Bill Cushman - Trybil - The Multi-Bob Book

BY DR. BILL

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6/17/10 Trybil : AKA The Multi-Bob Book is dedicated to the “Companionage Community” of mentalists and magicians who put together and contributed to the amazing ebook fundraiser on the behalf of myself and my family. Without you, and of course those who responded by purchasing Companionage and/or Companionage and/or making a donation, it is unlikely u nlikely Trybil would have ever seen completion. Linda, Joni and I thank you all and want to take this opportunity to let you know how important and meaningful your support was to us during a very difficult time in our lives.





































FOREWORD BY TONY RAZZANO Dr. Bill is a good friend of mine, despite never having met in person. Certainly such relationships are a product of the times within which we live and the tremendous impact of the Internet. I first heard of Bill not long after I bought an original Zingg wallet. In a subsequent book of routines put out by Allen Zingg, Bill contributed an effect that is so good and fit fi t my performance requirements and philosophy so perfectly it became the only routine I used with the wallet from then on. That’s when I first saw the brilliance of Bill Cushman, and I have been a fan ever since. Our friendship grew and continues to do so through phone calls and emails. When Bill first mentioned that he was writing a book about Multi-Bob pendulums, I was very interested. The pendulum is i s a tool which I use frequently in my mentalism appearances. Everything from f rom cabaret to close up to house parties. They are received exceptionally well at house parties! I also use pendulums pendulum s in my private and group readings. There are some very well known mentalists who use them one on one with great success. The pendulum is a wonderful tool. I always liked the idea i dea of Multi-Bob pendulums as they abound with possibilities, especially in cabaret and close up settings. The problem that I had was that there were no Multi-Bob pendulums, save one and that was Viking’s Burmese Bells. They did exactly what the ad said they th ey did, but were attached to a terrible acrylic plastic rod that screamed “magic trick” as loud as it metaphorically can be screamed. Not being handy about making making things, I abandoned the the idea of using a Multi-Bob. Then along came Dr. Bill and Rich Hennessey. Problem solved. You have that solution before you now. Rich Hennessey has a great site called Mentalcraft (mentalcraft.com mentalcraft.com)), from which you can buy some beautiful pendulums, now





































store. The method is easy, and while the result may not be of the caliber of Rich’s own “objects de arte”, these Multi-Bobs are attractive and a nd have their own advantages. For example, later you will read about leading workshops for the public on using pendulums. A popular exercise at these workshops is the creation of their own pendulum by the students during which a connection is forged between the two. The same “bonding” process will obviously occur with Rich’s homemade Multi-Bob. Everything else you need to know about handling the Multi-Bob is right here in Trybil . In his typically clear cle ar and entertaining manner Dr. Bill teaches you how to properly properly hold the Multi-Bob. He explains how to first learn to master stillness and why this is i s so important. Next are the secrets of evoking all the different motions and combinations of motions possible with the Multi-Bob. Dr. Bill will explain, sharing some unique insights, the all important methods of assessing potential participant’s partici pant’s responsiveness that you will be able to apply to any kind of performance. This is priceless information. Then the routines! Dr. Bill has some very creative, talented and generous friends who share their routines alongside Bill’s Bill ’s own preferred presentations. These are excellent items from the repertoire’s of working pros, most of whom you know. Even more gold is there for the taking by those who look beyond the routines into the philosophy, history and psychology provided throughout Trybil . Dr. Bill provides, “The History of the Pendulum in Three Easy Movements,” a wonderful piece you can perform as is or use as a solid foundation on which to build your own routine. In any case, be sure to “mine” the routine for all the nuggets within. There are so many choices! My first thought was to use the Multi-Bob in a séance setting with the sitter(s) holding the pendulum and having its movements manifest in a manner m anner that they call upon the spirits to produce. You may perform the many contributions in this thi s book as written, but I predict they will also serve as a springboard to stimulate your own creativity. You know the old cliché the possibilities are endless? Well here here it is not a cliché.





































Trybil ends ends with a superb section courtesy of Jerome Finley. Those of you familiar with his work will not be surprised at Jerome’s high level thought processes on refining pendulum work alongside the language l anguage and objectives of hypnosis. You have a real gem before bef ore you. I am honored to be a part of Trybil . Tony Razzano May, 2010





































TABLE OF CONTENTS Dedication

2

Foreword

3

Introduction

9

Rich Hennessey Making Your Own Multi-Bob

18

Dr. Bill Tea For 3

21

Coming To Grips

24

Stillness

26

Motion

30

Gauging Responsiveness

35

THE MULTI-BOB MOVEMENTS Jerome Finley A Few Brief Notes

39

John Riggs From A Slender Cord, Swinging

40

Stage Right, Enter From The Shower

41

Gerard Charmed Dr. Todd Landman

43







































Ron Martin A Brief Note On Ron Martin's Multi-Bob Routine

52

Dr. Bill The History Of Pendulums In Three Movements

53

Mental Workout

57

The Multi-Bob Hummer

60

Mauricio Jaramillo The Dead Test

64

Onstage Multibobber

66

Bobbing For ESP

70

Michael Weber A Branch From The Tree Of Knowledge

72

Pull My Swinger

74

Greg Arce Digit Swing

78

Invisible Swing

79

Pendulum Line Up

80





































SWINGING SOLO: EFFECTS WITH A SINGLE PENDULUM Docc Hilford Dead Or Alive

91

Brad Henderson The Everlasting Pendulum Trick

96

Kenton Knepper Sealed Pendulum

100

Dr. Bill The Bill And The Pendulum

104

Faucon of Sakin’el Pendulum Adept, Part II

108

Tony Razzano The Pendulum Party

110

Keith Barry Dochreidthe

113

Jerome Finley My Pendulum Routine

116





































INTRODUCTION I know there are lots of theories about enhancing imagination im agination and stimulating “aha” moments but I’ve never found them to work for me. Right now I have Lou Reed playing in the background instead of Mozart or Bach like I’m “supposed” to listen to when trying to t o increase my creativity. And I seem to remember reading somewhere that Stephen King listens list ens to heavy metal when he writes. I look at what I see as my most illuminating experiences when creating mentalism; at those effects or methods that I immediately knew were on track, unique, useful and had h ad powerful entertainment potential. Inevitably, these are the creations that have resonated with the mentalism and magic community and gone on to find places in the repertoires of many performers. And inevitably went on to stimulate their own creativity as th ey made them their own. Of course my ideas were influenced by the inventiveness in ventiveness of those before me as well as my contemporaries. I believe there is a progressive path of creativity with no end in sight si ght so long as we refuse to settle for less. There are those gestalt moments, as they’ve been referred to, where an idea materializes seemingly out of nowhere. I like to refer to these inspirations as appearing “whole cloth,” presentation and method arriving together, wrapped in a pretty package. I joyfully experience these instances as if I’m listening to someone else tell me a story. It is receiving a gift and as much evidence as I need to





































