
to practice to perfection for optimal results.
However, the power of using an underused method is, of course, that
fewer people are performing with it and you can bring something novel
and interesting when you entertain.

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For many years I have been using the one-ahead principle as part of an
effect called ‘The Copenhagen Cover-Up’ 5 which I finally released in
2018. Those who have come to love the effect see that it is more than a
method; it is a way to present the method in an engaging, fun and
enjoyable way.
Good entertainment should strive to engage people into the narrative
and take them away from their lives and give them something special
upon their return.
You will see with ‘Photobomb’ a presentation that is all of the above,
but equally modern, relevant and more importantly, able to be performed
at a distance.
While the global pandemic of Coronavirus has meant that we have to
keep social distancing in mind, this effect is able to be performed
remotely.
Also, as the world returns to normal and we can once again perform at
events, it is likely to be a phased return without physical contact; this
effect can also be used in this situation too. When everything returns
back to normal you will have an effect that you’ve been performing
regularly that you can instantly use.
For those not looking to perform virtual shows, this is a lovely way to
connect with your family, friends and relatives over video chat that may
not have seen you for a while.

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The Effect

The performer is on a video call with a participant.

Performer: “There was a time when being able to see people
across the world in real time would have seemed like
sorcery.

Even now it’s amazing that we can see each other and
talk as though we are stood right next to each other.

We are able to do it not using some massive piece of
machinery, but with a small rectangle of plastic and
metal that fits in our pocket.

If that was all it did, it would be amazing in itself;
however it does so much more. It enables us to
capture photographs in the moment of something
happening that we never want to forget.

Gone are the days of flicking through physical photo
albums to reflect on the precious moments of our lives,
now we can take out our phone and relive them and
store them in the cloud and never lose them.

It does have its downsides though. It enables others to
instantly capture memories too. Like when you are very
drunk and wearing a traffic cone on your head.

Would you mind opening your photo album on your
phone and showing it to the camera.”

The participant shows their photos album to the camera.

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Performer: “That’s great thank you. So the last photo you took was of
your cat. What made you take that photo? Did you put
that on social media, or was it just for your own
keepsake?”

Participant answers that she thought the cat was looking very cute
and didn’t post it on social media.

Performer: “Probably most of your photo album never makes it
onto social media, because we curate what we post for
others to see.

Can you think of a specific photo in your phone that
you would hate the world to see?”

Participant answers that she does.

Performer: “Don’t worry I won’t make you show it. I’m going to guess
at what that image is. But as I’m not going to ask you
show it, I won’t have any proof that I’m correct, so will
completely be relying on your honesty.

Do you promise that you will be honest?”

The participant emphatically pledges to be honest.

Performer: “Great, I appreciate that.

We may do this a second time, so I will number this
card, as number one.

I’m would like you to answer the following three questions,
without giving me any more information or clues.

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What time of day was the photograph taken?”

Participant answers that it was taken at lunchtime.

Performer: “How many people are with you in the photograph?”

Participant answers saying three people.

Performer: “If I asked you to choose just one colour that stands out
in the photograph what would it be?”

Participant responds with the colour green.

The performer raises a business card and begins to write
something on the blank side. A few moments pass.

Performer: “I’ve taken an educated guess at what I think your
embarrassing photo would have been.

Now, you said you would be honest, what was the
photograph you were thinking of?”

The participants explains that the embarrassing photograph is one
where she went out with her friends for a very high society style
luncheon and accidentally spilt tea all down her brand new dress
she had purchased for the occasion.

As the participant is explaining the photograph the performer is
smiling and nodding with excitement.

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Performer: “I’m very excited and can’t wait to show you what I’ve
written.

First, am I correct in saying this has never been posted
to social media?”

Participant answers that is correct.

Performer: “You know on social media you have those challenges
where you post the photo at a certain number, like “post
your third photo, no explanation”?

