The Monster and the Magician

Version 1.004 Note to reader: If you have read version 1.003, you can skip the Introduction and hapters 1 ! 3. They contain on"y #inor edits. The ne$ #ateria" appears in hapters 4 and %, on pages 3% to %4. The ne$ #ateria" inc"udes a step &y step e'a#ination of the outer ga#e, fra#ed as a (#arketing) process. *ncounters in hapters 4 and % provide i""ustrations and opinions regarding various theories and techni+ues taught &y se"ected ,-.s. !! This $i"" pro&a&"y &e the "ast insta""#ent for a$hi"e. I a# taking on a pro/ect $ith a .0 at TheVau"t, and I can on"y sp"it #y attention &et$een so #any pro/ects at the sa#e ti#e. 1eep the thread a"ive in the foru#s, and I2"" check in on it. Make sure to ,M #e $ith any great ideas for fo""o$ up #ateria". Introduction. The Monster and the Magician are #etaphors for t$o distinct types of ,ick -p 3rtists 4,-3s5. 0oth are #asters. Their va"ues are different. Their &e"iefs are different. 0ut they kno$ everything a&out the#se"ves and a&out the seduction of $o#en. Through story, #etaphor, techni+ue and ana"ysis, you $i"" "earn everything a&out the inner ga#e and the outer ga#e of &oth the Monster and the Magician. Neither the Monster nor the Magician are anyone you have ever heard of. I assure you that every ,-3 you kno$ fro# 6oss 7effries to 8avid 8., 8avid M., 8avid 9., 8avid :., 8avid ;. and 8avid <. have on"y seen parts of the Monster and the Magician, or have perhaps "earned $hat they teach fro# so#eone e"se. This &ook $i"" &e co#p"eted over ti#e, &eginning $ith Version 1.001. ;ou $i"" have your chance to contri&ute, if you $ish. 9hare your o&servations a&out the Monster and the Magician at The,"ace. 9hare your opinions a&out any ,-3 you consider $orthy of co##ent. 3re their techni+ues those of the Monster= >r those of the Magician= ?hat do they each have "eft to "earn fro# their respective #asters= The storyte""er is $aiting to $eave your o&servations into the ne't version of (The Monster and the Magician.) 0y the co""ective e'perience &ehind this pro/ect, you $i"" co#e to rea""y kno$ the po$er of these t$o #asters. In ti#e, you #ay find that you are either a Monster or a Magician. 8>?N@>38 TA* @3T*9T V*69I>N >N@; 3T TA* ,@3 *.

hapter 1. The 9toryte""er. ,art 1. The #an spoke gent"y. The s#a"" cro$d of peop"e tightened around hi# to hear #ore c"ear"y. 3n i#portant story $as a&out to &egin. (I ca#e upon the vi""age #any, #any years ago,) &egan the storyte""er. (It $as a very s#a"" vi""age, co#prised of peop"e of very "i#ited a&i"ities. Many had "ost ar#s and "egs to disease or $ar. 9evera" $ere &"ind. I &e"ieve the fu""y hea"thy individua"s fro# the co##unity had "eft so#e ti#e ago.) (Ao$ did they survive=) asked a young #an. (They cared very deep"y a&out each other,) ans$ered the storyte""er $ith a s#i"e. (3nd they $orked together $henever there $as a need. ?hen I ca#e upon the#, the peop"e of the vi""age had &een doing /ust that.) (9o#e$here outside the vi""age $as a strange creature, they to"d #e,) said the storyte""er. (I asked the# $hat they kne$ a&out the creature.) (It is very "arge,) said one #an. 3 nu#&er of his friends nodded in agree#ent. (Very "arge indeed, and very hard and rough skinned. It $as "ike a "arge &ou"der.) (It is not "arge,) said another #an ti#id"y. (I fe"t it very carefu""y, it $as very skinny. I agree that it $as rough. 0ut at one end it a"so had so#ething that fe"t "ike a &rush. It see#ed "ike a rope $hich $as fraying at one end.) There $ere no friends nodding in agree#ent to the #an2s state#ent, &ut his opinion $as not attacked, either. (It $as #ore "ike a snake,) a third #an spoke up. (I fe"t it &ending its strong &ody &ack and forth.) (?e have /ust discovered it,) said a $o#an #issing her right "eg. (?e have not yet deter#ined $hat the creature is. 0ut these three #en have &een to $here it is, and this is the infor#ation that they &rought &ack to us. Those of us $ho cou"d see have not &een yet, &ecause of the difficu"ty of trave". ?e sent the three &"ind #en, first. They have "ess to do here in the vi""age.) The truth $as si#p"e, and so I to"d the#, (?hat you are descri&ing is an e"ephant. The first #an fe"t the &ody. The second #an fe"t the tai". The third #an fe"t the trunk.) (?e have heard that story &efore,) a young #an in the cro$d shouted out. (;ou are a poor storyte""er to te"" us so#ething $e have heard &eforeB) (;es, I $as sure that you had heard the story,) said the storyte""er. (I to"d it to you first, &ecause I kne$ that you $ou"d &e a&"e to understand it. 3nd &ecause I have so#ething rather a"ar#ing to te"" you. ;ou $i"" need the story of the &"ind #en and the e"ephant in order to kno$ $hat to do $ith the a"ar#ing ne$s you are a&out to receive.)

(?hat is this a"ar#ing ne$s=) an o"der $o#an asked an'ious"y. (Is so#ething going to happen to us=) (?hat happens to your city $i"" depend upon $hat you do,) said the storyte""er. (No$ that you are ready to hear this ne$s, I a# going to te"" you.) Ae paused for severa" seconds as the s#a"" cro$d &ecause sti"" and +uiet. (?ithin your very o$n city, there are t$o strange creatures that you have not seen. They are far #ore po$erfu" than an e"ephant and far #ore dangerous.) The cro$d around the storyte""er to a step &ack in a"ar#. (?hat are they=) shouted out a #an. (?hat are these t$o strange creatures= 3nd $hy shou"d $e &e afraid of the#=) The storyte""er "ooked the #an in the eye. (0ecause one of the# is a #onster, and one of the# is a #agician. The #onster $i"" destroy you. The #agician $i"" save you. 3nd those $ho do nothing $i"" &e ens"aved.) 3 co##otion &roke out $ithin the cro$d. 9o#e peop"e &egan ca""ing for so#eone to find the #agician. >thers ca""ed for #en to gather ar#s to go and ki"" the #onster. Many covered their ears, thoughts of hiding s$ir"ing a&out in their #inds. C unti" a #an $ho appeared to &e a "eader +uieted the#. (9i"enceB) he shouted. (9toryte""er, you o&vious"y kno$ so#ething of this #onster. Ao$ sha"" $e defeat hi#= Te"" us his $eaknesses, the danger he poses. Te"" us $hat $e #ust do to &e safe. Must $e find this #agician=) The storyte""er s#i"ed. 0ut he said nothing. The peop"e of the s#a"" cro$d turned their attention fro# the argu#ents a#ong the#se"ves. 3"" eyes $ere no$, once again, on the storyte""er. (Te"" usB) They cried. The c"a#or increased unti" the storyte""er raised his hand to si"ence the#. (3re you a"" agreed then= ?i"" you find the #onster and the #agician=) he asked the#. (The #onster to protect yourse"f fro# the danger he represents= 3nd the #agician to deve"op your individua" po$er and to secure the protection you re+uire=) There $ere #any ans$ers fro# the cro$d, a"" of the# in the affir#ative. The storyte""er2s s#i"e faded. (I heard #any of you ans$er in the affir#ative,) he said $ith disappoint#ent. (0ut not a"".) ( o#e on no$,) coa'ed the apparent "eader. (*veryone ans$er in the affir#ative.) Ae peered into the faces c"osest to the#. *ach person he "ooked at responded &y shouting, (yesB) The "eader "ooked &ack at the storyte""er. (The first ans$er given $as the ans$er that each person fe"t,) said the storyte""er. (;ou cannot change a person2s fee"ings #ere"y &y instructing hi# to ans$er Dyes.2 0ut I

$i"" he"p those of you $ho are $i""ing to find these t$o strange creatures. Eo""o$ #e to $here I "ive, and I $i"" give you $hat you need #ost.) ,art F. 3t the ho#e of the storyte""er, further infor#ation $as provided a&out the Monster and the Magician ... and a&out the storyte""er. The peop"e of the city de#anded that the storyte""er te"" the# everything. Ae $as o&vious"y ac+uainted $ith these t$o creatures. ?here $ere they= Ao$ $ere they to &e recogniGed= ?hat $ere their po$ers= Infor#ation $as de#anded. 0ut the storyte""er revea"ed that he did not kno$ everything a&out these t$o creatures. The storyte""er $as an o&server, /ust "ike they $ere, $ith one difference. The storyte""er had a specia" gift. (?hen I entered the to$n $here the &"ind #en and the e"ephant $ere, I did not actua""y see the e"ephant. I sa$ on"y the evidence that the e"ephant $as outside of the vi""age. I heard #any peop"e te"" #e that there $as a strange creature outside of the vi""age. I heard so#e say that it $as "arge and hard "ike a rock. I heard one say that he had fe"t so#ething "ike a frayed rope. I heard another say that he had fe"t so#ething "ike a po$erfu" snake. ?hen I co#&ined the e'periences of a"" of these peop"e into a sing"e i#age, I sa$ the truth. There $as an e"ephant outside their vi""age.) (?hen I ca#e to this city, I o&served so#ething entire"y different. In your city, I o&served the signs of a Monster and I o&serve the signs of a Magician. I did not see either creature, &ut I kno$ that they are here. Many, #any peop"e that I have #et have descri&ed their e'periences $ith these creatures.) (My gift, if you $i"" a""o$ #e to ca"" it a gift, "ies in #y a&i"ity to see and e'p"ain the Truth. 3nd if you are co##itted to &ringing your co""ective e'perience to #e, I $i"" co#&ine your o&servations $ith #y a&i"ity to see the Truth, and you $i"" kno$ $here to find the Monster, $here to find the Magician, and you $i"" kno$ everything they kno$, and you $i"" kno$ $ere they get their po$er.) 9o#e of the peop"e &eca#e angry $ith the storyte""er. 9o#e &egan to argue or ask for proof that he had a gift to kno$ the Truth. 9o#e cried out for proof that the Monster e'isted. 0ut a"" the cries $ere in vain, &ecause the storyte""er had no use for such nonsense. The storyte""er had &een fo""o$ing the Monster and the Magician "onger than the peop"e of the city had &een a"ive. The storyte""er had &att"ed the Monster and he kne$ its "i#its, kne$ $hy the Monster $as $hat it $as. The storyte""er had &een taught &y the Magician. ?ithout a""o$ing hi#se"f to &e seen, the Magician had &een "eaving c"ues for the storyte""er for #any, #any years, teaching hi# everything, as +uick"y as the storyte""er $as a&"e to "earn it. The storyte""er $as a #aster of "earning, inte""igent and f"e'i&"e. The Magician had &een the one $ho had to"d hi# of his gift. The Magician had assured hi# of

his path. The storyte""er $as ac+uainted $ith the $ays of the Magician, and he e#p"oyed the sa#e techni+ues that he had "earned fro# his #aster. The storyte""er kne$ the Magician very $e"", &ut he $asn2t a&out to te"" the peop"e of this city everything he kne$, &ecause the peop"e of the city $ere not ready to "earn a"" that the storyte""er had "earned. The storyte""er kne$ that those $ho co##itted the#se"ves $ou"d "earn $hat he had "earned. That $as the price of "earning, and there $as nothing the storyte""er cou"d do for those $ho $ere not prepared to pay the price of "earning for the#se"ves. The storyte""er $as a guide. The na#e of the storyte""er, if you #ust kno$, is Truth. *verything a&out Truth is not i##ediate"y apparent. 0ut you $i"" re#e#&er that the difference &et$een the #asters and the s"aves in the city, in the end, $ou"d &e the #anner in $hich they hand"ed Truth. Masters of the Magician $ou"d &e heros, $hi"e #asters of the Monster $ou"d the#se"ves &e po$erfu" &easts. They $ou"d &oth kno$ the truth of their po$er. Those $ithout the truth, those foo"s $ho "acked the a&i"ity to perceive or co#prehend, they $ou"d &e s"aves C &ecause fa"se pre#ises and fa"se &e"iefs are the chains of s"avery. 3nd so the storyte""er offered $hat he had to everyone $ho ca#e to ta"k and to "isten. The storyte""er offered the truth in response to so#e +uestions and in response to so#e co##ents. 3nd that $hich $as not $orthy of an ans$er or a co##ent, $e"" $hy shou"d $e spend out ti#e ta"king a&out that=