So where does the Multi-Bob fit in? It arrived via the disposal of an old rod that held our paper towels. The screw that attached atta ched it to the base of the contraption had become stripped and it just ju st seemed easier to toss the whole thing. I salvaged the rod just before it hit the garbage can and fifteen minutes, three pieces of yarn and three nuts later, l ater, I held my first Multi-Bob prototype. Of course I knew right away that I hadn’t h adn’t come up with a new idea. But I also knew that an old idea had occurred to me with a sudden clarity as the result of a rather neutral stimulus. And that it fit very well into the Zeitgeist of the current mentalism renaissance and would meet the criteria and impact described above. a bove. Not quite a gestalt or aha moment, ultimately ultim ately the nature of its development fell somewhere in between. I immediately knew that the Multi-Bob pendulum pendul um deserved a greater presence in the mentalism community. I believe this of all pendulums and I’m far from alone. al one. For many years several expert performers have said, or used words to the effect, “The pendulum is i s among the most underutilized instruments in the mentalist’s repertoire.” I have loved pendulums since I was about ten years old and began to experiment with the one that came with the Kreskin K reskin board game. It was a tacky plastic contraption, contraption, its size way out of proportion proportion to its purpose. You can see the game and pendulum here:





































But the coolest feature, especially to an impressionable im pressionable ten year old kid in love with all things magical, m agical, was that it actually worked! The Kreskin pendulum really moved when and where I mentally told it to! I had that pendulum for over 35 years and only in the t he last few have I come to fully full y appreciate what a powerful role it played in i n forming my own views of both mentalism and the human mind. Next there was a quartz pendulum bought at a new age store. I carried this thi s with me for years, never tiring of experiencing its impact i mpact on others, particularly when held in their own hand. Though I didn’t know it right from the beginning, this pendulum was refining my techniques of suggestion as well as teaching me to identify i dentify those most responsive to its use. Then two years ago I came to know Rich Hennessey and his artful line of pendulums. Befriended over the Internet, as I hope many reading this have or will be, Rich introduced i ntroduced me to a wide range of pendulums, eventually culminating in what is i s now a longstanding relationship with The Celt as I like to call it (Actually The Neolithic Neoli thic Component Pendulum – Stone): http://www.mentalcraft.com/index.php?page=shop.product_details&flypage=flypage.tpl&produ ct_id=17&category_id=6&option=com_virtuemart&Itemid=4 Which brings us right back to the Multi-Bob. Even more important than a long standing relationship with an ancient stone cutting tool suspended from an elegant chain, is my relationship with Rich. We have kept up a lively correspondence about many things, not all mental or magical. Rich has been a great source of inspiration during difficult times.







































The Three Legged Alligator

The Five Chinese Bobs





































MINI-BOB As Rich and I brainstormed various options to improve the Multi-Bob, I asked if there was a way to make the t he individual chains and pendulums removable.





































As I suspect won’t surprise you by now, n ow, a few days after this brainstorming session Rich sent me a photo of a Multi-Bob prototype with detachable pendulums! He ingeniously applied the magnetic magneti c system he already uses with some of his individual in dividual pendulums, most notably in concert with the Haunted Key. The result of Rich’s creative solution can be seen here.





































Also, there is at least one other rod with multiple pendulums on the market that I’m aware of (see Viking Magic’s “Burmese Bells” that Tony referred to in the foreword). Comparing this with Rich’s work demonstrates the vast distance in style that is congruent with my aims in writing this book and including the particular routines I have chosen. Though my first prototype was nothing to write home about, elegance el egance and mystery were always what I had in mind for the t he Multi-Bob. And as you can see from the above, Rich shares the same goals. The true origins of the Multi-Bob’s entrance into the realm of the mage remain shrouded in mystery despite consulting some of the best minds in mentalism. Kenton Knepper and Tony Razzano each shared that Galileo used a version for scientific experimentation and applications appli cations so we know it has existed for a very long time. According to Tony Razzano’s research the Multi-Bob style was first mentioned in Galileo’s "Dialogues Concerning the Two Chief World Systems" and "Dialogues Concerning Two New Sciences". Sciences". Here is a quote quote from the latter that Mauricio Jaramillo sent along suggesting Galileo was aware of the impact on the observer of the Multi-Bob and wasn’t all work and no play!





































Despite my difficulties in finding other early source references in the literature of magic, the secrets se crets obviously got around even if only subsequent to Abbott’s description and endorsement. This is evident from the presence of individual routines in various books since Abbotts, some included here. One that particularly captured my imagination imaginati on is from Docc Hilford. He wrote on the Multi-Bob thread on the Café, “Mine were various Voodoo items attached to a small, black, New Orleans parasol. Each item was, of course, on a different length string strin g and each represented a different topic. A coin for money, a glass heart for f or love, there was a tiny skull, a die, an animal tooth, a rabbit's foot and most were from key chains. The subject thought of a question, questi on, concentrated on the item that revealed her topic and held hel d the parasol over her head. The odd trinkets danced around her head, until all but one stopped moving. Then, as if pushed pu shed by an unseen spirit hand, her item swung crazy! The magick man interpreted the swings to answer her unknown question.” Ingenious and what a great visual in an art that is often so bereft of props that capture the eye of the audience. Much like Docc himself!







































origins. Many pendulum aficionados afici onados felt a work addressing the Multi-Bob in detail was called for. As I described above, I have h ave always been entranced by pendulums. So I have also included effects using standard pendulums that I sought out and their creators generously contributed. Or their creators offered to contribute when they heard I was writing a book on pendulums. This part ultimately grew almost as large as the th e Multi-Bob section but I don’t think anyone will mind! Time to move on to the meat of this ebook! First are Rich Hennessy’s instructions on making up your own Multi-Bob then th en some tips on the best





































Rich Hennessey: For almost my entire life I have been interested in and fascinated by all things “Magical” By “Magical” I am not n ot just referring to entities related to the Magical Arts. For me Magical covers a much broader spectrum, including but not limited to the following: Nature; Animals; the Cosmos; Ancient cultures; Fossils, and of course the Art of Magic itself. I try to meld these t hese subjects whenever possible into my performance of Magic and Mentalism. I started my journey over two decades ago as a magic bartender, and that eventually evolved ev olved into performing tableside magic at local restaurants. th





