Would you post that embarrassing photo, or secretly
use another one and pretend it’s the third?”

Participant is mortified by that idea and says they would secretly
select another photo to post.

Performer: “Well, let’s try this again then but with a random photo
from your album.

So we don’t get confused, I’m going to number this as
prediction number two.”

The performer picks up the blank business card and writes the
number two on onto it.

Performer: “So let’s create a random number first.

Think of any two digit number, add the two digits
together and that that number away from the original
number.

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If you’ve got a single number great, if you have a double
number add the two digits together again so we don’t have
to take forever counting to your photos.”

Participant answers that they are thinking of a single digit number.

Performer: “You’vecometothatnumberrandomly, fromnumbersonly
in your mind and there is nobody in this world that
knows that number other than you.

Open up your photo gallery, count along to photo at the
number you are secretly thinking of and keep that
photo in mind, don’t showanyone.

I am going to ask you the same three questions as
before, only give me the answer itself without any
clues.”

Performer: “What time of day was the photograph taken?”

Participant answers that it was taken about six in the evening.

Performer: “How many people are with you in the photograph?”

Participant says just her.

Performer: “If I asked you to choose just one colour that stands out
in the photograph what would it be?”

Participant responds with the colour purple.

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Performer: “Thank you.
This will be card number two.”

The performer begins to scribble some thoughts on the blanks side
of the business card labelled number two.

Performer: “I’m really not sure with this one, but I’ve taken my best
guess, but it may not be a hundred percent correct.

What was the random photograph you were thinking of?”

The participant says that it is a photo of her in her pyjamas relaxing
on the sofa. As she is saying this the performer is making a slightly
strained face, but a positive one.

Performer: “I was super close and I hope you can be kind enough
to say I was correct.

As we are talking about it, we might as well reveal the
second one.

I didn’t get the sofa part…”

The performer turns around card number two and it reads, “Chilling
out in purple pyjamas”.

As soon as the participant sees this they react strongly.

Performer: “That’s very kind of you, especially as I didn’t fully nail it,
like I expect of myself.

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It’s card number one that has me excited. You said your
most embarrassing photo was having tea spilt down
your new dress.
There was no way for me to know that, but…”

The performer turns around card number one and it read “Spilling
tea down posh dress”.
The participant goes wild and cannot believe what she has just
experienced.

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Methodology

The use of photographs is a great hook for a mentalism effect. While the
script as presented is a more ‘bare bones’ direct approach, there is plenty of
scope to interact with the participant and find out more about them and
what they wish to tell you about the memories evoked by their
photograph.

Sharing photographs is usually quite a private and intimate matter,
allowing for the participant to build a stronger rapport with the performer.
Care must be taken when commenting on people’s personal lives as,
while a joke may be easy to make, if the person seems a little vulnerable
it is better to err on the side of caution.

Right, onto the methodology. Three things are essentially happening
within this effect. The first is that there is a secret (yet very open) peek of
the person’s photo album, the second is a force and the third is the one-
ahead principle.

When you ask the participant to open their photo album and show it you,
you secretly make a mental note of whatever photograph is in the ninth
position. This is done under the pretence of commenting on the very last
photo the person has taken.

Once the person is showing the album to you take as long as you need
to mentally count to the ninth photograph. It is common to count from left
to right, then begin the next line down when you get to the end of the
row. Depending on the phone type and operating system, there could be
three photos in the row, while others may have six per row. Either way,
you will have ample time to attain the required information.

Oh, and when you get to the part where the participant is counting to the
photograph, you can always clarify the number system in an example if
you feel it is needed.

Now that you know the photograph you will need to force the participant
to think of the number nine, while still feeling it is a completely free
choice. This is covered by a simple mathematical procedure that will
always (providing it is done correctly) result in the person thinking of the
number nine.