hapter F. ,ande#oniu#. ,art 1. >ut of fear, curiosity, and various other #otivations, #en fro# the city $ent out in search of the Monster and the Magician. >ver ti#e, it &eca#e apparent that these #en cou"d &e c"assified into three groups. The first group $ere purists. They returned to teach $hat they o&served a&out the #enta" processes and "anguage techni+ues used &y the #asters. The purists a"$ays taught using their rea" na#es, na#es "ike Mi"ton *ricson and 6ichard 0and"er. The second group $ere profiteers. Their search for the #asters $as #otivated &y the persona" profit they sa$. They $ere &est recogniGed &y the e'aggeration they e#p"oyed to #ake their products appea" to others. They co##on"y used fa"se na#es for an identity. ,au" took the na#e 6oss 7effries. *&an ,agan ?ind 4assu#ing that $as at one ti#e his rea" na#e5 rena#ed hi#se"f 8avid 8e3nge"o. >thers adopted #onikers instead of na#es, "ike Mystery, 9ty"e, 7ugg"er and 9$ingcat. ?hi"e their #otivation #ay &e +uestiona&"e, the profiteers p"ayed an i#portant ro"e in i""ustrating to the co##unity $hat $as possi&"e. The third group $ere "earners. They fe"t a persona" need, at one "eve" or another, to do $hat the storyte""er had descri&ed H to gain fro# the Magician the persona" po$er they needed to progress fro# surviva" to #astery in the city $hich $ou"d one day consist of either free #en or s"aves to the Monster. 0ut the storyte""er a"so o&served pro&"e#s &egin to e#erge. It $as difficu"t for the "earners to app"y the $isdo# as it $as descri&ed &y the purists. Eor e'a#p"e, the "earners co"d see that hypnosis $as a po$erfu" #ethod used &y the Monster and the Magician, &ut the "earners2 ski""s of hypnosis $ere genera""y $eak. 3nd so the "earners &egan increasing"y to turn to the profiteers in an effort to purchase $hat they needed in order to use this ne$ #agic. The profiteers $ere on"y too eager to package sets of techni+ues for sa"e to the "earners. 0ut if you read the truth a&out these profiteers H do$n"oad 8ie0o"d2s &ook na#ed The Magic 0u""et 4avai"a&"e at The,"ace and for sa"e at so#e gas stations5 H the profiteers $ere not the #asters that they atte#pted to portray. @ike the to$er of 0a&e" in the 0i&"e, ne$ "anguages &egan to deve"op and divide the "earners. The purists had a technica" voca&u"ary $hich needed to &e studied to &e understood. The profiteers deve"oped a voca&u"ary of acrony#s "ike ,-3, ,-. and 3E , $hich re+uired a dictionary "ike the one in 8ie0o"d2s &ook The Magic 0u""et. .roups of "earners &egan to for# "airs in an effort to either share e'periences or co##iserate a&out their insecurities. The storyte""er cou"d see that his $ork $as not finished. ?hi"e #any "ives i#proved in s#a"" incre#ents, far too #any #en $ou"d &eco#e i#poverished &y the prices charged &y the profiteers, and so#e $ou"d sti"" fa"" s"ave to the Monster, un"ess the

storyte""er &rought the truth fro# the purists do$n to a "eve" of understanding that a"" "earners cou"d app"y. 3nd so the Magician &egan to speak to the storyte""er. 3nd fro# the purists, the profiteers and fro# the Magician, the storyte""er &egan to provide ne$ stories and understanding to the "earners. (This is going to take "onger that I thought,) said the 9toryte""er. (0ut &y the end of #y storyte""ing, "earners $i"" &e free, and #any $i"" &e po$erfu" Magicians.) ,art F. (2?o#en "ike #en,2 said *ric ?e&&er in 1IJ0, in his &ook DAo$ to ,ick up gir"s.2) The storyte""er $as giving a history "esson to the "earners one particu"ar day. That is $here the sa"e of (pick up) techni+ues &egan. (In those days, the pickup "ine $as the key. In the 1IJ0s you cou"d te"" a $o#an, DIf I said you had a &eautifu" &ody, $ou"d you ho"d it against #e=2 and she #ight actua""y s#i"e and start a conversation $ith you. The years of (free "ove) that &egan in the 1IK0s had co#e to an end, &ut pickup $as sti"" easy. The Monster and the Magician had not yet arrived in your city of a#ateurs.) (It sounds "ike Dcocky co#edy,2) &"urted out one "earner. Ero# the grin on his face, he $as o&vious"y very p"eased $ith his o$n +uick $it. The storyte""er s#i"ed, &ut ignored hi#. ?hether true or not, the co##ent fai"ed to convey any usefu" teaching, and the storyte""er tended to avoid trite o&servations. 7ust then, a young #an ca#e rushing into the roo#, out of &reath. (I did itB) he shouted. (I got #y first phone nu#&erB) The storyte""er ro""ed his eyes and asked the &oy to take a seat. (9tate=) the storyte""er asked the c"ass in genera". (,ri#aryB) shouted severa" voices. (?hy pri#ary state=) asked the storyte""er. (0ecause he is e'cited in response to his interaction $ith a $o#an,) said so#eone. (The $o#an is e'terna", so he is responding to his environ#ent.) (3nyone $ant to offer another possi&i"ity=) in+uired the storyte""er. (It doesn2t #atter if it2s a pri#ary state or a "eve" 1 #eta!state,) said so#eone speaking $ith a &it #ore authority. (Ae #ay &e fee"ing e'cited in response to the $o#an, or he #ay &e fee"ing e'cited in response to his thoughts a&out $hat getting a phone nu#&er #eans to hi#. *ither $ay, his e'cite#ent is a va"ua&"e state to hi#. It2s ti#e to use that state at a #eta!"eve" $hi"e he2s sti"" hotB)

(*'ce""ent,) said the storyte""er. (3nd so, *&an,) he continued, gesturing to the e'cited "ad, (8o you kno$ $hat $e do $ith va"ua&"e states=) *&an stepped a &it c"oser to the storyte""er and ans$ered 4$ith s"ight"y "ess enthusias#, unfortunate"y5 (3nchor it.) (;es,) said the storyte""er. (No$ don2t "et that fee"ing go. -se your #eta! progra# training. 6un through the su&#oda"ities of your e'cite#ent. Intensify it. 9ho$ a"" of us /ust ho$ e'cited you $ere $hen you started running &ack here $ith your ne$ a&out the te"ephone nu#&erB) *&an started /u#ping up and do$n $ith nervous e'cite#ent. (There2s part of your kinesthetic anchor,) said the storyte""er. (>h, &a&yB) *&an &egan repeating soft"y. (There2s an audio digita" anchor,) said the storyte""er. 3s they sa$ *&an2s e'cite#ent peaking, the group app"auded to reinforce his happiness and success. (.ive it a na#e,) instructed the storyte""er. (I2"" ca"" it #y D>h, &a&yB2 state,) said *&an. (.ood,) continued the storyte""er. (No$ $rite do$n a"" your anchors, a description of the state and its #ain su&#oda"ities, and then te"" us ho$ you p"an to use it.) *&an took a card and a pen fro# the storyte""er. Ae $rote (hopping in e'cite#ent and s+ueeGing &oth fists) as a kinesthetic anchor. Ae $rote (>h, &a&yB) as the na#e and as the audio digitia" anchor. Ae $rote (I#age of hristine) as a visua" anchor, a"ong $ith (s#i"ing, &eautifu", &right, c"oser, c"osing her eyes, kissing.) Ae $rote a &rief description of ho$ he fe"t. Then he "ooked up at the group. (>kay,) he started, sti"" fee"ing his e'cite#ent. (Aere is ho$ I a# going to use this. 6ight &efore I start an approach, I $i"" fire off the anchors for D>h, &a&yB2 Then, I $i"" stopping #y hopping and get so#e contro" over #yse"f. Then, I $i"" $a"k up to the $o#an and #ake an o&servationLnot a co#p"i#ent, /ust an o&servationLa&out so#ething she is $earing or ho"ding. If I start fee"ing nervous, I $i"" s+ueeGe &oth hands to he"p re!intensify #y state of e'cite#ent. I2"" try to keep the conversation going, &ased on $hatever she gives #e in response. No #atter $hat happens at the end, I $i"" fire off the anchors for D>h, &a&yB) at the end of the interactionL/ust to #ake sure it ends up fee"ing "ike a positive e'perience for #e, no #atter $hat resu"t I get. If I haven2t gotten $hat I $anted fro# that $o#an, I2"" start "ooking for another $o#an, and I2"" do it again.) The group app"auded again. The storyte""er s#i"ed. *&an $as "earning. ( an you use the anchor any$here e"se=) ask the storyte""er.

(-# C yeah C) said *&an, thinking. (?henever I $ant to fee" e'cited, at $ork, $ith #y &uddies, $hen I2# "earning so#ething C I can &ring e'cite#ent to it, using #y D>h, &a&yB2) state.) (@et2s hear the na#e of the state again,) said the storyte""er. (>h, &a&yB) shouted *&an, thro$ing his head &ack, thrusting &oth fists in the air, and shouting at the cei"ing. The &oy had a ne$ stateB ,art 3. The ne't day, conversation at the storyte""er2s house resu#ed. (3"right,) said the storyte""er, (@et2s continue the discussion of states and anchors. 3fter *&an ca#e in $ith his first phone nu#&er yesterday, ho$ #any of you "eft $ith your o$n (>h, &a&yB) state=) No one responded. (Is that &ecause a"" of you a"ready have a state of intense e'cite#ent=) asked the storyte""er. (?ho has a"ready anchored a state of intense e'cite#ent=) >n"y one hand $ent up. ( o#e up here *&an,) instructed the storyte""er. (9ho$ the group your D>h, &a&yB2 state.) 3s *&an &egan hopping and #u#&"ing, the storyte""er continued. (?atch hi#B) he instructed the group. (Eee" it. ;ou can see $hat he2s fee"ing. ;ou kno$ he is thinking a&out hristine, and getting her nu#&er, and getting that kiss. ;ou can fee" that. I#agine it. Intensify itB I $ant to see so#e peop"e hopping up and do$n in hereB) The e'cite#ent "eve" in the roo# $ent up e'ponentia""y. 0oys $ere s#i"ing, c"osing their eyes, hopping and s+ueeGing their fists or #aking up their o$n kinesthetic anchors for e'cite#ent. (No$ give the state your o$n na#eB) instructed the storyte""er. (*'cite#entB) said so#eone. (;ou can do &etter than thatB) said the storyte""er. (.ive it a na#e that is going to trigger so#ething for youB Not /ust a generic na#e "ike De'cite#ent2 C it sounds "ike De'cre#ent2B) Ne$ na#es for (>h, &a&yB) state &egan to pop out. The storyte""er &egan handing cards and pens to peop"e as they shouted out the na#e for their state of e'cite#ent. (No$ re#e#&er $hat *&an did, yesterdayB ?rite do$n a"" your anchors 4kinesthetic, audio digita", visua"5, a description of the state and its #ain su&#oda"ities, and think a&out ho$ you p"an to use it.)

M8ear reader: 8o you have your (>h, &a&yB) state, yet= The storyte""er has taken you through the process t$ice, no$. I don2t $ant to have to point out the o&vious, &ut you are supposed to &e participating $ith $hat is going on here. ;ou $ant an (>h, &a&yB) state, &ecause you2re going to need it for a"" the sa#e things that *&an /ust descri&ed. .et out so#ething to $rite on, start hopping up and do$n and get yourse"f an (>h, &a&yB) anchorBN 3s the group finished, the storyte""er asked, (No$ ho$ #any of you have an D>h, &a&yB2 anchor=) *very hand shot up, and this ti#e, it $as c"ear that #ost of the &oys in the group $ere sti"" fee"ing the effects of the e'cite#ent. (?as it necessary for you to get a $o#an2s phone nu#&er &efore you anchored a state of e'cite#ent= >r cou"d you do it /ust &y i#agining that you $ere fee"ing $hat *&an $as fee"ing=) asked the storyte""er. (?e cou"d create the state &y i#agining,) responded various #e#&ers of the group. (9o it doesn2t #atter if the state &egins fro# a pri#ary state or a "eve" 1 #eta! state,) said the storyte""er. (That $as an e'ce""ent o&servation.) (Ao$ usefu" $i"" this state &e to you no$=) asked the storyte""er. (6ea""y usefu"B) shouted one &oy $ith e'cite#ent. (8avid .,) said the storyte""er reproachfu""y, (I2# not "ooking for the o&vious rhetorica" response. Make an o&servation that $e can use to "earn. Teach yourse"f so#ething &y giving your ans$er so#e thought.) (-# ... ( said 8avid . (?ho $ants to he"p 8avid .=) asked the storyte""er. 8avid @. raised his hand. The storyte""er nodded. 8avid @. &egan, (Ao$ are you going to use it=) (7ust "ike *&an said, yesterday,) said 8avid . (Te"" us,) said 8avid @. (-# C) &egan 8avid . Ae $as c"ear"y fee"ing very nervous. Ae hadn2t thought it through. Ae had #ere"y &een s$ept up in the e'cite#ent, and had no idea $hat he $as doing. (Eire off the anchor, againB) instructed 8avid @. (>h, &a&yB .et hoppingB @et2s go no$B) 8avid @. &egan hopping $ith 8avid . &ringing &ack the e'cite#ent. (;eah, that2s it no$B ?hat do you $ant #ore than anything e"se, 8avid .=)