I believe this ebook will provide knowledge and ideas i deas from experienced pendulum users that will enable enabl e performers of all skill levels to include both single and Multi-Bob pendulums pendulum s in their performances. I do hope that you will join me on the “journey of enlightenment” regarding the “Power of the Pendulum in Performance”....especially Multi-Bob Pendulums. Now here are some simple instructions for making maki ng what I like to call:

The Office Store Pendulum





































4. I like the second longest pendulum to be about 75% as long as the longest pendulum so approximately 6 inches will work. Again go through the tying process. 5. The shortest pendulum should be 60% of the longest...so about 4 3/4 inches is fine. Again, these th ese are my own preferences. 6. Clip off any excess string as close to each knot as possible. First make certain each knot is tight and won't come undone. u ndone. You can also secure the knots with a clear drying white glue. Comments:





































TEA FOR THREE BY DR. BILL







































Use the steak knife to “saw” notches into a chopstick at appropriate distances from one another. Cut the teabag strings st rings as needed to create three different length bobs. You don’t tie the strings around the chopstick but instead tie a knot large enough at the top so that once the string is





































Tea leaves have been used for centuries as an oracle for divination. I know next to nothing about this practice. For someone who does, that and a bit of imagination could morph into a tasty presentation.





































COMING TO GRIPS At first, writing this section secti on seemed to me like it was going to be gratuitous. After all, who needs to be told how to hold the pendulum rod? Overkill,





































supersedes recent physical limitations. Here is a photo of Mauricio Jaramillo using this grip with a 5 pendulum Multi-Bob made for him by his girlfriend:





































STILLNESS Paradoxically, fine tuning your control over the pendulums movements is first gained by mastering stillness. That sounds very “Zen,” and perhaps it































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































venue you can eliminate the risk of their talking afterwards and discovering the same outcome. Just ask the participant to make one last move. If there is an object to the right of the money, have him exchange the cards as per usual and an d if not, leave everything alone. You know there is a card to the right of the money card since it is on the left. So you know it will end up in the middle and you can finish accordingly with the Multi-Bob. Another option along these lines that can also be inserted into the original presentation is to offer the participant an additional absolutely free choice. He can make one more move or stop where he is i s after the third time. This adds a greater sense of overall freedom to the proceedings. If he chooses to make one more move, m ove, proceed to instruct him to tune into the money again. It is i s a nice extra that this forms a pattern of unwanted item, desired item, unwanted item and desired item in a logical alternation. You can even say, should he choose to t o make one more move, “Since last time you tuned into an unwanted item, i tem, let’s have you tune into the money again.” Of course, end with him swapping the money if there is an object to t o its right. Again, you know there is and that th at the money is now in the middle. Or, if you know you will only be performing this once and want wan t to maintain the right, left, right pattern, you can instruct i nstruct him to make the exchange with the object on the left if possible since you know there isn’t one. Some final thoughts. You can of course use any theme you like so long as you follow the pattern of movements described above. This way it can be tailored to an event, crowd or person. You can proceed like Docc Hilford in his effect “Dead or Alive,” and peek the desired object secret via a wallet. Then after using the Multi-Bob to find the right card, end on the reveal of what was written. When doing this, and I recommend it for Docc’s effect as well, well , there is a stratagem C.L Boarde describes in his book One on One Mentalism. Mentalism. Once they have written the item or whatever down on the first card, explain that you don’t want to get it mixed up u p with other cards that are needed (and





































other cards and get the wallet out of play, peeking as appropriate to circumstances and type of wallet. Once the unwanted objects are recorded, remove the object of desire desi re from the wallet and give it to t o the participant to keep with the other two cards. From this point on proceed exactly as described above with the kicker of revealing the item written on the first fi rst card after the Multi-Bob finds it. By the way, knowing this item gives you reams of information i nformation about the participant that you can weave into your presentation if desired. But that is another book! You can also begin with a phase where the participant discovers they can use the Multi-Bob to identify their own card first. fi rst. Have the items written out as originally described then turned tu rned over in place so that he or she sh e knows the position of the desired card. Give the participant the Multi-Bob to hold h old over the three cards and instruct them to think “Move” over and over in their mind, directing di recting their thoughts to the pendulum that is above the money card. You can use the movement of your finger back and forth as described earlier to help “jump start” st art” the participant toward the desired outcome. And remember there is really no failure. failu re. If they get no movement or the wrong pendulum moves, explain that this is something that takes practice and that they will succeed su cceed in time. Then go into the initial presentation where you find the card “without knowing” its placement. If they do succeed, you still go into the original presentation. In either case, you can emphasize the need for tuning in to your helper’s thoughts given your not having any way to know where the card is via normal n ormal means since you have no way of knowing the order the cards started in. in . The holding of their hand above each card, breathing and direction for f or movement takes on the aspects of a necessary ritual. Emphasizing E mphasizing this point is even more relevant when they fail given they now know how difficult a feat you are attempting.





































Mauricio is the outcome of an international upbringing. Born to Colombian parents, he has lived in Nicaragua, Guatemala, Peru, the United States, Bangladesh and the Philippines, spending most of his life in Asia. His father was a diplomat and for f or this reason, Mauricio has been to t o over 30 countries around the world in his 28 years of life and is completely fluent in several languages. Thousands of people in several countries have been witness to his performances which are mostly based on his own personal creations. He has been experimenting with Mentalism since he was a young child and was entranced by the performances of Uri Geller. Now a full f ull time performer based in Bogotá, Colombia, Mauricio specializes in corporate events with clients including The Fox F ox Channel, Pfizer and Microsoft and is often seen performing at the private parties of local celebrities. He is also a well known leader of seminars in persuasion, motivation, memory and relaxation techniques. Mauricio frequently appears on television and radio and plans on presenting the Multi-Bob on an upcoming talk show that will take place shortly before the publication of this book! www.mauriciojaramillo.com

THE DEAD TEST BY MAURICIO JARAMILLO Effect:

A Multi-Bob witness pendulum is introduced. i ntroduced. The Mentalist explains how each of the pendulums can be opened to reveal a hollow chamber inside where liquids and other small objects may be inserted. After a brief talk about how this type of pendulum has been used to find oil, water and even missing people, the Mentalist asks a sitter to write down the name of someone close to them who has passed away, someone who brings only happy memories.





