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This number nine force can seem obvious to the knowing mentalist, but
to the layperson it can be devastating. This is mainly due to the free
choice given in selecting the two digit number.
I’ve repeatedly tried to find the origin of this number nine force, quite
extensively. As it is a principle of mathematics first and, therefore, a
longstanding one, it is somewhat of a challenge. However, what I think I
have found is the first documented use of the force, which I believe to be
published first by L. Vosburgh Lyons.6,7 While this is the first documented
publication of the principle in relation to magic and mentalism, I would
doubt it would be the first instance of the application.

For those who are unfamiliar with this force, give it a go:

1. Think of any two digit number.

2. Add both digits together.

3. Take that total away from the original two digit number you thought of.

4. If you are thinking of a two digit number add both of those together,
if you are thinking of a single digit then stick with it.

If you did that correctly, you will be thinking of the number nine.
I’ve used this mathematical construct in a numerous effects over my time as a
mentalist, in both published and unpublished effects. It has been so
extensively used by me because it works well if given the correct
camouflage.

As a side note, I had an online virtual mind reader version of this
principle on my website for a number of years and it generated a great
deal of business.

Unlike many moments where mathematical magic is used most people
assume you can somehow backtrack your way to the original answer.
This is especially true when the participant has to subtract their originally
thought of number, making their choice no longer part of the process.

With this process there is none of that, and the person generates a new
random number completely based on the actual number they thought of.

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Because of this, I will normally as the person to think of a second two
digit number and finally settle on the number wanted, before taking them
through the randomising process. This adds a very strong feeling of
freedom that you won’t even need to mention, yet doesn’t divert away
from the process.

The waters are further muddied here as there appears to be no way that
you could know what the ninth photograph is on the participant’s phone.
At the point when you learn that information you are at the very start of
the routine and it appears you are only looking at the last photo taken.
This mathematical force of the number nine is at the end of the routine,
giving ample time misdirection.

Knowing the ninth photo and knowing you will force that later, you will
now as the participant to think of an embarrassing photo, one that was
never shared on social media and that you won’t make share during the
performance either.

After asking your three very basic questions you will pick up a card and
write down whatever you saw when you peeked at the ninth photograph.
This is because you will be writing the cards out of order using the one-
ahead principle. There is also a miss numbering element that I will
explain shortly.

If you look back at the scripting you will see that there was a big deal
about the participant needing to be honest with the performer and
agreeing to be. This is an exceptionally strong addition to any one-ahead
effect that bypasses what can be a sticky and difficult moment; that of
the participant not wanting to give you the information you require.

For many years I struggled with this element of certain one-ahead
effects. People would not want to tell me what they were thinking of until
I showed them what was written. It was usually accompanied with the
phrase, “…aren’t you the mind reader, you tell me!”

After a somewhat embarrassing exchange at an event that ended with a
verbal tug of war, I decided I needed to create a workaround.

This is done by creating an internal conflict for the person. The person is
the only person who can control if they tell you or not, and therefore, the
only person who can stop you. Therefore, you need to actually influence
the person you are working with into an internal conflict where they force
themselves to tell you.

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You explain that you will need the participant to be completely honest
shortly as there will be no proof other than in their mind. I’ve never had
anyone not agree to be honest, who doesn’t want to feel they are
dishonest. Notice how I also reinforce the idea that only the person can
know what is being thought of.

Once you have written down what the ninth photograph is on your
business card (sight unseen), you will ask the person to describe their
embarrassing photograph. This is then followed up with the phrase, “And
you said you’d be honest!”

That is all you need to say and just wait for them to tell you. The person
agreed to be honest. However, you are using that agreement to produce
an honesty response immediately.

When they describe the photograph, you need to look amazed like what
you are hearing matches with your prediction. Then say you are excited
to show them in a moment. This removes the need for the person to
request seeing what is written immediately as you have addressed the
issue already.

Here comes the fun part, you ask if this embarrassing photo has ever
been posted to social media, even as part of social media challenges
such as “Post your third photo, no explanation allowed.” This brings in the
notion of using a random photograph in the context of the embarrassing
photo.