(I $ant #y first kissB) 8avid . &"urted out. There $as so#e "aughter fro# the group, &ut this ti#e 8avid . stayed in state. 9tep &y step, he i#agined and descri&ed ho$ he $ou"d approach and progress to a kiss good!&ye. (3nd $hat if you get shot do$n=) asked 8avid @., #aking sure that he used his voice to keep 8avid . in state. ( an you sti"" keep hopping= an you do it again and again= an you do it=B) (I can do itB) 8avid . shouted, hopping even higher. (It doesn2t #atter. I2# fee"ing itB .ir"s "ove #e, and I a# going to get that kissB) The storyte""er "et the e'cite#ent die do$n &efore he spoke again. ,art 4. The storyte""er &egan to $a"k the group through an ana"ysis. (?hat did $e ca"" *&an2s state $hen he ca#e running in f"ushed $ith e'cite#ent=) (,ri#ary 9tate,) $as the ans$er. (?hy=) (0ecause it $as an e#otiona" response to an e'terna" eventB) (8oes e'cite#ent co#e on"y fro# e'periences and ,ri#ary 9tates=) (No. ?e can &ui"d e'cite#ent fro# a "eve" 1 #eta!stateB) (Ao$=) (*&an cou"d re#e#&er the state and i#agine it again. That $as a #eta!state.) (.ood. Ao$ e"se=) (?e picked up on *&an2s e'cite#ent and #ade our o$n e'cite#ent. That $as another #eta!state.) 3 #e#&er of the group raised his hand $ith a +uestion for the storyte""er. (?hen $e #ade our o$n e'cite#ent, $as that a pri#ary state, since $e $ere responding to *&an= >r $as it a "eve" 1 or a "eve" F #eta!state=) The storyte""er said nothing. 3nother #e#&er of the group provided the ans$er. (It doesn2t #atter, 8avid >.) The storyte""er s#i"ed and $ent on. Ae en/oyed $atching his students deve"op the a&i"ity to distinguish &et$een $hat $as re"evant to their success. It #ight &e fine to discuss those other ideas in a one!on!one conversation, &ut he never a""o$ed those tangents to interrupt a group discussion. (?hat do you think a&out *&an2s and 8avid .2s reso"ves to fire their anchors at the end of an interaction $ith $o#en= ?i"" it he"p the#=) The group $as si"ent. It had sounded reasona&"e $hen *&an said it. It see#ed okay $hen 8avid . repeated the concept. 0ut $ou"d it $ork= Eina""y, so#eone raised their hand. (It depends,) they said. (>n $hat=) asked the storyte""er. (It depends on their higher "eve" #eta!progra#s,) ca#e the ans$er. (Very good,) said the storyte""er. (8escri&e $hat you #ean.)

(?e"", *&an has had so#e success. Ais e'perience te""s hi# he can do it. 9o even if he fai"s $ith his ne't approach, he has a higher!"eve" #eta!progra# that is going to override the &ad e'perience. ?hen he fires off (>h, &a&yB) he o$ns it. It2s going to $ork for hi#. It $i"" get hi# through to his ne't success.) 9o#eone e"se /u#ped in. (It #ight not $ork for 8avid ., &ecause he hasn2t gotten his first phone nu#&er yet. ?ithout the e'perience, he #ight have dou&ts a&out $hether or not he can do it.) (8oes 8avid . rea""y need to have the e'perience of success $ith a $o#an &efore his anchor $i"" support hi# through a cha""enge=) asked the storyte""er. (Not necessari"y,) said 8avid @. (*'perience $ith $o#en is not the on"y higher! "eve" #eta!progra# that he can dra$ on. 8avid . has a &igger pro&"e#. Ae has "o$ confidence in genera". Ae o&vious"y has so#e kind of "ess than positive &e"ief operating as a higher!"eve" #eta!progra#. ?hether he has e'perience or not, that higher!"eve" #eta! progra##ing is a"$ays going to under#ine his confidence unti" he reso"ves it.) The storyte""er s#i"ed. *veryone stood up and got ready to "eave, thinking the "esson $as over. 0ut the storyte""er in/ected another +uestion. (?hat can 8avid . do a&out his pro&"e# right no$, &efore he dea"s $ith his confidence pro&"e#= 3nything=) No one ans$ered. (8avid .,) said the storyte""er. (;ou have a po$erfu" anchor for e'cite#ent on the one hand. >n the other hand, you have a po$erfu" higher!"eve" pro&"e# $ith confidence. 8o you $ant to "et your "i#iting &e"iefs a&out your confidence $in the &att"e=) 8avid . "ooked at the ground. (No.) (?e"", then,) said the storyte""er. (I have a 9$ord for you, fro# the Magician.) The c"ass $as si"ent. They had never seen anyone given a 9$ord, or anything e"se fro# the Magician. In fact, they cou"dn2t &e sure $hat the 9$ord $as. 3 rea" s$ord= >r a #etaphor= The storyte""er opened a &ook. Ero# it, he pu""ed a fo"ded sheet of paper. Ae handed it to 8avid . (Aighest "eve" #eta!progra# C) 8avid . &egan to read. The group $as ho"ding its &reath no$. (I &e"ieve that the anchor I set today $i"" operate $henever I fire it, shie"ded &y #y highest!"eve" #eta!progra#. No other &e"ief that I have can stop #e fro# fee"ing e'cite#ent $hen I fire the anchor I set today.) The storyte""er "ooked at 8avid . (8avid ., do you &e"ieve $hat I a# a&out to te"" you=) 8avid . nodded. (It2s up to you 8avid . to overpo$er any other #eta! progra# $ith this 9$ord. Nothing can stop you fro# fee"ing e'cite#ent $hen you fire the anchor you set today, &ecause I a# giving you this 9$ord fro# the Magician.) The storyte""er "ooked up at the group. There $as +uestion in their faces. ?ou"d it rea""y $ork= ?hat $as the po$er in the 9$ord= Ao$= The storyte""er e'p"ained. (The 9$ord is a po$erfu" too". It a""o$s you to operate a&ove the highest #eta! progra# that you current"y have. In the case of 8avid ., he has e'perienced e'cite#ent. It is rea" enough. 0ut as you pointed out, his thoughts a&out his confidence "ie in a higher! "eve" #eta!progra#. The 9$ord is a thought a&out the confidence #eta!progra#. Therefore, it is at a "eve" one stage higher than the confidence #eta!progra#. The 9$ord

is a &e"ief a&out the re"ationship &et$een the #eta!progra# of confidence and another #eta!progra#. ?hat is the other #eta!progra#=) (The e'cite#ent anchor,) so#eone said. (No,) said the storyte""er. (The e'cite#ent itse"f is on"y a "eve" 1 #eta state of fee"ing in response to his interna" sti#u"us.) The storyte""er continued, (I gave 8avid . another #eta!progra# $hen I to"d hi# that the anchor $ou"d operate, protected &y his highest!"eve" #eta!progra# $hen he fires it. Ae kno$s that he $i"" fee" e'cite#ent $hen he fires it, &ecause he e'perienced that today. I re#inded hi# of that, and that thought provided hi# $ith a ne$ #eta!progra# one "eve" a&ove the anchorLthe thought that the anchor $ou"d a"$ays $ork for hi# $hen it $as fired.) The storyte""er continued. (The 9$ord is one "eve" a&ove &oth the thought a&out the anchor and the thought a&out his confidence $hich the rest of you &rought up. The 9$ord is a thought a&out the re"ationship &et$een other thoughts.) (It2s getting confusing,) said 8avid . 9o#e of the other younger &oys nodded. (;ou don2t have to understand the e'p"anation,) said the storyte""er. (9o#e of you $i"" understand it, and so#e of you $on2t. Those $ho understand it $i"" &e a&"e to create their o$n 9$ords.) There $as a pause, as #e#&ers of the group $ho did understand &egan to think a&out the possi&i"ity of creating their o$n 9$ords, their o$n thoughts a&out the re"ationships &et$een their o$n strengths and their o$n $eaknesses. *ven $ithout reso"ving their $eaknesses, they cou"d overpo$er the $eaknesses $ith ne$ thoughtsB They cou"d #ake their strengths the &e"iefs that #atteredB 3 sense of po$er &egan to s$eep through the roo#, for so#e of the &oys. (Eor those of you $ho are fee"ing confused, focus on 8avid . 8avid . has set a po$erfu" ne$ e#otiona" anchor. *very ti#e he fires it, he $i"" fee" e'cite#ent. I have to"d hi# that he $i"" fee" the e'cite#ent as his highest conscious state. Ae &e"ieves #e, he has e'perienced the state of e'cite#ent, and it $i"" happen for hi#. No$ he has a 9$ord. Ae can cut do$n any negative state or negative &e"ief &y firing his anchor and overpo$ering the negative state. Ae kno$s it $on2t reso"ve the negative state, &ut that $on2t #atter. Eor the #o#ent that he fires his anchor, in that #o#ent of ti#e and for as "ong as he can ho"d onto it, he $i"" #ake that e'cite#ent #ore i#portant than anything e"se. 3nd it that #o#ent in ti#e, he $i"" &e a&"e to do $hat he needs to do.)

hapter 3. The Magician2s .ir". ,art 1. The scene $as a #i' of &usiness and p"easure. The city and various &usinesses $ere sponsoring an evening of entertain#ent, $hich inc"uded a si"ent auction to raise #oney for the city2s she"ters. The activities $ere &eing he"d in the convention center do$nto$n, $ith nu#erous venues and thousands of peop"e in attendance. There $ere $o#en every$here. 3t each venue, there $as a &eautifu" hostess $ho $orked for one of the corporate sponsors. ?here food $as &eing served, there $ere doGens of $aitresses. ?here there $ere perfor#ances, $o#en he"ped peop"e find their seats or assisted the perfor#ers. ?here there $as dancing, $o#en $ere hired to #aintain the at#osphere of the event. In the "arge ha""$ay $here the charita&"e causes of the evening $ere on disp"ay, $o#en stood in &ooths ans$ering +uestions and pro#oting the i#pending auction. 3nd co#ing and going $ere the #any, #any $o#en $ho $ere si#p"y there to en/oy the entertain#ent, to &id at the auction or perhaps to #eet so#eone. (?ho shou"d I ta"k to=) Nei" asked Ty"er. (,ick the #ost high!va"ue $o#an you think you can getB) said Ty"er. (;ou #ean /ust "ook for the #ost &eautifu" $o#an, and see if she2"" give #e her nu#&er=) asked Nei". (0asica""y,) said Ty"er. (Isn2t that $hat $e a"$ays do=) In fact, that $as e'act"y $hat Nei" and Ty"er a"$ays did. Meeting $o#en $as a ga#e. They had #oved &eyond si#p"y keeping score &y counting the phone nu#&ers they cou"d get fro# 3N; $o#an. No$ they $ere scoring &ased on ho$ hot "ooking the $o#an $as. 9o off they $ent, confidence reasona&"y in contro", doing their approaches and asking for phone nu#&ersLand fee"ing pretty good a&out the#se"ves. 3fter a"", these $ere rea""y hot $o#en, and they $ere getting a phone nu#&er a&out F0 percent of the ti#eB OOOOOOOOO 3t another part of the venue, 0en and Marie $ere taking a different approach. Marie kne$ that she $as /ust the $ing#an, &ut 0en $as a friend and Marie $as having a fun ti#e at the event. (9o $ho do you $ant to #eet=) Marie asked 0en as she scanned the &a""roo# for gir"s that "ooked "ike fun. (9he has to "ook good, o&vious"y,) said 0en, (&ut "ook for a gir" that see#s "ike she $ou"d &e fun.)