The name is peeked via center tear, and an d then the sitter is asked to slightly burn the pieces of paper. The sitter is asked to select a pendulum, pen dulum, unscrew it and the Mentalist picks pi cks up some of the ashes, depositing them th em inside that specific chamber. This pendulum is screwed back to the chain lid and the sitter is asked to hold the th e Multi-Bob. The sitter is asked to focus on where they placed the ashes and to concentrate intently on some memories of the person being thought of, as well as the name. The selected pendulum will eerily begin to move as if to react to the sitter trying to connect with that memory. The Mentalist instructs in structs them that the pendulum will now come to a complete halt. As it does, the name is revealed. Extra Thoughts: •

•

While this follows a rather bizarre theme, the presentation can easily be changed to a happier happi er one, with the name being replaced with a country they’d like to visit or even with an emotion. The paper burning and ashes doesn’t make much sense sen se this way, but it can be handled handl ed in the following way, via a regular regula r Multi-Bob with no witness pendulums: Simply tell the spectator to think of something, an emotion for example, and ask them to transmit this emotion to one of the pendulums (they can rub it if they like). If possible, use detachable bobs that you can give away, like crystals for example. You now have a beautiful and memorable gift to hand them. Witness pendulums can be purchased cheaply, but if you’re having trouble obtaining any, simply find a little box or locket than can be





































•

The presentation can easily be turned into i nto one of the performer finding the pendulum with the ashes in it. As you introduce the Multi- Bob, unscrew each individual pendulum and leave them that way. After the paper has been burnt, “randomly” hand the sitter one of the empty chambers (which has been subtly marked) and ask them to place a few ashes inside. Turn around, a round, ask them to screw it in any of the Multi-Bob positions and then ask them to screw the rest of the pendulums back in. Now you pick it up and concentrate, making the marked pendulum move, before continuing with the name revelation. Make sure to have a clean tissue ti ssue available for the sitter to wipe their fingers.

ONSTAGE MULTIBOBBER BY MAURICIO JARAMILLO I love psychokinetic effects; they really add a memorable and visual experience to any Mentalism show. Here are 2 ideas i deas I really enjoy for stage work, inspired directly by Max Maven’s Onstage Bender idea, originally published in, The Green Book of Mentalism. This is perfect for close cl ose up, parlor and stage shows. For stage presentations I like to have my cameraman zooming in on all the important bits so they are projected on a big screen. Basic Setup:

The Multi-Bob is placed on a stand on the narrow end of a table, t able, facing the audience. By simply placing your hands firmly on the table and pushing down or to the sides a little li ttle bit, enough “vibrations” will be sent all the way to the opposite end, affecting only the one pendulum that you’re focusing on moving. This is hard to believe until you actually try it; you’ll be blown bl own away at how effective it is. I have videos doing this and it has never failed to work. Remember, it looks even more impossible when the table is long. l ong.







































1st Effect:

The Mentalist wishes to bend a small metal object, such as a key or coin in a spectator’s hand. The onstage spectator will be describing the heat they feel in their hand or how h ow much the object pulses inside. Besides this, the Mentalist wants everybody present to visibly witness the process of telekinesis. Following is the Max Maven inspired inspi red solution. Set up the table with the Multi-Bob Multi- Bob pendulum as shown above. After doing the required work to the object about to be bent, place it inside a spectator’s hand and ask them to t o hold it tightly in a fist. fi st. You then have them stand on the side of the table tabl e so all pendulums are visible to the audience and you stand on the opposite end, far f ar from the Multi-Bob setup.





































Ask the spectator to choose one of the bobs by number, clearly naming each number out loud to prevent any confusion afterwards. Make sure it is clear that this is a free choice and they are free to change their thei r mind. After they name a number, ask them to place their fist underneath the chosen pendulum, as shown in the image above. Place your hands on the table t able and begin your suggestions so they can feel f eel something happening. After about 45 seconds tell them they will start to feel the subtle movement even more now and tell the whole audience a udience to pay close attention. Slowly, the selected pendulum begins begin s to move and with every second, it seems to get faster, moving in huge h uge circles! This is pure telekinesis in action. When it seems seem s appropriate, have them open their fist, revealing the bent object. After this surreal experience, everything can be examined. 2nd Effect:

This is something I came up with 4 years ago while experimenting with a single pendulum. It works perfectly with only 1, but is taken to another very visual level with the Multi-Bob. The basic effect is this: Using the same table setup, you place a fork f ork or similar object in front of the Multi-Bob stand. stan d. You have a spectator randomly selected and ask them to choose one of the pendulums by number. You then stand on the other side of the table, concentrating intently on that specific pendulum and begin moving it. A few seconds after it eerily begins to t o move, the fork is also affected by the telekinetic wave of energy being sent from your mind; it i t slowly spins by itself! You then walk over to the fork and take advantage of the t he energy you’ve been transmitting finishing off by performing a series of PK bending,





































As you begin the routine, casually show the fork and ask someone to name one of the pendulums, it’s that easy. Whatever number they say, you set it up in front of them! Simply say, “A free choice, number 4! Let me transfer some energy from my hands to this pendulum you selected”. As you rub it, you secretly apply the wax ball to the bob. Absolutely nothing odd about that, simply sim ply explain that you’re going to try to affect that pendulum telekinetically and hopefully transfer transf er some of that energy to the fork. The image above should make m ake this idea very clear.





































the pendulum setup between them, each end of the Multi-Bob rod balanced on top of the objects. The fork should have the concave side of the tines facing down. Place it on the table and see if it spins freely. If it doesn’t, just give it a tiny bend until the center of the fork spins properly. The length of the thread depends entirely enti rely on the size of your multi bob stand, so you’ll have to experiment with it, something that shouldn’t take more than 10 minutes. Since every pendulum is of a different length, you’ll obviously have to place the fork a different diff erent distance away each time. Subtly marking these spots on the table will give you all the confidence you need during performance. This is a very flexible setup. I’m sure you’ll come up with plenty of other ideas using it; have fun! f un! Don’t forget to use Dr. Bill’s Bill ’s “Suggestion on the use of suggestion” from his book Suggestabilities in order to really get people’s minds feeling your telekinetic effects.

BOBBING FOR ESP BY MAURICIO JARAMILLO This is a quick and fun effect you can do with either the Multi-Bob Mul ti-Bob table setup or in your hands. All you need is a 5 bob pendulum and some ESP cards. Place one of each symbol face up up underneath every bob. Proceed by by having a spectator freely select an ESP symbol, unseen by you. Secretly find out which one was selected, via the marks on the back of the cards, a





































While I don’t find it necessary, you may also opt to have the symbols face down for more suspense. After one of the pendulums is i s seen to be swinging, you ask them to name their thought of symbol sym bol out loud and proceed to dramatically flip the card over. Also, if the spectator has proven to use a single pendulum very well in a previous effect, get them hold the multi-bob in their own hands and have them find their own symbol.

VIDEO







































Michael Weber is this year’s recipient recipi ent of the Creativity Fellowship Award from the Academy of Magical Arts and Sciences. His company Deceptive Practices designs special effects for film, theater and television including all the magic seen in films like The Prestige and The Illusionist. These two offerings are far from f rom Michael’s only “discoveries” with pendulum, and a small collection of even stranger ideas is in the t he works. Those interested in such things may send a note to [email protected].