Now you explain that you should try this again, but with a random photo
from the participant’s photo album. A random number is thought of and
the mathematical procedure followed until there is just a single number.
Reducing down to a single digit is done under the pretence of not having
to count through the participant’s photos for a long time.

Once the participant is focusing on the ninth photograph you will ask the
same three basic questions about the photograph and write down the
embarrassing photo description onto a business card; without the
participant seeing.

Those who have followed my work on the one-ahead methodology will
know that I simply like to hold both cards from start to finish and then
separate them and use gestures to imply which card is which, as per my
effect ‘The Copenhagen Cover-Up’. However, if you want to be
additionally fooling, you can use a little miss numbering technique.

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One of the reason I dislike effects where numbering the reverse of the
cards is part of the procedure is that it often requires an unnatural
displacement of the cards, or some form of double lift where both cards
are together in order to write the numbers out of sequence. Often the
business cards must be kept together in a strange way to conceal the
disorder from the audience.
All of this can make the process seem strange or unusual in some way,
as I mentioned, I prefer to pick up the cards, separating them one in
each hand and just gesticulate as I recap on the events before I reveal
the information. When I talk about the memory card, then I shake that
card and vice versa.
However, if you are so inclined to number the cards, this little way of
mine may tickle your fancy. When you pick up the first blank business
card you explain you may do this twice and write the number one in the
top left hand corner of the side you will write on. Let me re-state for
clarity, it is on the side you will write your prediction on.

Image 1: Drawing the single tally in a circle, leaving space for the second
tally

It will also be in a very specific way. You will draw a single downward,
just a like a tally mark and place a circle around it. Make the circle big
enough to add a second tally mark, which you will do shortly. You show
the participant the number one and then turn the card around to write on

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it.

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Now when you write down the description of the ninth photograph you
have peeked you also add another single tally mark next to the first and
place the card writing side down on a table, into your outer breast pocket
or someplace else still visible to the audience.

Image 2: Prediction written before adding the second tally
mark

Image 3: The second tally mark is added next to the first

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When you write the next prediction, you will pick up the card and draw a
single tally mark and circle it as you reference that this is prediction
number two. Follow this by writing your prediction and placing it with the
first business card.
After talking for a short while you can now pick up these cards, separate
them and when you reveal the information there will be a single tally
mark on the description of the embarrassing photo and double tally mark
on the description of the random photo.
The marking on the prediction side allows you to be free of the strange
and unusual moves often associated with numbering predictions out of
sequence. I personally feel like this is gilding the lily, but sometimes,
when the person you have selected to help you is a bit of a smart ass,
you need to put in another logical disconnect.

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Additional Thoughts

You will find some additional thoughts below that can take the effect in
different directions. I have also decided to hide one of my favourite ways
to force the number nine on people that isn’t using the number nine force.
But I thought I would hide it here instead of presenting it in the main text
body as a little ‘Easter Egg’ for those who don’t just skim read the main
effect.

What to Write

What to write on the prediction? This all depends on how you would
normally word things of course. The one thing to bear in mind is that
you want to keep the writing on both predictions roughly the same
length.
If on one card you only write three words and on the other card write a
small sentence, this discrepancy may be perceived, laying waste to
your one-ahead method.
It may be that you stick to three key words for each prediction and
that way you won’t be too far off regarding writing times.

Going Virtual

For those performing shows virtually using a video streaming platform,
you may have the ability to secretly write down information out of view of
the camera. Equally, you may have a secret assistant who is listening
and able to write down information for you off screen and bring it into
play.

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This allows for a whole bunch of shenanigans to take place where your
assistant can you clearly number the cards only to ditch them for miss
numbered predictions your assistant (or yourself) have written off screen.