0en2s approach $as to try and #ake gir"s "augh and s#i"e. Ae didn2t ask for a nu#&er un"ess he #ade a connection $ith a gir". Ae $asn2t satisfied $ith /ust another phone nu#&er as a trophy. Ae $anted to have "ots of gir"friends, so that he cou"d a"$ays &e assured of having a good ti#e. onse+uent"y, the gir"s he $as "ooking for had to have so#ething e'tra in the persona"ity depart#ent. OOOOOOOOOOO >ut in the ha""$ay, *&an and 8avid . $ere ta"king to the gir"s that $ere ans$ering +uestions at the disp"ays. They figured they pro&a&"y didn2t have a chance of getting to first &ase $ith any of these $o#en, &ut at "east the $o#en $ere a captive audience. No #atter ho$ &ad their approach turned out, the gir"s cou"dn2t "eave the disp"aysB 9o *&an and 8avid . $ere p"anning to get so#e practice, &oth to $ork on their confidence issues and to practice their pickup techni+ues. OOOOOOOOOOO Many others $ere attending the event. Eor doGens of #en, it $as "ike a pickup convention. The event $as tai"or #ade for a"#ost any pickup techni+ue i#agina&"e. The $o#en ranged fro# the high!c"ass rich $o#en #i""ing a&out the auction thinking a&out spending #oney to the trai"er trash hanging around any p"ace $here a"coho" $as &eing served. ,art F. No$, dear reader, to set the stage for $hat happened on this particu"ar evening, "et2s #ake a +uick note of the #eta!progra#s running in each of the venues $e have identified a&ove. Nei" and Ty"er have as their centra" #eta!progra# the idea that pickup is a ga#e. @ike any ga#e, keeping score is $hat the ga#e is a"" a&out. 3s Nei" and Ty"er #ake approach after approach, they have to dea" $ith their confidence issues and the strengths and $eaknesses of their techni+ues. Nonethe"ess, the focus of their #inds and &odies is the centra" #eta!progra# that this is a ga#e. 3nother centra" #eta!progra# to Nei" and Ty"er is the idea that a $o#an2s va"ue is &ased on her physica" &eauty. To Nei", a ta"" thin $o#an $as the u"ti#ate priGe. To s"eep $ith her, he considers the highest "eve" of attain#ent in his $or"d. Ty"er preferred a $o#an $ith "arge &reasts. To s"eep $ith her, he considers the u"ti#ate confidence &ui"der and the u"ti#ate p"easure. Nei" and Ty"er, $ith their focus on their ga#e, $ere o&"ivious to $hatever #eta progra#s #ight &e p"aying in the #inds of the $o#en that they approached. If they discovered that the $o#en $ere not open to their particu"ar approach, they si#p"y #oved on to another target unti" they received the response they $ere seeking. OOOOOOOOO

0en2s centra" #eta!progra# $as the idea that he $as a fun person $ho &rought fun to $o#en. 0en2s #eta!progra# kept hi# up&eat at a"" ti#es. If a gir" didn2t respond to his approach, he kne$ that he $as sti"" a fun person. If she did respond, it /ust proved $hat a fun person he $as. ?ith his focus on the #eta!progra# thought of $hat a fun person he $as, 0en never thought too #uch a&out his confidence or approach an'iety. Ae fe"t so#e nervousness right &efore an approach, &ut it never "asted. Ais #ind $as so focused on the thought of &eing fun and &ringing fun to the $o#an, that he didn2t have to dea" $ith confidence issues. >nce he had "earned a fe$ techni+ues for &eing fun, he used the sa#e patterns over and over in his pickups. Aaving Marie $ith hi# $as an e'tra protection to his ego. *ven if he got shot do$n, she $ou"d &e there to &ring hi# &ack up right a$ay. 9he $as proof that he $as a fun person and that he &rought fun to $o#en. >ccasiona""y, she $ou"d he"p hi# $ith the approach, and she $as a"$ays there to &ack hi# up. 3ny gir" that "ooked at hi# $ou"d see that he $as having fun $ith Marie. The fact that he didn2t have to hire his $ing#an, that he had a gir" $i""ing to go out $ith hi# to have fun #eeting other $o#en, $as further proof of /ust ho$ fun he $as. Ais centra" #eta!progra# $as $e""!protected and ran very po$erfu""y for 0en. 0en and Marie e'pected to find $o#en $ho $ere a"so running #eta!progra#s a&out having fun. Eun $o#en $ou"d &e the first to notice 0en and Marie ta"king and s#i"ing. Eun $o#en $ou"d &e the #ost "ike"y to respond $ith a s#i"e to 0en2s approaches. Eun $o#en $ere usua""y easy to spot, &ecause they $ere a"ready ta"king $ith so#eone, "aughing or doing so#ething e"se that disp"ayed their energy "eve". Targeting the $o#en $ho $ere a"ready "ooking for fun gave 0en a high ratio of success. OOOOOOOOO *&an and 8avid . $ere operating $ith a focus on their i##ediate physica" states. They $ere doing the sa#e things $ith outer ga#e that Nei" and Ty"er $ere doing, &ut their thoughts $ere constant"y #onitoring their o$n state of an'iety. Most of their energy $as spent trying to contro" their &asic e#otiona" states. They $ere getting &etter and &etter at #anaging their states, and $orking together $as a &ig he"p. They had reached a point $here they cou"d at "east "augh a&out it after a pickup. 9o their shared effort had taken a position of i#portance. ?hether or not they got a phone nu#&er $as no "onger the end of their #enta" process. In &et$een approaches, they cou"d re"a', discuss ho$ they did, and at "east fee" nor#a" as they got ready for the ne't one. That $as a #a/or shift for each of the#, and it #eant that they $ere a&"e to practice repeated"y each night, instead of giving up and avoiding the para"ysis that a fai"ed pickup $ou"d have created for the# /ust a fe$ $eeks ago. Eor *&an and 8avid . any $o#an $ou"d do. 9tatus #ade no difference to the#. *ven an ug"y gir" $as good practice, as $as the hottest #ode" that $ou"d &e sure to re/ect

the#. These t$o deter#ined sou"s $ere $i""ing to &ui"d up the courage to try an approach $ith anything that had t$o "egs. OOOOOOOOO Natura""y, there $ere hundreds of other #en in attendance at the event. Most of the# had no intention of approaching $o#en. ,erhaps they $ere in a re"ationship, and so they on"y fantasiGed a&out other $o#en. ,erhaps they $ere too nervous and unski""ed $hen it ca#e to approaching $o#en, so they $ou"d never consider even trying. >f course, their $ere a"so the very confident #en $ho approached $o#en +uite natura""y. 9o#e had no outer ga#e, &ut &ecause they $ere handso#e, rich, or successfu" in so#e other area of "ife, they see#ed to &e"ieve that approaching $as a nor#a" part of "ife. Those confident #en $ith good outer ga#e, ho$ever, had no trou&"e se"ecting and #eeting $o#en at this particu"ar event. The hundreds of $o#en at the various venues $ere a"so running a variety of #eta progra#s. 9o#e $o#en $ere there to $ork, $hi"e others $ere there for fun or to #eet #en. ?o#en in re"ationships $ere not e'pecting to #eet anyone, $hi"e #ost of the sing"e $o#en $ere at "east open to the possi&i"ity. 3fter a"", an event "ike this $as a natura" environ#ent for socia" introductions to ne$ peop"e. 3t a deeper "eve", $hether or not $o#en $ere open to #eeting so#eone, they each operated on the &asis of different e'pectations concerning ho$ they shou"d &e approached &y a potentia" candidate. They each had preferences a&out the appearance and other characteristics of #en they #ight #eet. They each had thoughts a&out things that #attered to the#, $hich $ou"d catch their attention and interest if such a topic $ere to co#e up during the evening. ,art 3. Nei" and Ty"er $ere having an average night, despite the "arge nu#&ers of $o#en. They had one or t$o phone nu#&ers fro# rea""y hot $o#en, &ut they had gradua""y started hitting on the "ess attractive $o#en as the night $ore on. The "ess attractive $o#en $ere si#p"y #ore interested in the attention fro# these t$o o&vious p"ayers, $hi"e the higher va"ue $o#en see#ed to &e $aiting for so#ething #ore fro# the "arge nu#&ers of #en approaching the#. 9udden"y, &oth Nei" and Ty"er noticed the #ost gorgeous &runette that they had seen the entire evening. 9he had "ong choco"ate!&ro$n hair, the #ost &eautifu" face they had ever seen, "arge &reast, a s"ender $aist, a &eckoning curve at the hips and "ong s"ender "egs. 9he $as $earing a tight "o$!cut dress $hich accentuated her "arge chest and "ong "egs. 9he $as $a"king s"o$"y in their direction. (?e have to give her a tryB) Nei" $hispered $ith enthusias#. (I2# going to do a go"d $a"k!up dia#ond.)

Ty"er nodded. Ae gauged the $o#an2s direction and took up a position that $ou"d re+uire the $o#an to $a"k around hi#. Ae turned his &ack to her, in order to ensure that he $as non!threatening. Ae /ust $anted to &e in her $ay, so that she $ou"d have to s"o$ do$n for Nei"2s approach. Nei" $as fee"ing a "itt"e #ore nervous that usua". Ae #enta""y triggered his (>h, &a&yB) state. @ooking at the approaching $o#an, he noticed that she $as $earing very e'pensive, very high hee"s. Ae decided to use a co##ent approach on the hee"s. Ae took a step &ack and to the side as the $o#an approached, "ooked do$n at her feet, and said "oud"y, (Those shoesB) 3s she stopped and "ooked at hi#, Nei" continued. (8o you #ind if I try one on=) The $o#an s#i"ed. (Aaven2t you given any thought to #y #eta!progra#s in choosing your approach=) she asked. The #en "ooked at each other, du#&founded. (I2ve seen the t$o of you going to the storyte""er2s house &efore,) she continued, (so I kno$ that you kno$ $hat I2# ta"king a&out.) (>kay, I guess I2# caught,) said Nei". (?e $ere trying to pick you up.) (8on2t $orry a&out it, &oys,) said the $o#an. (I $ant to he"p you. My &oyfriend o$ns a c"u& in to$n, The Aeat. I think he cou"d use a coup"e of e'tra p"ayers "ike the t$o of you. 0ut I do think your approach cou"d &enefit $ith so#e instruction fro# a $o#anB 8on2t you agree=) Nei" and Ty"er "ooked at each other and nodded $ith o&vious enthusias#. They $ere interested in "earning, &ut a"" they cou"d focus on $as ho$ &eautifu" this $o#an $as. They $ou"d have &een interested in anything that she had to say. (My na#e is Venus,) said the $o#an. (@et2s go sit do$n and ta"k for a #inute a&out your approaches.) The &oys fo""o$ed Venus to a cafP, $here they a"" took a seat and ordered so#ething to drink. (9o $hat is the #eta!progra# of the $o#an you2ve &een having success $ith=) asked Venus, getting right to the point. ?hen the &oys $ere s"o$ to respond, she snapped her fingers. (?ake up, &oys. If I2# going to he"p you $ith your approach, you2ve got to stop thinking a&out #y &reasts, and pay attention to your thoughts.) Ty"er didn2t $ant to stop thinking a&out #aking his ne't #ove on Venus. In his #ind, he $as a"ready "eading her into his &edroo# after getting her over to his p"ace. Ais thoughts $ere interrupted as Venus put her right hand on his cheek, "ooked into his eyes, and said, (I2# not going over to your p"ace, Ty"er. ;our fantasies are hurting your ga#e.)

Ty"er $as sure that he had not to"d Venus his na#e. It a"so occurred to hi# that she #ight have &een reading his thoughts, if she rea""y kne$ that he had &een thinking a&out getting her over to his p"ace. Ae didn2t #ind, &ut it $as enough to get his attention. ?hat $as he thinking a&out during pickup= It $as usua""y thoughts a&out $hat he $anted to do "ater $ith the $o#an he $as $orking on. ?ere his fantasies rea""y hurting his ga#e= (That2s &etter,) said Venus. (Think a&out your thoughts. ?hat are you thinking a&out during a pickup= Ero# start to finish.) (The first step is identifying the $o#an,) said Ty"er, his &rain functioning proper"y no$. (I start &y "ooking for a hot "ooking gir". >ur approach is to get her phone nu#&er, and then fo""o$ up $ith the &est "ooking gir"s. 9o the second step is to pick one of our routines, approach $ith confidence, and give it a go.) (It2s a #eta!progra# the storyte""er ta"ks a&out,) added Nei". (Ae says that once you have a focus, you have to pick a &ehavior, act on it, get feed&ack on the resu"t, ad/ust the &ehavior, act, get feed&ack, and continue unti" you2ve achieved the resu"t you are after.) (9ure,) said Venus. (&ut don2t you think you2re ready for a "itt"e #ore that /ust ad/usting your routines= 3fter a"", you2re on"y getting a nu#&er a&out F0Q of the ti#e $hen the gir" is rea""y attractive. ?hy not "earn so#ething to push that up to %0Q=) (The $o#an2s #eta!progra#=) asked Nei", picking up on $hat Venus had #entioned ear"ier. (That2s right,) said Venus. (;ou &oys are se"ecting $o#en and an approach &ased on $hat is going on inside your o$n heads. That2s $hy you are getting a "o$ success ratio. ;our progra# #atches up $ith the $o#an2s progra# on"y one out of five ti#es, un"ess she is not rea""y attractive and $ou"d &e interested in any attention.) (9o $hat do you suggest=) asked Nei". Ae didn2t get it. Ao$ $as he supposed to kno$ $hat #eta!progra#s $ere operating inside of a &eautifu" $o#an= (*very approach shou"d &egin $ith o&servation of the $o#an,) said Venus. (Eor e'a#p"e, as I $a"ked to$ard to t$o of /ust a fe$ #o#ents ago, you cou"d have &een thinking a&out $hat I #ight $ant. Instead, &oth of you $ere si#p"y revie$ing in your #inds the steps for each of the techni+ues you #ight use to get #y attention. The on"y o&servation you #ade $as that I $as $earing shoesB If I hadn2t &een headed your direction to ta"k to you, your approach $ou"d have offered #e nothing. *ven $orse, even though you kne$ you had a"#ost no chance $ith #e, your #inds $ere a"ready fantasiGing a&out #e. 3s I said, you can2t e'pect to succeed $ith $o#en if you prefer fantasy over i#prove#ent.) (3re you a #ind reader=) asked Ty"er. (8o you rea""y kno$ $hat $e $ere thinking a&out=)