A Branch from the Tree of Knowledge © 1989, 2010 Michael Weber All manufacturing, lecture, explanation, sales and television and/or recorded performance rights withheld.

The Wonder Worker unwraps a most unusual artifact—it is i s a dried branch which has been cut from a tree. Three lengths of natural cord are wrapped around the circumference of the limb. lim b. Slowly the Mystic turns the branch between his hands, allowing the cords to unfurl to their full length. Small acorn-like seeds act as a finials, one threaded at the end of each cord and all hanging to an equal endpoint. The Seer explains that this is a branch from the Tree of Knowledge, not the





































The method is the age old series of 3 differently lengths of cord, therefore

three different and independent frequencies of resonance are required to make any one of the pendulums move. But herein lies the difference— the three cords hang to exactly the same length. And therein lies the deception—the branch is not perfectly straight and even, but is knotted, twisted and differing diff ering in circumference at various points along its length, and the three th ree cords are inset into the wood at three different points. Each of these connection points lies at a different distance di stance away from the true center of the branch, therefore, although each of the finials hangs to the same level, the length l ength of each of the of the cords is unique.





































•

Any straight stick with strings of decreasing length can be held at an angle to make all the finials hang at the same level.





































its arc diminishes dimini shes as the stationary pendulum starts to swing in an every growing arc. This phenomenon will continue for a length of time long beyond its intrinsic entertainment value. The explanation is known as coupled coupled res onance. onance . The motion of the first pendulum “annoys” the other a little bit through the string which couples them at the top. As both pendulums pen dulums have the same length, both have h ave the same self resonant frequency and each cycle transfers energy constructively (very little loss due to phase difference.) After a while, the second pendulum acquires enough energy to 'take over' and start drawing energy from f rom the first one. Then the process repeats, in reverse. I first encountered this mystery in a volume of the Tarbell Course. It used a red and green ball suspended between two chairs and a folksy tale of a rural traffic signal whose action would indicate stop and go. My only contribution to this mystery was to take if off the chairs and place it into the hands of an audience participant. The two pendulums of equal length are tied a few inches apart from each other, in the center of a 20” length of string. The participant holds the ends of the string, one in each hand, and pulls the cord taught. You then indicate





































My performance of this precedes taking the two pendulums pen dulums off of the common cord and handing them th em to two different spectators for a further effect using the devices. If you are unfamiliar with the natural phenomena, you are in for a startling treat. Those who are aware of the resonance transfer will be pleasantly surprised at how much more magical it appears when placed in the hands of a member of the audience.







































Greg has been performing magic, in i n one form or another, since the age of five. Anything that has to do with entertainment will entice Greg. He's no stranger to stage, video, comedy, writing, producing, directing and just about anything that involves making a fool of yourself in front of a large group of people. That's why he restricts orgies to no n o more than five participants... not including the goat.

TRY ING ING TO ADD TO BIL BILL’S L’S EBOOK Okay, so I talked to Bill awhile back when he was first working on this book. I had NOTHING for him. I thought he had a great idea and an d I knew many would jump on board, but at the time I couldn’t think of one thing I could





































DIGIT SWING BY GREG ARCE The What: You show off your new pendulum. pendulum . It has three lines and at the

end of each line there is i s a metal number hanging from them: 1, 2 and 3. A spectator is told to think of a 3 digit number using u sing these digits, but they can repeat digits if they t hey want like 313. They write down their number and keep it hidden. Now you hold onto the pendulum and an d slowly one bob swings… it’s the 2 then it stops. Then the 3 starts to move then stops. Finally the 2 moves again, then stops. The number the pendulum made up u p is 232. The spectator





































INVISIBLE SWING BY GREG ARCE The What: A spectator picks four cards at random. You place one card each

onto the clips that hang h ang from your pendulum. Now you show another deck of cards and say that you turned tu rned one card face down in that pack. You have the spectator hold the Multi-Bob and just think of one of the cards. You tell him that when he thinks thin ks of that one card it will slowly start to swing. He stares at the cards and suddenly one begins moving. Let’s say it’s the 5 of Clubs. You say, “So you thought of the 5 of Clubs. Look, only that card swung and





































PENDULUM LINE UP BY GREG ARCE The What: You have four photos swinging from f rom the pendulum. Each photo

is of a different person. You explain that this is i s your new system for crime detection. You explain that there are three criminals hanging from f rom that line. One is an arsonist, one is a robber and one is a murderer. They will try and detect which is which plus free the innocent man. On the table there are three envelopes: One says Arsonist, another says Robber and another Murderer. You tell the person to think of who is the





































billet the name on the photo and produce it from an SUC case. Or nail write the photo’s name on a card as you turn it over. I leave the end to your imagination. imagin ation.

CONTACT SWING BY GREG ARCE The What: You show a pendulum with 5 lines attached to it. Each line has a

metal letter hanging from the line. li ne. The letters are L, R, F, B and S. You explain that R is for right, righ t, L is for left, F i s for forward, B is for backward and S is for stop.







































THE PENDULUM JUDGE BY GREG ARCE The What: From a briefcase brief case you take out the following items: a large





































Anyway, you have palmed three other slips that say the three final fin al words and just switch the appropriate ones as you remove them from the clips. By the way, I was thinking of other methods. You could just do some billet switches and not use Ostin Clips. Cli ps. You put the slips in 1, 2 and Murder order





































TRYBILYTE BY DR. BILL





































take your time, encouraging more concentration and stronger movment. Plus all eyes will be on the Multi-Bob. For even further cover, if performing for a small group, simply stand behind the rest of the audience to “give them the best view.” In other settings you





































He knows who he is!

THE LIVING PENDULUM































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































proper results. As long as your subjects su bjects are doing what you want/ask/command/suggest for them to do, they are following your instructions and complying with your suggestions. suggesti ons. Once my subject has their arm (and pendulum) raised high into the air I tell them to STOP and take a deep breath as they continue to ALLOW their arm to hang in the air, ai r, invisibly suspended and supported by the power of their th eir mind and thoughts only! At this point I congratulate my participant for having such a powerful mind and praise their ability to follow my simple directions and enter a deep state of relaxed focused awareness at this time. I use this position to relax my subject even deeper and more completely now. Just as before I continue with, “And while you allow your arm to hang in the air I want you y ou to IMAGINE it’s growing heavier and heavier, BECOMING heavier and heavier still until your arm wishes to descend, fall, relax and drift slowly and peacefully down…ALL THE WAY DOWN into your lap BUT ONLY AS FAST as you ALLOW YOURSELF to TRIPLE your level of peace and relaxation at this time. Expect it to happen, allow it to happen and it WILL HAPPEN easily and naturally. Imagine your arm and the pendulum pen dulum both growing heavier and heavier still with each e ach passing moment and with each and every breath – HOLD THAT THOUGHT THOUGHT IN YOUR MIND - and begin to slowly lower your arm down NOW…” NOTE: Many times I’ll turn this phase into an arm levitation induction

(detailed later in this course) and instruct the subject to close their eyes as their hand passes their face. Said in the same manner m anner and fashion as I do and have written here these suggestions will work pretty much every time. Again, I’m using hypnotic language and subtle coaching to make my subject respond exactly as I wish. wish . I tell them EXACTLY what I want them to do. The beauty of these verbal techniques is that th at I can use them with anyone hypnotized or not (!) and so can you. This routine and ones to come are PERFECT for waking hypnosis demonstrations.





