Photo Promotion

If it suits your promotional style, you can ask the participant to post their
embarrassing photo online and tag you in it along with a summary of
their thoughts about your show.
Naturally, the participant may be shy to post their embarrassing photo on
social media. Instead you can ask them to post the ninth photo instead
along with a nice review and social media link.
For those who already do this form of promotion, you will already know
how you will be able to tie in your existing promotion to the social media
nature of this effect.

Using Your Own Photo

Since the number force is quite fooling and the participant does not think
you could possibly know their number, you have the option to use your
own photograph.
This does detract a little from the effect as written, as it removes and
additional (and I think very strong) moment of deception. So why would
you bother to contemplate this?
Well you may be able to force a specific scene in the photograph you are
using, and then force an object in that photograph. There is also the
potential to link this to another one of your existing effects thematically
by forcing the

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photograph, or to simply include the effect as part of a larger overall
prediction.

ack to Front

Ah, now it’s time to talk about the alternative to the number nine force
that I like to use. It uses Banacheck’s ‘Number Reversal’ 8 which allows
the person to think of any three digit number.

With just one deceptive step the person will now have a random three
digit number in mind. Tell them it will take ages to count to that number,
so they should just focus on whatever the middle number is and count to
that number. If the person is thinking of a two digit number tell them to
think of any of the two digits.

As with the number nine force, the power here is that all of the
calculations are based on what the person chooses and the performer
never interjects their own set of numbers. That’s not to say that the use of
performer presented numbers can’t work, it just adds another layer of
deception within this effect.

There is another little ploy you can use here that will work most of the
time, but when it doesn’t it can look a little fishy. I shall share it so that you
can play around with it and decide for yourself.

After the process of Number Reversal you ask the person is which of the
three digits he wants to focus on. There will be a strong pull for the
middle number and if that is chosen, the person has not only created a
random number, but selected which photo he will count to. This is
exceptionally strong and should be restated to the participant to greatly
improve the impossibility.

If the participant says the first number, then you will casually say to add
it third number, and vice versa if the third number is selected. The
downside here is that the total will be nine, which is also the unselected
middle number.
Worth the risk? I’ll let you decide.

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Final Thoughts

The beauty of ’Photobomb’ is that it takes the usually weaker, I should
say more easily compromised, prediction of the one-ahead principle and
makes both predictions just as impactful.
When creating ’Photobomb’ I spent a great deal of time constructing
the correct framework for the effect that allows for the open peek of the
ninth photo very early on in the routine.
The time misdirection this affords, along with the focus firmly placed on
the last photo that the participant took, nullifies the moment. Making the
revelation of the ninth photo as impressive as the unrestricted choice.
I know the real life power of the number nine force and like to integrate it
into routines in deceptive ways that tie into the effect thematically. I find
that the tie-in within ’Photobomb’ not only works, but creates more
engagement and interaction.
Just remember that you will not just be dealing with photographs, but the
memories that those photographs represent. Be kind with these links to
the past that people share with you.
Also, people will want to tell you more, let them, and be sure to listen to
them. Now get out there and get into some photographs!

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Citations and References

1 – Ozanam, Jacques. (1723). [Récréations mathématiques et physiques]
2 – Abbott, David. (1912). [Behind the Scenes with the Mediums]
3 – Ovette, Joseph. (1924). [Practical Telepathy]
4 – Tarbell, Harlan. (1928). [Tarbell Course, A Modern Crystal Gazing Act]
5 – Brook, Paul. (2018). [The Copenhagen Cover-Up]
6 – Lyons, L. Vosburgh. (1944). [The Phoenix, Issue 36, Nine] p.217
7 –Lyons, L. Vosburgh. (1945). [Miracles in Mentalism and

Psychic Experimentation, Number Force] p.21
8 – Banachek. (1998). [Psychological Subtleties, Reversal] p. 45

Graphics by Paul Brook
Editing and proofreading by Paul Brook and Jennifer Brook

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