Venus s#i"ed. ?ithout ans$ering his +uestion direct"y, she said, (Eiguring out $hat the t$o of you are thinking isn2t hardB 3s I said, every approach shou"d &egin $ith o&servation. I noticed that the t$o of you have si#p"y &een running pickup syste#s on different $o#en a"" evening "ong. I a"so o&served that you used the sa#e 4 or % routines at rando#, $ithout any tai"oring of the techni+ue to the $o#an you $ere approaching.) (9o ho$ do $e kno$ $hat #eta!progra#s a gir" is running=) asked Nei". (There is a "arge "ist of potentia" #eta!progra#s,) said Venus. (I2"" give you so#e e'a#p"es. If you start practicing o&servation of $o#en2s #eta!progra#s, you2"" "earn to figure the# a"" out &efore "ong.) Venus then ran do$n a "ist of fe#a"e #eta!progra#s that #ight &e operating during an evening out on the to$n, such as this. 9he discussed $hich approaches #ight $ork &est $ith each type of $o#an, &ased on her #eta!progra#s. 9he suggested $ays to o&serve ho$ the $o#an2s #eta!progra#s $ere affecting her response and ho$ to ad/ust to either neutra"iGe or get around #eta!progra##ing that #ight &e "i#iting the pickup process. ?hen Venus $as through ta"king, she dropped a &usiness card on the ta&"e. (Aere2s #y &oyfriend2s card,) she said. (If you $ant a "itt"e part!ti#e $ork pro#oting The Aeat, /ust sho$ the card to the door#an. Ae2"" "et you kno$ $here to go to get started.) (Ao$ a&out your nu#&er=) asked Nei". (1eep practicing,) said Venus. 9he f"ashed the# a s#i"e, turned and $a"ked &risk"y out the door. OOOOOOOOO Venus $as "aughing and ta"king to a &artender $hen she $as approached &y 0en and Marie. 0en cou"dn2t resist her o&vious &eauty and apparent charis#a. Ae $hispered so#ething to Maries and the t$o of the# $a"ked up to the &ar as if 0en $as going to order drinks for the#. The &artender paid no attention to 0en, his focus &eing entire"y on Venus. 0en p"ayed it coo" and "ooked off in another direction, $hi"e Marie noncha"ant"y /oined in the conversation $ith Venus and the &artender. >nce the three of the# $ere engaged, 0en turned, $hispered so#ething to Marie, and she #oved her position to non!ver&a""y invite hi# into the circ"e of their conversation. (9end our drinks to the poo" roo#, 7ohn,) said Venus to the &artender as 0en #oved c"ose enough to hear. ( o#e on, you t$o, "et2s #ove to the &ack roo# $here $e can ta"k $hi"e $e shoot so#e poo".) The &artender took a drink order fro# 0en and Marie, and then the three guests $a"ked to a separate roo# in the &ack of the &ar. 3 &ouncer $as /ust setting up the poo"

ta&"e, $hi"e the four peop"e $ho had &een p"aying previous"y e'ited to roo#. 3 $aitress set three drinks on a ta&"e, and she and the &ouncer "eft the roo#, "eaving Venus a"one $ith 0en and Marie. 0en picked up a cue stick and #ade the opening &reak. (0en,) &egan Venus, (I understand that you2re a"" a&out having a good ti#e.) (I don2t think I2ve ever #et so#eone $ho $as #ore co##itted to fun than I a#,) said 0en. Ae handed the cue stick to Marie to take the ne't shot. (9o $hy not take it to the ne't "eve"=) asked Venus. (9ure,) said 0en. (?hat did you have in #ind.) (9e',) said Venus, sudden"y "ooking direct"y at 0en. 0en &"ushed. Venus picked up the cha"k, and turned to $a"k around the ta&"e as her $ords sunk in. (The t$o of you, #ake a good pair,) said Venus, as she "ined up a shot. (?e2re /ust friends,) in/ected Marie. 9he g"anced at 0en, s#i"ing, hiding any nervous tension $ithout any difficu"ty. (>f course,) said Venus. (I2ve $atched the t$o of you operate. ;ou2re very good at he"ping 0en #eet &eautifu", interesting $o#en. I can see that you2re &oth having a good ti#e H at "east unti" you go ho#e. I2# /ust curious as to $hy the t$o of you a"$ays go ho#e a"one.) 0en $as &eginning to fee" unco#forta&"e. The conversation $as e'ceeding his safe se"f!i#age of a fun guy that cou"d #ake any gir" s#i"e. Marie /ust shrugged it off. (I haven2t #et the guy I $ant as a &oyfriend,) she said. (0en2s a great friend, and I2# happy hanging out $ith hi#. ?hen he hooks up $ith so#eone, I2# happy to give hi# his space to do $hat he $ants.) It $as 0en2s turn to take the ne't shot, and he cou"d fee" the gir"s "ooking at hi#. It $as his turn to speak, as $e"". Instead, he "ined up a shot in si"ence. Ae hit the cue &a"" and near"y #issed the &a"" he $as ai#ing for, a very &ad shot. Venus "aughed good natured"y. (>h, 0en,) she said. (I2ve put you on the spot and #ade you unco#forta&"e. ,"ease accept #y apo"ogy, and do take another shot.) 0en "aughed $ith her. Ae ackno$"edged his nerves, took another shot, and this ti#e #ade it. The conversation resu#ed on another topic, and p"ay continued. 0ut as 0en $atched Venus shoot, he &egan "ooking at her "egs, her &ody, and he &egan thinking a&out the thought she had p"anted. Ae $ou"d "ove to take her ho#e and #ake "ove to her. ?hy didn2t his ga#e inc"ude a p"an for getting a gir" a"one= ?as it &ecause of Marie= 8id he fear offending her= ?as he afraid to &e a"one $ith a $o#an= ?hat $ou"d his ga#e &e $hen the appropriate topic $as so#ething physica", instead of /ust "aughing and having fun as a group=

0en &egan to rea"iGe that he $as so#e$hat of a "oner, $hen he $asn2t out $ith Marie #eeting gir"s. ?e"", he cou"d ta"k to Marie a&out anything. Ae had his guy friends. Ae had nu#&ers for p"enty of $o#en that he cou"d count on for fun. 0ut as he thought a&out it, he didn2t fee" rea" inti#acy $ith any of the#. Ae fe"t unco#forta&"e. Ae had avoided ever rea""y thinking a&out inti#acy $ith anyone. Ae $as so #uch #ore at ease /ust having fun $ithout taking on the &urden of needing to score. 0en $ondered if Marie $ou"d s"eep $ith hi#. Ae $ondered if he s"ept $ith Marie ho$ that $ou"d affect her $i""ingness to &e his $ing#an. Ae reso"ved to ta"k $ith her a&out it. Ae needed to e'pand his ga#e to inc"ude taking $o#en &ack to his p"ace, and he needed Marie to &e a part of that, one $ay or another. 3s 0en reached his reso"ve, Venus e'cused herse"f, "eaving 0en and Marie a"one in the poo" roo#. OOOOOOOOO ?hi"e *&an $atched, 8avid . approached a $o#an $ho $as providing infor#ation a&out the charity auction that $as to take p"ace in /ust over an hour. 9he had a daGG"ing s#i"e. 9he $as /ust the right height and very attractive. 9he $as a"" &usiness, so $hen 8avid . popped out $ith a corny "ine, she s#i"ed and asked hi# if he had any +uestions a&out the auction that she cou"d ans$er. 8avid . asked a "a#e +uestion, to $hich he had o&vious"y given no thought. They $o#an provided a &rief response to turned to "ook for anyone e"se $ho #ight have a re"evant +uestion. (?e2"" "ook for you at the auction,) she said po"ite"y, "ooking &ack over her shou"der at 8avid . *&an s"apped 8avid . on the &ack as he $a"ked &ack to $here *&an had &een $atching. (Nice try, &uddy,) said *&an "aughing. (9he $as on"y interested in the auction,) said 8avid . fro$ning. @et2s go find a &ar, $here there #ight &e gir"s interested in #eeting guys. I2# getting tired of practicing approaches on gir"s that are /ust here to $ork. 3s they &egan to turn, Venus took *&an &y the hand. (?ou"d you co#e $ith #e for a #o#ent=) she asked po"ite"y. *&an nodded. (.ood,) said Venus. (Then "et #e take your ar#. @ead #e &ack to that $o#an that 8avid . $as /ust speaking $ith.) 3s they approached, Venus struck up a conversation $ith the $o#an concerning the auction. Eirst, she asked a&out price ranges, +ua"ity of the ite#s &eing so"d, verification of +ua"ity or authenticity, and other particu"ars of the auction. The $o#an $as kno$"edgea&"e and see#ed +uite happy to provide as #uch he"pfu" infor#ation as she

$as a&"e. Venus re#ained ho"ding onto *&an2s ar#, and fro# ti#e to ti#e, she created enough of a pause to a""o$ *&an to inter/ect a co##ent or a +uestion on the topic. 9econd, Venus asked the $o#an a&out her &ackground as it re"ated to the auction. 3s the $o#an e'p"ained, she $orked as a spokes #ode". 9he had &een hired severa" $eeks ago to $ork at the auction. 9he had #e#oriGed a"" of the infor#ation that $as needed to pro#ote the auction &efore it &egan. 9he did other si#i"ar $ork for "arge co#panies. 9he occasiona""y did photoshoots, &ut her pri#ary $ork invo"ved $orking $ith sa"espeop"e at tradesho$s or si#i"ar events. Third, Venus asked if she had co#e fro# out of to$n and $ou"d she &e staying after the event $as over. 9he $as fro# out of to$n. 9he $ou"d &e staying in the Marriot hote" through the $eekendLto get a &etter rate on her airp"ane fare. (My &oyfriend o$ns a c"u& here in to$n,) said Venus. (?e $ou"d &e honored to have you as a guest to#orro$ evening.) (>h, is this your &oyfriend=) asked to $o#an, s#i"ing at *&an. It $as apparent that his va"ue had /ust risen $ith the suggestion that he o$ned a c"u&. (>h, no,) said Venus gai"y. (This is *&an, his is a good friend of #ine and #y &oyfriend. .ive hi# your roo# nu#&er at the Marriot, and he can arrange to pick you up to#orro$ evening.) Venus "ooked at *&an $ith a s"ight pause. (That2s a"right $ith you, isn2t it *&an= ;ou don2t have p"ans $ith so#eone e"se do you=) (That $ou"d &e fine,) said *&an. 9o#eho$ he contro""ed his e'cite#ent. The conversation, "ead &y Venus, had see#ed "ike the #ost natura" thing in the $or"d. The $o#an pu""ed a &usiness card out of her purse. >n the &ack she $rote the nu#&er for the Marriot and her roo# nu#&er. (.ive #e a ca"" at "unchti#e, to#orro$,) she said to *&an $ith a s#i"e. (9ounds great,) said *&an. *&an and Venus turned and $a"ked off in the direction opposite $here 8avid . had &een $atching. 3fter turning the corner, they stopped to $ait for 8avid . to catch up. Venus handed her &oyfriend2s card to *&an and e'p"ained to hi# $hat he $ou"d need to do the fo""o$ing evening $hen he arrived at The Aeat $ith the spokes#ode" fro# out of to$n. 3s 8avid . $a"ked up to the t$o of the# $ith a grin on his face, Venus gave hi# a kiss on the #outh. 8avid . and *&an "ooked at her in a#aGe#ent, the "ook on their faces c"ear"y +uestioning $hat on earth she $as up to. (I had to give you so#ething, 8avid,) said Venus. (3fter a"", *&an got to #eet the gir", he2"" have "unch $ith her to#orro$, pro&a&"y take her shopping, and then the t$o of the# $i"" &e going to The Aeat to#orro$ night. -nfortunate"y, you $on2t &e a&"e to /oin us, since you &o#&ed $ith the sa#e $o#an /ust a fe$ #inutes &efore she #et *&an.)