“And as your hand meets your y our lap take another deep breath for me and just j ust allow your eyes to close – sinking deeper and deeper into this relaxed, peaceful state.” You’ll notice I’m inducing and re-inducing trance, deepening the relaxed hypnotic state, affirming and re-affirming my subject’s perfect ability to respond to my every suggestion. I continue to congratulate, thank and a nd praise their natural ability to do these things. At this point as my subject remains sitting with their eyes closed, listening li stening to my suggestions, continuing to relax and following my instructions I’ll begin to implant suggestions that ANY TIME for the remainder of this demonstration and process (and/or now and in the future!) whenever I say the words “Deeply relaxed” (Or “Sleep” if you prefer) my subject will instantly take a deep, cleansing breath, close their eyes and re-enter this same deep state of relaxed focused awareness and perfect hypnotic trance easily and naturally. I might also anchor into this suggestion by pressing firmly on my subjects hand, knee or forearm, tapping them lightly li ghtly on the head or use another method. I’m going to use a few more suggestions with hypnotic phenomena before I free my participant to use the pendulum in their altered state to communicate directly with their subconscious mind and answer one or two PERSONAL QUESTIONS they might have at this time. Continuing the routine as follows… Now that my participant has their hand (and pendulum) in their lap I continue with the “HEAVY” suggestions to stick their hand fi rmly into their lap and pin it down through the power of suggestion and their mind unleashed. “And as you continue to feel the t he weight of your arm and pendulum in your y our lap now I want you to t o IMAGINE an invisible force is emanating from the





































With each and every breath you y ou take imagine inhaling this powerful anesthetic which flows throughout your body now and creates a warm, numb, tingling feeling inside of you and all around you. The more you breathe naturally the better this anesthetic an esthetic begins to work and helps you to relax so that eventually you can start to FEEL BETTER NOW than you’ve ever felt before. The more you relax the better you feel so go ahead now and relax even more…feeling even better…breathing even deeper…you’re doing perfectly… Nod your head when you can feel this warm, numb, tingling feeling radiating (They do). Wonderful. throughout your body.” (They In a moment I’m going to ask you to try and lift your arm while you continue to will, intend and desire that it remains stuck firmly to your leg. And the more you try to lift your y our arm the funnier life becomes because now n ow your arm is stuck securely to your lap (leg, chair, table, etc) and etc) and the harder you try t ry to lift your arm the more this wonderful anesthetic works for you and keeps it pinned down securely to your leg. The more your arm remains securely pinned to your leg the deeper you relax… and the deeper you relax the better you feel so TRY NOW to lift lif t your arm and see for yourself y ourself how tightly and securely it can remain bound to your leg at this time.” The participant “tries” to lift their thei r arm and finds it bound securely to their leg or the object I’ve pinned it to. Following with this powerful anesthetic suggestion I begin to give suggestions of the anesthetic moving, flowing, flowin g, becoming stronger and then wearing off with various effects. If I choose to use u se different suggestions I might forgo the anesthetic bit of business and simply continue to give suggestions that my subject’s arm and pendulum becomes so heavy now they are unable to lift lif t or move their arm at all. Following this suggestion that same “heaviness” begins to move, spread and flow to their legs and sticks them firmly to their seat. Keeping in line with the anesthetic suggestion I continue…





































JUST LIKE BEFORE in a moment I’m going to ask you to stand up and walk around and when I ask you to stand up and walk around you’ll y ou’ll notice your arm becomes UNSTUCK very quickly and in its place your legs become stuck securely to the floor and bound to your chair NOW easily and naturally. As your arm becomes unstuck you y ou can even hand the pendulum back to me and as you hand h and the pendulum back to me you’ll become even TEN TIMES more relaxed and stuck securely to t o your seat. Your mind and thoughts are powerful things and because your mind and thoughts are powerful things the harder you try to stand up or move around the tighter, more securely bound and stuck into i nto place you’ll remain. You could try in vain to stand up at this point or you might simply realize there isn’t any reason to, as you feel perfect in every way exactly where you are. I don’t know which one it will be, but when you’re ready to proceed simply nod your head ‘YES’ and we’ll continue.” This is hilarious because my client has no idea at this point if they are supposed to nod their head yes and a nd then TRY to stand up OR if they th ey are to simply nod their head yes to t o signal me to continue. I could give them a prompt to TRY and stand up and see the suggestion working perfectly though I much prefer at this point to simply MISINTERPRET their signal and proceed with my suggestions suggesti ons and other hypnotic effects. To everyone watching it appears exactly as though my subject is bound securely to their chair and is unable to move. The words “JUST LIKE BEFORE” in the prior script suggests su ggests that my subject is to keep doing exactly what I want for them to do and follow foll ow my suggestions perfectly. I give them the option to TRY (in vain) to stand OR simply remain in their seat relaxed and REALIZE there is no reason to stand which presupposes they couldn’t even if they wanted to – which they don’t! As my client imagines the anesthetic flowing into their waist, their legs, their knees, their ankles, toes (etc.) IF appropriate I might firmly touch, grasp or tap their knees, ankles and feet as I give these suggestions. I press their feet firmly into the floor fl oor with suggestions they are unable to move. Do what you feel is appropriate!





