8avid . grinned. (I2ve had a "ot of other disappoint#ents in #y "ife, you kno$,) he said $ith a s#i"e. (3ny chance you #ight he"p #ake up for so#e of the other ones=) Venus gave hi# a genuine "augh. (9o#e other ti#e,) she said. (Eor no$, /ust re#e#&er the "esson of the evening.) (?hat do $e need to re#e#&er=) asked 8avid . (6e#e#&er that $hen you operate inside a $o#an2s e'isting #eta!fra#es, you enter her $or"d, 8avid. That $o#an had no interest in a pickup. 9he $as here this evening to do a /o&, $hich she took +uite serious"y. *&an and I entered that $or"d. ?e &eca#e her custo#ers. ?e ta"ked a&out the appropriate su&/ect at hand and ho$ it re"ated to her. >n"y $hen $e $ere fir#"y "iving in that rea"ity $ith her did $e #ake an invitation that "ead to her date $ith *&an. 3nd I think if you ask *&an, he didn2t spend even a second $orrying a&out &eing nervous through the entire conversation. Much &etter to &e in her $or"d than the nervous $or"d that you approached her $ith, 8avidB) *&an shook his head. Venus had &een "eading the conversation, of course, &ut it had see#ed so natura", there had &een nothing to $orry a&out. DThanks,) he said to Venus. Venus s#i"ed at the# &oth, $inked at 8avid ., and $a"ked a$ay. ,art 4. 3s Nei" and Ty"er e'ited the cafP $here they had &een "eft &y Venus, a stunning &"onde $o#an paused outside the door$ay to "et the# pass. Nei" i##ediate"y took a step &ack to ho"d the door open for her. (3""o$ #e,) he said, and then added, (The "atte is rather good here. Aave you &een here &efore=) (No,) said the $o#an, innocent"y. (I usua""y don2t stop at p"aces "ike this. It2s /ust &een a "ong night.) Nei" $aived to Ty"er to stay out of the $ay. (Ao$ a&out if I order you so#ething, then=) Nei" suggested to the &"onde $o#an. (>kay,) she said. (;ou2re friend is $e"co#e to /oin us, too,) she added. Nei" "ooked at Ty"er. Ae ro""ed his eyes, not "etting the gir" see his disappoint#ent. 3t "east he ought to &e a&"e to get her nu#&er, he thought. 3nd if they $ere "ucky, she $ou"d end up having a friend. The three of the# $ent &ack into the cafP. Nei" "ooked at the gir", trying to #ake an o&servation. Ae ca#e up $ith nothing. (@atte, then=) he asked. 9he s#i"ed her approva". Nei" ordered t$o "attes. Ty"er ordered his o$n.

(9o $hat &rings you to the evenings event=) Nei" asked the &"onde $o#an. (>h, a friend asked #e to co#e,) she said. 0oth of the &oys &egan thinking &oyfriend. 3fter a"", a $o#an this hot $as not going to &e on her o$n. 3nd the fact that she had &een so $i""ing to /oin the t$o of the# for a "atte suggested that she had "itt"e concern a&out their intentions. (,erhaps $e shou"d "et your friend kno$ $here you are,) said Ty"er. Nei" cou"dn2t decide $hether Ty"er $as hoping it $as a gir"friend or if Ty"er $as /ust trying to spoi" Nei"2s chances for success. (?e $ou"d "ove to #eet the#, too,) added Ty"er. (Thanks,) she said, (&ut he didn2t co#e tonight. 0esides, I2# sure the t$o of you can keep #e co#pany for a$hi"e.) Nei" $as started to $onder a&out his good "uck. May&e it $as so#ething that had ru&&ed off fro# Venus. No$ that he had ta"ked $ith a stunning &eauty "ike her, #ay&e a"" the gorgeous gir"s $ou"d $ant to ta"k to hi#. Ae $as a&out to &egin a fantasy a&out taking t$o gir"s ho#e at the end of the night, &ut he stopped hi#se"f. Ae re#e#&ered Venus2 advice a&out ho$ fantasiGing $as hurting his ga#e, and he returned his attention to the &"onde $o#an. (I didn2t catch your na#e,) he said po"ite"y. (3#y,) she ans$ered s$eet"y. Nei" sti"" didn2t have a c"ue $here to go $ith his ga#e, so he started introducing the cu&e. (>h, I "ove cu&eB) 3#y said, her voice rising $ith e'cite#ent. (>h, sorry, you2ve heard it &efore,) said Nei". (>h, sure,) said 3#y. (I2ve heard the# a"". 0ut the cu&e is one of #y favorites. @et2s do it together, a"" three of usB) (The three of us are a"one together in a vast, &arren desert,) &egan Ty"er. 3#y interrupted, (;ou kno$ the first guy $ho used the cu&e on #e thought that the desert $as dessert. I i#agined a &o$" fu"" of /e""o $ith a "itt"e tiny cu&e of /e""o for the cu&eB) The three of the# "aughed. Ty"er continued. (In the desert is a cu&e, a "adder, a horse, a stor# and f"o$ers. 8escri&e.) (;ou2re supposed to descri&e the dessert, first,) said Nei". (Then you do the cu&e, the "adder, etc. ;ou don2t introduce the# a"" at once.) (?e"",) said Ty"er, (I figured since $e2ve a"" heard it &efore, $e #ight as $e"" not $aste any ti#e $ith the setup. ?ho is going to start=)

(Nei" $i"",) said 3#y, s#i"ing at hi#. Eor the second ti#e that night, Nei" found hi#se"f $ondering a&out ho$ gir"s he had /ust #et see#ed to a"ready kno$ his na#e. (Ty"er #ust have used #y na#e,) he thought. Nei" &egan. (?e"", since there are no surprises, the dessert represents #y "ife. ?hi"e there is &arrenness in the distance, I a# surrounded &y a "ush oasis. *verything around #e is $e""!$atered and gro$ing. I H( (.ood grief,) interrupted Ty"er. (Instead of trying to #ake your "ife "ook "ike such a heaven"y p"ace, try /ust i#agining a desert and descri&ing it.) (;ou go first,) said 3#y, #otioning to Ty"er. Ty"er c"osed his eyes and pictured a desert. Ae &egan "isting $ords to descri&e the dessert. (?ar#, "ots of 8unes, its ear"y in the #orning and the sun has not yet co#e up, so there is de$ g"istening on the "eaves of s#a"" &ushes here and there. 9#a"" ani#a"s are "icking the de$ off the "eaves and "ooking for shade to shie"d the# fro# the sun as it &egins to rise.) ?hen Ty"er opened his eyes, he noticed that 3#y had her eyes c"osed. (M###,) she said soft"y. (Very good. ontinue $ith the cu&e, no$. The u&e descri&es you.) (Ty"er2s cu&e has a huge penis,) interrupted Nei". Ae chuck"ed at his hu#or. 3#y opened her eyes and s#i"ed. (Is that true, Ty"er= 3re you picturing a cu&e $ith a "arge penis=) Ty"er took Nei"2s /oke "ike a good sport. (I hadn2t noticed that at first. 0ut no$ that you #ention it, it does appear to &e true.) (>kay, go on,) urged 3#y. 9he c"osed her eyes again. Ty"er continued, discussing the cu&e he i#agined, $hich represented hi#se"f. Ae descri&ed the "adder in ter#s that app"ied to his friends. Ae descri&ed the horse, $hich represented his i#agined "over. Ae descri&ed the stor# and ho$ the cu&e, the "adder and the horse reacted as it approached. The three of the# &egan to discuss Ty"er2s "ife and the pro&"e#s represented &y the stor#. Nei" and 3#y each shared a "itt"e of the sa#e ideas fro# their o$n "ives. They never got to the f"o$ers and his fee"ings to$ard chi"dren that the f"o$ers represented. 3s the discussion of the stor# &egan to $rap up, Nei" and Ty"er cou"d sense that their conversation $ith 3#y $as co#ing to a c"ose. (3re $e going to get your nu#&er,) asked Ty"er. (;ou2ve done &etter than that,) said 3#y. (I2"" &et that $as the first ti#e you rea""y opened up and ta"ked to a gir" a&out yourse"f, isn2t it=)

Ty"er nodded. *ven Nei" see#ed i#pressed &y Ty"er2s se"f!reve"ations. (I kno$ you t$o are rea""y &udding p"ayers,) said 3#y. (I /ust $anted to sho$ you another ang"e on your ga#e. ?hen you find a gir" that you rea""y "ike, if you get the chance, do so#ething to #ake a rea" connection. ;ou can get every gir"2s nu#&er in the entire city, &ut if you fai" to connect $ith any of the#, $hy are you doing it=) 3#y2s +uestion hung in the air for a #o#ent, &efore anyone responded. (;ou2ve got to "ove the cu&e,) said Nei". (Thanks for the "atte, &oys,) said 3#y standing up. (I2"" see you around.) 9he $a"ked out the front door of the cafP $ithout g"ancing &ack. 3s she $a"ked a$ay, Nei" and Ty"er2s thoughts turned to the cu&e and #aking "ove to 3#y in the #idd"e of the coo", de$ covered desert that Ty"er had /ust descri&ed. 3 ne$ standard had &een &orn in each of their #inds, and they &oth $anted a gir" that $as open to a connection "ike that. OOOOOOOOO 0ack in the poo" roo#, 0en turned to Marie. (Aave you ever thought a&out having se'=) 0en asked her. (,"ease,) said Marie. (;ou2re not rea""y going to go there, are you=) (I don2t kno$,) confessed 0en. (I #ean, #ay&e Venus is right. May&e I need to score no$ and then. 9he /ust got #e $ondering if I a# /ust avoiding getting inti#ate $ith $o#en, &ecause I have so#e kind of hidden fears a&out inti#acy or so#ething.) (?e ta"k a&out everything, 0en,) ans$ered Marie. (;ou2re not afraid of $o#en.) (?e"" then, $hy don2t I even take gir"s ho#e=) asked 0en. (9ure, $e can have a great ti#e, out on the to$n. 0ut it $ou"d &e nice to have so#ething #ore than /ust casua" friendship, $ou"dn2t it=) (9o you $ant se'=) asked Marie $ith a sarcastic tone. (?e"", you2re #y friend,) said 0en. Marie cut hi# off. (;ou $ant to have se' $ith #e= Is that it=) (?e"", no, its /ust that, you kno$, you2re #y $ing#an. ;ou #ake everything easy for #e C)

(>h, #y he""B) Marie inter/ected again. (I can2t &e"ieve you $ant #e to he"p you get se'B I thought you $ere /ust a&out having fun, 0en. ?hat2s $ith this sudden insecurity a&out having se'=) 3t that #o#ent, a &"ond $o#an entering the roo# caught their attention. 0en and Marie stopped arguing. (8id so#eone say se'=) asked the $o#an, "aughing. The tension disappeared instant"y, and the three of the# &egan "aughing together. (I2# 3#y,) she said. ( are for another round=) 0en and Marie cou"dn2t decide is she $as suggesting another round of drinks or another round of &i""iards. (9ure,) they &oth said at once. Marie took a step for$ard to rack up the &a""s. 0en took t$o steps to$ard the door to order drinks. Ae turned to ask 3#y $hat she $anted to drink. 3s he did, she raised a finger to point to$ard the door. 3 $aitress $as a"ready entering $ith three drinks. (9o ho$ "ong have the t$o of you &een ta"king a&out se'=) asked 3#y, s#i"ing as she surveyed the poo" ta&"e, not "ooking at either of the#. Eor so#e reason, 0en did not fee" unco#forta&"e $ith the su&/ect this ti#e. Marie ans$ered first. (>h, it $as /ust so#ething that so#eone e"se &rought up. ?e don2t usua""y ta"k a&out it.) (7udging fro# ho$ "oud your voices $ere getting,) &egan 3#y, (it sounded "ike the t$o of you #ight actua""y &e "ooking for a se' therapistB) This ti#e Marie &"ushed. (It2s okay,) continued 3#y s$eet"y. (Eor as "ong as the t$o of you have &een together, don2t you think it2s a&out ti#e that you did ta"k a&out se'=) Marie2s face gre$ even hotter. 3#y continued ta"king. (0en cou"d rea""y use your input, Marie,) she said. (Men spend a "ot of energy using se' as a path$ay to se"f!va"idation. It2s easy for a strange $o#an to co#e a"ong and offer the# se' and get the# started do$n the $rong $ay of thinking a&out it.) Marie $as &eginning to see $hat 3#y $as suggesting. ?hether she $anted to s"eep $ith 0en or not $as i##ateria". 0en $as getting ready to e'pand his co#fort Gone $ith $o#en, and he cou"d either enter his ne't inti#ate re"ationship #ature"y, or he cou"d do it se"f!destructive"y. (9he2s right, 0en,) &egan Marie. (;ou2ve &een a rea""y good friend. ;ou are a "ot of fun. If you $ant to get c"oser to $o#en physica""y, you have to &e prepared to get c"oser e#otiona""y, as $e"". >ther$ise, se' is /ust going to separate you fro# the good re"ationships that so#eone "ike you can have $ith $o#en.)