times I like to suggest an invisible energy which flows through all things is emanating from my palms, my m y eyes and the pendulum which keeps the participant glued firmly to their seat. The choice is a personal one. When I give the suggestion that my subject’s arm becomes UNSTUCK I use this opportunity to receive the pendulum in turn. This allows me to condition the participant, lead the process and keeps them responding to my every suggestion. I periodically use SIMPLE commands and suggestions such as “take a deep breath” or in this case taking back the pendulum to secure this this compliant state. Depending on how much time I have I will continue with my suggestions su ggestions causing the participant to laugh l augh out loud, forget their name or telephone number, glue their eyes shut and an d more. You’ll learn the exact series and sequence of events in my “7 Minute Hypnosis Show” later later in this book. It is there that I’ll provide you with the exact scripts scri pts and outlines I use. After I’ve demonstrated the power of suggestion and trance states appropriately I like to bring the client cli ent out of their state with positive suggestions and then re-induce trance t rance instantly using my anchor and the words “SLEEP NOW” or or “DEEPLY “DEEPLY RELAXED.” At this point I continue to give suggestions that my participant is i s completely in tune with their subconscious mind and able to communicate directly with it through the pendulum. It’s I t’s here that I will hand the pendulum back and allow my client to ask one or two personal questions, receive their answers through the pendulum and then immediately i mmediately afterwards become fully awake, conscious and aware – feeling perfect in every way and in a state of awe at the power of their mind and natural ability. Naturally this entire sequence can be done with or without a pendulum as can the subject communicating directly with their subconscious mind to receive personal answers (enlightened and inspired) inspi red) to their questions. You could just as well do this entire bit with a coin, a pen or paperclip or NOTHING. I will often use u se demonstrations such as this one in my walk around and







































I liken these routines and suggestions su ggestions to a short little hypnosis show with many positive suggestions afterwards, lots of praise for the t he participants and powerful post hypnotic suggestions and affirmations. affirmati ons.

ANGEL PENDULUM BY JEROME FINLEY This is another of my preferred pendulum routines. I begin by asking my participant a VERY important question and that is… “D o you believe believe in A n g e ls ? ” This simple question by itself it self will tell you many, many things about the person you’re working with. Their answer is a good way to gauge gau ge how open minded and/or skeptical they are and will normally produce an answer that is linked to a story featuring them or a friend and family member at the center of some experience. If they answer “YES”, we’re off and running. If they answer “NO”, that’s okay and I handle this thi s a few different ways. Sometimes I’ve said, “I really didn’t either…until someone showed me what I’m about to share with you…” Other times (facing a “NO”) I’ve replied, “That’s “That’s perfectly okay and I’m not asking or expecting you to believe beli eve in anything here…we’ll be using the pendulum to connect with angelic archetypes locked deep within your subconscious mind.” STEP ONE: Relax the participant.

To do this I have h ave them sit in a comfortable position, close their eyes and





































I was taught that we ALL have h ave angels who protect, bless and guide us. My grandmother stressed the point that our Angels cannot intercede and an d act on our behalf unless we specifically specifical ly ASK them to. When we ask them properly, she also believed they could even heal us in miraculous ways, no problem being too big or small for them to reach – no request or question questi on too absurd or impossible to ask or share with them. Today we’re going to ask YOUR Angels to draw near us u s for a time, if that’s okay with you…” NOTE: I’ve had people be very skeptical at this point but the majority are all

for it! I’ve NEVER had a person tell me “No” at this point or ask to stop. Once I’ve been given the green light to proceed I follow with, “Close your eyes for a few moments and a nd take some deep breaths with me. As you breathe in, imagine yourself expanding in size and filling your mind and body with pure, White Light. L ight. As you exhale, imagine breathing this Light L ight into the world and your y our own personal Angels drawing near. During our time together you might begin to feel a bit lightheaded – this is from the special breathing and perfectly normal. You might also begin to t o feel tingly, warm, cold or very peaceful. That’s also normal… Pay special attention to t o what’s going on within you and around you y ou as we work together now…notice any tingling or touches, any taps upon your body…perhaps even visions, whispers or heavenly scents wafting through the room as I speak to you and connect you with the Angels. You may even experience visions of Angels in your mind, or hear their





































Lion and the body of a Man and even my own Spirit Guides and loved l oved ones who have passed from this world and an d are now Angelic Ancestors operating from the World of Spirit. I explain all of this in my own way. However and whatever your participant chooses to see/imagine and decides deci des to focus on is perfectly fine and should be encouraged. en couraged. I instruct my participant partici pant to call out to their Angels, in their thei r mind, by saying, “With “With my full permission, permissi on, love and respect I now invite my Angels to appear. Draw closer to me now and give giv e me a sign of your loving, healing presence.” As I repeat these words aloud, my participant repeats the words in their mind. I repeat the above “request” three times in this fashion, instructing my participant to breathe thus: INHALE SLOWLY AND DEEPLY – “With “ With my full permission, love and respect I now invite my Angels to t o appear…” At this point I instruct inst ruct the sitter to hold their breath. This is i s important! I have them hold their breath to a count of three and then instruct them to exhale slowly while mentally repeating (after me)… “Draw “Draw closer to me now and give me a sign of your loving, healing presence…” I repeat this inhale/exhale sequence and mental “Angel Calling” three times. At the end, I give my participant a few moments to bask in this thi s deep state of relaxation and ask them to notice any changes in their thoughts, mood, inner and outer states of being, any changes in the environment, etc. It only takes a few moments and offered exactly as written here will produce powerful, positive results!





































spiritual gambits nearly EVERYONE will have some amazing experience with angels produced as a result resul t of this work. Some people become very emotional at this point, they might even cry. This is often in joy, weeping because of the beauty and depth of the connection made here. I let them know the angels love them, support them in their choices, are proud of them and an d what they’re doing (Angels never judge us!) and their Angels WANT to be close to them to hold, lift up and inspire them. I might ask the emotionally charged person if they are open to a hug. I want to be there for them and share an experience that can change their life. This Thi s is NOT out of place with wi th the work I do. This is certainly not mentalism. If working with a group I ask anyone who felt or saw or otherwise experienced their angels, a profound feeling of peace and healing, a loved one or family member (Angelic Ancestor), energy or any other phenomenon to raise their hands. These are the people you want to work with. They are open and ready to go. At this point, proceeding with my pendulum pen dulum demonstration is something I may or may not even do. I carry a nice designer crystal pendulum with a gorgeous carved Amethyst angel on top but used a normal, n ormal, plain looking pendulum for many years. IF I move forward with the pendulum demonstration I find this is some of the most potent and beautiful pendulum work I can do. The sitter/participant is completely open and receptive at this point. poi nt.





