0en $asn2t sure that he $as ready to confess that he fe"t so#e insecurity a&out taking the ne't step to having se' $ith the gir"s he #et, &ut it $as true that $hat Venus had said did start his thinking a&out his a&i"ity to get se' as a #easure#ent of his se"f! $orth, rather than as a part of increasing inti#acy $ith a $o#an. 0en didn2t say anything. (I think he understands,) said 3#y. The su&/ect changed to so#ething a&out having fun, and the three of the# continued to p"ay poo" for another hour, &efore 3#y "eft 0en and Marie a"one together. OOOOOOOOO The na#e on the spokes#ode"2s &usiness card $as 0rooke. ?hen *&an ca""ed 0rooke the fo""o$ing day, he $as a &und"e of nervous energy. Ae had a"ready spent 1% #inutes discussing $ith 8avid . $hat the right ti#e to ca"" $ou"d &e. 9hou"d he ca"" at 11:30 to give her ti#e to get ready, or $ou"d he co#e across as too eager= They &oth agreed that $aiting unti" 1F:30 $ou"d pro&a&"y #ake her #ad, since she had to"d hi# to ca"" her for "unch. Ae decide to ca"" at 11:%0 fro# his ce"" phone, 10 #inutes &efore he $ou"d arrive at the hote". 9o that #eant he had F0 spare #inutes fro# 11:30 to 11:%0 to think a&out his e#otiona" state. Thank 8ie0o"d that the storyte""er had sho$ed the# ho$ to set anchorsB ?hen he ca""ed, 0rooke picked up the phone. (>h, he""o, *&anB I2ve &een $aiting for you to ca"",) she said. ( an I #eet you do$nstairs in the hote" restaurant=) (9ure,) said *&an. (>kay,) said 0rooke. (6ight after you "eft "ast night, I #et a gir" na#ed 3#y. I2"" &e sitting $ith her in the restaurant. ?e2"" $ait for you to arrive &efore $e order.) 0rooke hung up the phone. *&an gre$ t$ice as nervous. T$o $o#en. 0ut then he rea"iGed that the t$o of the# $ou"d pro&a&"y do #ost of the ta"king. Ae cou"d /ust sit &ack and p"ay a"ong, and he $ou"dn2t have to co#e up $ith anything to ta"k a&outB This cou"d &e as easy as "ast night had &een $ith Venus providing the conversation. ?hen *&an $a"ked into the restaurant and sa$ 3#y, the nervousness surged &ack. 9he $as &etter "ooking that 0rooke and the e+ua" of Venus. Ae hoped that he $ou"d &e a&"e to keep up $ith the conversation $ithout "ooking "ike a tota" hick. 0rooke spotted *&an, and $aved to hi#. Ae fired off is confidence anchor and approached the ta&"e at a +uick $a"k. (*nter their $or"d. *nter their $or"d,) he repeated to hi#se"f. ?hen he sat do$n, the gir"s $ere ta"king a&out #ode"ing, &ut they +uick"y turned their attention to *&an. (9o ho$ did you #eet the o$ner of The Aeat=) asked 0rooke.

*&an2s #ind raced for an ans$er that $ou"d put hi# in the &est "ight. Ae cou"dn2t te"" 0rooke that he had never even &een to The Aeat. 0rooke $as pro&a&"y e'pecting hi# to &e so#e kind of high!po$ered &usiness #anager, so#eone $ho $ou"d &e a&"e to he"p advance her career as a spokes#ode". Ae certain"y cou"dn2t te"" 0rooke that he didn2t even kno$ Venus. ?hat $ou"d 0rooke think if she kne$ that he $as nothing #ore than (8avid .2s &est friend) !! you kno$, the "a#e guy that tried to pick you up "ast night right &efore #e= Ae needed an e'p"anation that #ade hi# out to &e a p"ayer in the &usiness $or"d on so#e "eve". (3ctua""y, I $as /ust introduced to the #an "ast night,) said *&an. (I2# e'pecting to #eet hi# tonight.) *&an $asn2t sure that he $ou"d see Venus or the o$ner of The Aeat $hen he $ent there $ith 0rooke, tonight. Ais &est chance of another #eeting $ith Venus $as the fact that Venus had #ade the invitation to 0rooke on the &asis of her re"ationship $ith the o$ner. Venus #ust kno$ that 0rooke $ou"d &e e'pecting to see her there. (?e"", that #akes t$o of us,) said 0rooke gigg"ing. 9he $as definite"y interested in #eeting the high!po$ered &usiness types, thought *&an. (9o $hat &usiness are you in, *&an=) 3#y in+uired. No$ *&an $as rea""y in a corner. Ae had no rea" /o&. Ae $as /ust getting a $e&site set up. It sure $ou"d &e nice if he $ere a coup"e of #onths further ahead $ith the pro/ect. It $ou"d &e nice if he cou"d at "east report that the $e&site $as #aking #oney. 0ut *&an didn2t figure he cou"d get a$ay $ith c"ai#ing that he $as a "a$yer or a doctor, either. (I do $ork in the internet,) said *&an. Ae $as sti"" te""ing the truth so far, that $as good. (?hat2s the na#e of your $e&site=) asked 0rooke $ith c"ear interest. (>h, I2# /ust setting it up, right no$,) said *&an. (The concept is a &usiness to &usiness infor#ation porta".) (Need a spokes#ode" for the site=) asked 0rooke, p"ayfu""y. (I2# sure I cou"dn2t afford you right no$, 0rookeB) said *&an. (May&e ne't #onth, $hen the first R100,000 co#es inB) *&an $as /oking, &ut the gir"s see#ed to take his state#ent at face va"ue. (3#y and I $ere /ust ta"king a&out #ode"ing,) said 0rooke. (9o#eti#es it doesn2t hurt to do a shoot /ust to get your na#e out to a #ore &road &ase.) *&an grinned. 9he $as offering to do a photoshoot for his $e&site, /ust for the pu&"icity. 0ut if he to"d her #uch #ore a&out his $e&site concept, she $as going to figure

out that he $as not the kind of guy that a hot #ode" hooks up $ith for free pu&"icity. 9udden"y, an idea ca#e to hi#. (8o you have a $e&site=) *&an asked 0rooke. (9o#ething I cou"d "ook up to get an idea a&out your $ork=) If the ans$er $as yes, they cou"d ta"k a&out her $e&site. If the ans$er $as no, he cou"d create a $e&site for her, and she $ou"d never have to kno$ a&out his startup concept. (I have so#e photos up on one#ode"p"ace,) said 0rooke. (0ut I don2t have #y o$n site. I kno$ you can pay so#eone to set up a $e&site for a #ode" for not a "ot of #oney, &ut I don2t /ust $ant to pro#ote #yse"f as another gir" in a s$i#suit and "ingerie. Most of #y $ork is $ith sa"espeop"e, so I need a #ore professiona" $e&site that ta"ks as #uch a&out sa"es concepts as it does a&out #y photos and char#ing persona"ityB) 9he gigg"ed. *&an $as dying to suggest a partnership, &ut he kne$ he $ou"dn2t &e a&"e to keep up $ith a gir" "ike 0rooke. Ae cou"d design a great $e&site. Ae cou"d even he"p $ith the content. Ae"", $ith the &usiness concepts he had &een studying, he cou"d rea""y put together so#e top notch pro#otiona" #ateria" for a gir" "ike 0rooke if she $anted to he"p #otivate and train sa"es peop"eB 9ti"", he "ived in an apart#ent $ith 8avid . They had no rea" /o& and no rea" &usiness e'perience. It $as a pipedrea#. (The nice thing a&out a drea#,) said 3#y, (is that you usua""y kno$ /ust $hat you need. It2s /ust a #atter of #aking it happen.) 3#y $as "ooking at *&an as though she e'pected hi# to respond. (;ou2re right,) said *&an, considering $hat she had said. Ae $as thinking a&out turning his drea# of a #oney!producing $e&site into a rea"ity. 3"" he need to do $as fo""o$ through, and #ay&e his &usiness to &usiness ideas $ou"d #ake a profit for hi#. 0ut then a nod fro# 3#y caught his attention. 3#y2s nod turned his attention to 0rooke, and he rea"iGed that 0rooke had &een caught up in the sa#e thought. 9he $as thinking a&out turning her drea# of a spokes#ode" $e&site into a rea"ity. 9he kne$ $hat she $anted. 3"" she needed $as the $e& designer $ho cou"d #ake it happen for her. (?hat do you think, 0rooke=) ventured *&an. (I2"" &et &et$een the t$o of us, $e can turn your ideas into a rea"ity.) 0rooke $as rea""y grinning no$. *&an2s #ind rea""y took a turn in a ne$ direction. 0eautifu" #ode" having "unch $ith hi#. 0eautifu" #ode" $anting hi# to he"p her $ith a $e&site. Ae $asn2t &ad "ooking. Ae $as in good physica" shape. No #oney, &ut he didn2t have to support her. They cou"d $ork together, and #ay&e he $ou"d find out that "ooks and #oney and a"" that $eren2t the things that #attered the #ost to her. (Is this ho$ average guys end up $ith the hot $o#en=) he $ondered to hi#se"f.

3#y $inked at *&an. (I thought $e2d &e going shopping this afternoon,) she said. (0ut no$ I think $e ought to gra& "aptop and start $orking on 0rooke2s $e&siteB) They a"" agreed. 0rooke had a "aptop in her roo#. 9he &rought it do$n, and the three of the# found a 9tar&ucks $here they cou"d access the internet and sit for as "ong as they $anted for the price of three drinks every hour. ?hen 0rooke got up to go to the &athroo#, 3#y $hispered to *&an, (;ou $ere right to enter her $or"d. 0ut it2s not /ust for #eeting gir"s. That $i"" get o"d, fast. ?hen you rea""y start to care a&out $hat she cares a&out, you2"" find that you can deve"op a rea", "asting connection $ith so#e gir"s. The right gir" for you is going to have a p"ace $here your interests and her interest #eet. 8on2t forget to "ook for that, too.) ?hen 0rooke returned, she "ooked at 3#y. (8o you $ant to co#e $ith us tonight to The Aeat= Is that okay $ith you, *&an= The o$ner2s gir"friend invited #e "ast night, since I $as going to &e here in to$n for the $eekend.) *&an nodded his approva". .oing to The Aeat $ith t$o hot gir"s had to count for so#ethingB 0ut 3#y dec"ined. (I kno$ the o$ner,) she said. (I don2t think he $ou"d &e entire"y happy to see #eB) C to &e continued.

hapter 4. The Monster2s .a#e. ,art 1. The &est part a&out having a /o& pro#oting The Aeat $as the (#arketing) tips that the #anage#ent constant"y provided. Marketing training &egan the day Nei" and Ty"er first sho$ed up at the Aeat. Eo""o$ing the instructions fro# Venus, Nei" and Ty"er reported to the door#an at The Aeat the fo""o$ing evening. The door#an $as ta"", $e""!&ui"t and $e""!dressed, a #a"e #ode" type. ?hen Nei" and Ty"er handed hi# the o$ner2s card, the door#an "ooked the t$o of the# over, #enta""y considering $hether or not they +ua"ified for entry. 3fter a #o#ent, he to"d the# to fo""o$ hi#, and he turned and "ead the# into the c"u&. The three of the# entered a door$ay &ehind the end of the &ar. 3 gir" i##ediate"y fo""o$ed the# into the roo# to take a drink order. The door#an $hispered so#ething to her and "eft the roo#. 3fter taking an order fro# Nei" and Ty"er, the gir" a"so "eft, and the t$o &oys found the#se"ves a"one in the roo#. The roo# $as "avish"y decorated, e'pensive carpet, "eather couches, art$ork on the ta&"es and the $a""s. The one category of ite# that see#ed out of p"ace $ere the photographs of various #en and $o#en hanging on the $a""s. 9evera" of the# $ere fa#i"iar to Nei" and Ty"er. There $as a signed photo of 6oss 7effries, $ith prostitutes hanging on each ar#. There $ere photos of ar"os :u#a, 8r. ,au", Mystery, 8avid :. and others. 3"" of the photos see#ed e+ua""y ridicu"ous in one aspect or another. The first person to co#e into the roo# $as the gir" $ith their drinks. (8o you kno$ $ho $e are $aiting for=) asked Nei". (;ou2re $aiting for 8onny,) rep"ied the gir". (?e a"$ays start ne$ recruits $ith fashion advice.) (Ao$ do you kno$ that $e are ne$ recruits=) Nei" asked. The gir" gigg"ed H pro&a&"y not a good co##ent on their current fashion status. (0ecause you are in the "o$n 6oo#, and &ecause you don2t have the necessary accessories to &e anything e"seB) 9he gigg"ed again, and again "eft the# a"one in the roo#. The gir" $ore a tag $ith the na#e (7oy) on it. Ty"er #ade a #enta" note to #ake a pass at 7oy, after he had the necessary accessories. 8onny arrived a #inute "ater. 8onny descri&ed the &asic fashion re+uire#ents of $orking as a pro#oter for The Aeat. Nei" and Ty"er $ere for&idden fro# $earing /eans, un"ess they $ere &"ack. ,ro#oters $ere e'pected to $ear s"acks $henever they entered the c"u& or any "ocation $here &eing $e""!dressed $ou"d &e appropriate.