Pendulum exercise. Just a few movements to t o show their presence is very effective and awe inspiring. This is pure magic. Together we can proceed to communicate with the Angels via the t he pendulum. The participant can ask personal questions about themselves, their life or loved ones and receive an intelligent, direct response. Few things are stronger. Think of the Angel Pendulum demonstration as a hand-held Q&A for any sized group and you’ll begin to realize its power. No “effects” are necessary at this point. It’s more m ore than enough to connect a person to their angels and have them move the pendulum, feel the energy and end the session. If I do decide to proceed with some revelation it’s usually in form of a zodiac sign divination still with the pendulum in my participant’s hands. Astrology is based on the stars and planets – the heavens and cosmos are the playgrounds for angels, so this works out beautifully. To end the Angel experience I ask my participant parti cipant to close their eyes and take a few deep breaths as they th ey visualize the White Light all around them and allow the angels to fill their mind and heart with love and perfect peace, healing and blessings. During D uring this moment of “quiet time” the participant partici pant can speak to the angels in their mind, ask them questions or make special speci al requests, tell them about their thei r life (mentally, for comfort) and something they may need help with and more.







































they feel now and more. Use your natural knowing and an d intuition to deliver a few heartfelt messages or a short reading, a “Holy Moment” or or tell the person before you about all the gifts you see in them. They will love and appreciate you. Often times a person will see loved l oved ones, angels, hear voices, receive messages, feel energy (or see it!) and an d experience other unique and interesting phenomena. This is not a demonstration to prove how powerful you are or that you can read minds or about displaying displ aying your superior gifts. This is something tender, heartfelt, sincere and special. It’s all about the person you’re working with and helping to make a sacred connection for them. This is something they will cherish ch erish forever and never forget. Many times I carry a few Angel pins pi ns – a guardian angel token t oken you can gift to the person to anchor into and remember this experience by. You can get a lot/bulk supply of angel pennies online, simple tokens a person can keep in a pocket, purse or wallet to draw upon their angels. an gels. These gifts are inexpensive and have deep meaning and purpose. People





































These pendulums listed are available in i n assorted stones and housings. I use u se these ones myself and have them in rose quartz, amethyst and clear crystal. These dowsing tools are gorgeous, perfectly weighted/balanced and fi t with the theme. I highly recommend them. Realize that other pendulums (any really, even impromptu ones) can also be used. Because this is such a special experience I like to use an Angel pendulum dedicated specifically to this purpose. Use well. This demonstration has become a hallmark of my work and I share it with special people wherever I go (they’re ALL special).





































IN CONCLUSION Many thanks are in order. Each contributor went above and beyond the call in their generosity and my appreciation goes beyond words. I feel exceptionally fortunate to be involved in a community that is i s so selflessly giving. A few behind the scenes folks deserve comment. My wife Linda and Dom Twose provided their usual excellent editing skills skill s and also deserve a great deal of gratitude. Also, Thomas Baxter for his creation of the delightful word “Trybil “Trybil ” to give this book its title. I’d like to say a word about Mauricio Jaramillo. I’d never even heard of this gentleman before he offered some experiences and insights insi ghts about the MultiBob. He took the idea and ran with it, my hope whenever I release an ebook. Mauricio has been, and is, incredibly supportive. I am glad to have found one more new friend through winding paths of the t he world of mentalism. And I know you will be glad to work with his contributions to this book.





































the fast paced world of most performance mentalism. It can, as with the example of John Riggs’ stage pendulum, but this is far more the exception excepti on than the rule. But there is another direction our wonderful field has h as taken and that is a more personal, often slower, expression of the powers of the mind. It seems of late that due to t o the work of many this path is receiving greater attention and validation. I’ve read more and more authors comment that mentalism m entalism doesn’t have to be rushed. This is one advantage we have over our magician brethren. We can engage our audiences with a tempo, particularly when working up close, that is much more difficult to do with standard magic that calls for a different pace altogether. Not that this can’t be accomplished, certainly story-telling effects are proof of this, but beyond this exception it can rarely be the reason de‘etre. The versatility of the pendulum, both standard and Multi-Bob, is only limited by our willingness to apply it to effects of all kinds. “Bank Night,” “PseudoPsychometry,” “Which Hand?,” to name just three, can all be enhanced by introducing a pendulum.





































In many ways this reminds me of some of Jerome’s refined work with my own “Jumping Pulse” from Suggestabilities. As you direct your participant to move the first pendulum, this begins begi ns to ratify the existence of something outside the “doors of perception” beginning to occur. . With this accomplished, it is but a small step to attach this action to fixation and relaxation, which again serves to ratify entering new realms. To tell the recipient of your endeavors that, “as the first pendulum now begins to slow to a stop you will enter a place of relaxation and tranquility,” tranquili ty,” and allow this irresistible illusion il lusion to take place makes short work out of beginning an induction. indu ction. Following with, “And as you direct your attention to using the abilities within your mind to give energy to move the next pendulum you can experience even greater relaxation and tranquility,” imagine the impact on the participant’s state of being. How can they resist these subtle commands? And of course continuing on with the th e third pendulum in the same way as they now triple these wonderful feelings is even more compelling. compellin g. A recursive loop is established with the movement of the pendulum pen dulum demonstrating the participant’s abilities to locate previously unknown







































I didn’t intend for f or my conclusion section to offer another host of possible routines. But such is the th e nature of the brain and its storms. If I don’t stop myself now I may never “conclude” Trybil, AKA The Multi-Bob Book . And that is part of the joy of an instrument such as the Multi-Bob. I can’t say it better than Tony did in the Foreword. “The possibilities are endless.” Get swinging!





































APPENDIX 1 Acidus Novus Video













































































































APPENDIX 2 A SUGGESTION FOR THE USE OF SUGGESTION S UGGESTION BY DR. BILL A mentalist recently wrote me asking how I got my participants to actually feel the key bending in Andrew Gerard’s wonderful Key Accessory. I wrote him back an extremely long reply. In it I addressed such things as picking a suggestible person (and who and what to look for to accomplish this task), creating a verbal and non-verbal







































“If You Believe In Your Magic So Will Will Others.” If you don’t have “Making Magic Real” and its sequel, “Making Real Magic” you are missing out on invaluable information (http://www.osterlindmysteries.com/ (http://www.osterlindmysteries.com/)). What I am saying may be seen as an adjunct to what Richard teaches; that





































The process is simple in theory, but may be hard in practice for some people, even those who aren’t skeptical and desperately want to successfully use suggestion in their mentalism. Let me take a moment to explain why I think this is, in service of later helping to assist such folks.





































Dissociative Disorder Not Otherwise Specified) and an actual “crystallization” of alternate personalities. Obviously we want to focus on suggestion requiring mild mil d dissociations! But knowledge of the entire continuum can be helpful. hel pful.





































When YOU can feel it, you’ll know what it will feel like for your participants. You will know in your bones what this is i s all about and be able abl e to far more easily and elegantly share the experience with others.





































I have done the same and love l ove these kinds of effects to have on hand for a truly impromptu performance that will carry a small sm all or large crowd and requires no props. I am not alone. In “The Fource” (http://www.outlaw-effects.com/store/the-arsenal/e-











































































Bill Cushman - Trybil - The Multi-Bob Book

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