8onny instructed Nei" and Ty"er to find t$o accessories to &eco#e a part of their dai"y $ardro&e. >ne accessory $ou"d need to &e a status sy#&o", and one accessory $ou"d need to &e a conversation piece. 3"vin $ou"d &e in to see the# ne't, and he $ou"d descri&e the significance of the accessories. The rest of the &asic c"othing set $as designed around the pants and the t$o #ain accessories. 8ress cou"d range fro# a /acket $ith a shirt and tie to so#ething #uch #ore radica"Lprovided that it $as in keeping $ith the standard set &y the pants. 9ung"asses $ere a"$ays potentia""y appropriate. M8ear reader: ,"ease note that the fashion guide provided in the previous three paragraphs app"ies to e#p"oyees of The Aeat. If you $ant to &e a pro#oter, you #ay $ant to read further to "earn #ore a&out the reasons for the various fashion re+uire#ents. >ther$ise, p"ease recogniGe that you are free to adopt $hatever fashion you consider consistent $ith the i#age you intend to portray.N ,art F. 3"vin #ade no introductions $hen he entered. (I2# here to #ake sure you have the necessary #arketing #ateria"s for your $ork as a pro#oter for The Aeat,) said 3"vin. (3re $e going to get so#e kind of #anua"=) asked Nei". (>f course not,) said 3"vin. (?e2re not going to turn you "oose on the city unti" $e2re sure you have $hat you need upstairs.) Ae tapped the side of his head to sho$ $here upstairs $as "ocated. (?e2re not trying to turn out #ore c"o$ns here.) 3s he said the $ord (c"o$ns,) he g"anced at the photograph of 8r. ,au" on the $a"". 3"vin turned to Ty"er. (Te"" #e a story a&out so#ething you are $earing,) he de#anded. Ty"er "ooked do$n at his pants. (I &ought these /eans at ?a"!#art,) he said $ith a "augh. 3"vin $asn2t i#pressed &y his hu#or. Ty"er "ooked at $hat e"se he $as $earing. There rea""y $asn2t anything $orth co##enting on. (Ao$ a&out you, then=) 3"vin said, turning to Nei". (I $as shopping for a ne$ suit the other day. I $as $earing these sa#e shoes. I had the distinct i#pression that the guy fitting #e for the suit $as gay. ?e"", any$ay, he g"ances at #y shoes and says to #e, DIs it true that a guy $ho $ears sadd"e shoes doesn2t care $hat the $or"d thinks=2 I said, D?e"", it is true that I don2t care $hat the $or"d thinks, &ut I had no idea that #y shoes $ere saying that a&out #e.2 The guy got this "ook on his face "ike I $as so#e kind of a stud, and he says in an a"#ost husky voice, D0e"ieve #e, they do.2 The guy gave #e his nu#&er $hen I paid for the suit. Ae said it $as in case I had any +uestions a&out the suit, &ut I figured it $as the first phone nu#&er I had gotten fro# a gay #an.)

3"vin s#i"ed. (Not &ad,) he said. (1eep that story.) 3"vin continued. (;our c"othing needs to te"" a story a&out you. The accessories, $hich you o&vious"y don2t have yet, are going to &e the #ost i#portant. I2"" he"p you $ith those. 0ut you2re going to &e picking the rest of your o$n c"othes, and I $ant you to keep stories in #ind every ti#e you add a ne$ #ain piece to $hat you intend to $ear.) (?hy stories=) asked Ty"er. (0ecause stories,) said 3"vin, ($i"" &e your pri#ary #arketing too" for The Aeat and for yourse"f. No one is interested in peop"e $ithout anything interesting to say. ?e $ant our pro#oters to inf"uence peop"e, and your i#age and the stories you te"" are going to &e the #ethods you use to inf"uence peop"e. Very su&t"e. Very po$erfu".) 3"vin "ooked at Nei" and Ty"er to #ake sure they understood. (9o these stories need to have a point then, right=) asked Ty"er. (>f course,) said 3"vin. (;our story a&out the gay #an &eing attracted to you. It $on2t &e one of your #ain stories, after I teach you the rea" art of designing po$erfu" stories, &ut it $ou"d "et a $o#an kno$ that your sty"e is attractive to gay #en. That story cou"d &e used to enhance your authority as a so#eone $ith fashion sense. If so#eone +uestions your sty"e, you set the story up &y infor#ing the# that gay #en approve of your fashion sense. Therefore, you #ust kno$ $hat you2re doing. ;ou te"" the story to prove the point.) (>kay,) said Nei", (so $hat are the accessories= 3nd $hat kind of stories do $e te""=) 3"vin pu""ed out a "arge #ani"a enve"op. It contained a ring and a $atch. Ae handed the ring to Nei" and the $atch to Ty"er. The ring $as p"atinu#. It had an out"ine of a sku"" and a sing"e in"aid ru&y in the center. (That "ooks e'pensive,) said Nei", as he accepted the ring. (>h, it is,) said 3"vin. (3nd it is not yours. I2# "oaning it to you.) Nei" nodded. (3nd the story=) (This ring is your status sy#&o" accessory,) said 3"vin. (It te""s peop"e that you $ork for The Aeat. ?hen you te"" the story, you $i"" &e doing t$o things. Eore#ost, you $i"" &e insta""ing the &e"ief in your "isteners that The Aeat is a very high status c"u&. 9econd, you $i"" &e co##unicating that you are a high status individua".) (This is the story,) continued 3"vin. (This ring $as given to you &y the o$ner of The Aeat. Ae said that he gave it to you for t$o reasons. Eirst, he $anted to re#ind you that $orking for The Aeat is a very e'c"usive honor. ?hen you "ook at this ring, you $i"" re#e#&er that there this is the on"y ring "ike it in the $or"d. The va"ue of the ring is #ore

than R10,000, and it has a very #ysterious origin. 9econd, he $anted to re#ind you that you are &ound to The Aeat as "ong as you o$n this ring. The on"y $ay that you can "eave his e#p"oy is to return this ring $ith your resignation.) (Is that true=) asked Nei". (It is,) said 3"vin, "ooking into Nei"s eyes. (Then $hat is the origin of the ring=) asked Nei". (It2s good that you asked,) said 3"vin. (I $ant you to re#e#&er that you shou"d on"y te"" the #ystery of the ring to peop"e $ho ask you specifica""y a&out the origin of the ring. If you $ant the# to ask, you have to set the# up for it /ust as I did. 8o you understand=) Nei" nodded. 3"vin then to"d the story of the ring2s origin, and at the end again s$ore Nei" and Ty"er to keep the story secret, e'cept $hen so#eone specifica""y asked the origin of the ring. ?hen he $as done, Ty"er asked. (9o the ring is a sy#&o", isn2t it=) (It is,) said 3"vin. (3 po$erfu" sy#&o" $hen the story is proper"y to"d. It is a sy#&o" that can open a door of inf"uence to the #ind of anyone $ho "istens to the story, as you have. ;ou fee" that you $ou"d &e"ieve anything I #ight say right no$, don2t you= ;ou $i"" not $ant to point that out to peop"e to $ho# you te"" the story, &ut you $i"" recogniGe the inf"uence you gain $hen the story is property to"d &y you.) (8oes the ring actua""y have #agica" properties=) asked Nei". (0e"ieve $hatever you "ike,) said 3"vin critica""y, (&ut I high"y dou&t it. 3re you understanding $hat I a# teaching you here= ;ou need to "earn to use sy#&o"s and stories to inf"uence peop"e. 8o you get that part= The ring is an o&/ect, nothing #ore at first. The conscious #ind recogniGes it and says (ring.) ?e give you and uni+ue o&/ect, so that there $i"" &e so#e curiosity concerning the o&/ect.) Ae paused. (0ecause, $hen you assign #eaning to the ring, &y te""ing stories a&out it, then it takes on ne$ #eanings. The ne$ #eanings are not recogniGa&"e to the conscious #ind. They are a&stract concepts that have to &e processed &y peop"e in their su&conscious #ind. They construct an i#age of the #eaning in their #inds as they "isten to the story. No$ you have t$o avenues into the su&conscious #ind. ;ou have a physica" o&/ect, $hich you can use as an anchor or trigger $henever you $ant to re#ind so#eone of the #eaning of the story. ;ou don2t have to te"" the story again, you /ust use the ring in a $ay that catches the attention of the su&conscious, and they $i"" su&conscious"y reinforce the #eaning that you have provided. ;ou a"so have the na#es fro# the stories that you have &egun to te"". ?hen you refer to those na#es, the sa#e i#ages that they created $hen they heard the story $i"" reappear in their #ind, and they $i"" &e prepared to receive further infor#ation and direction fro# you at the su&conscious "eve" of their #ind. 8o you get it=)

Nei" he"d up the ring to Ty"er. (I2# &ound to The Aeat,) he said #ysterious"y, (and I a# &ound to the secret of 7aco&.) Ty"er s#i"ed. Ae had to ad#it that he no$ had in his head i#ages in his #ind of Nei" &eing &ound to the o$ner of The Aeat and i#ages fro# the secret story of 7aco& $hich 3"vin had re"ated. Ty"er $as &eginning to fee" that perhaps there $ere #any great #ysteries &ehind the e'otic c"u& at#osphere of The Aeat. 3"vin then handed the $atch to Ty"er. Ae repeated the sa#e instructiona" processes concerning the significance of the $atch and the story re"ating to it. No$ Nei" and Ty"er each had a status accessory, and it $as ti#e for a &reak. ,art 3. Nei" and Ty"er "eft the "o$n 6oo#. The took seats at the end of the &ar outside the door. 7oy approached the# to see if they $anted so#ething to eat or drink. Ty"er scanned $hat 7oy $as $earing to see if she had a status accessory. There $as a sing"e earring in her right ear, $hich he thought #ight +ua"ify. (Nice earring,) he said. 7oy "ooked Ty"er over. (Nice $atch,) she responded. Ty"er s#i"ed at her recognition. (1ind of #ystica", isn2t it=) suggested Ty"er. (The o$ner of The Aeat &inding his e#p"oyees $ith status o&/ects.) 7oy s#i"ed, &ut said nothing. Ty"er continued. (Ae #ust &e a Magician type.) Ae paused, &ut 7oy sti"" said nothing. (;ou kno$, Magician. The 7ungian archetype,) he prodded. (;ou sound "ike one of the "o$ns,) said 7oy. (?hat do you #ean=) asked Ty"er, taken a&ack. Ae $as sure that 8r. ,au" had e'p"ained that the 7ungian archetypes $ere taken fro# $e""!respected psycho"ogy, founded in hu#an &ehavior and #ytho"ogy that had survived the centuries. Ao$ cou"d he sound "ike a c"o$n= (The "o$ns are a"$ays referring to stuff they have &orro$ed fro# evo"ution and psycho"ogy,) said 7oy. (?hen you get #ore natura" $ith the $ay The Aeat does #arketing, you2"" understand ho$ stupid it sounds.) Ty"er thought a&out it. It $as kind of stupid. 0ut he thought he $ou"d &ait 7oy $ith a concept, any$ay. (?hat a&out the concept of an 3"pha #a"e=) Ae asked. (;ou can2t deny that dogs and other ani#a"s usua""y have a do#inant a"pha #a"e in any pack or herd.) (The 3"pha concept is pro&a&"y to #ost stupid,) 7oy retorted. (?hen $as the "ast ti#e that you sa$ a #acho guy "eading a group any$here=)

Ty"er cou"dn2t think of a sing"e e'a#p"e. Ae decided to take a shot $ith sports. (?hat a&out on the foot&a"" fie"d= The +uarter&ack is the 3"pha #a"e.) (AaB) "aughed 7oy. (3nd the coach te""s hi# $hat to do. 3nd the o$ner ho"ds his contract. 3nd the ru"es prohi&it "ate hits, and "et hi# s"ide to avoid getting tack"ed, a"" those ru"es to protect hi# fro# getting hurt. Ae2s the s#a""est p"ayer on the offense, and you $ant #e to &e"ieve you consider hi# the 3"pha=) Ty"er had no co#e&ack. (It2s the sa#e in &usiness,) said 7oy. (It2s not the 3"pha #a"e that "eads in the hu#an $or"d. The "eader is the #an $ith the #ost po$er. That #eans he has the #ost too"s. Ae has the fu"" range of persona"ity ski""s. Ae kno$s ho$ to do#inate $hen do#ination is the right too". 0ut he a"so kno$s ho$ to reason, entertain, sy#pathiGe or use other too"s, $hen the ti#e is right.) (9o #ay&e 3"pha #eans so#ething different for peop"e than for ani#a"s,) said Ty"er. (May&e 3"pha #eans po$erfu". Eor hu#an2s there are /ust a #ore &road range of characteristics that add to a person2s po$er.) (May&e,) agreed 7oy. (9o $hy sound "ike a "o$n and try to teach peop"e that &eing 3"pha is part of our hu#an evo"ution= ?hy use the $ord 3"pha at a"", if it #eans so#ething tota""y different in the hu#an $or"d than the $ay it is used in descri&ing ani#a" &ehavior= The "o$ns have created a "ot of confused peop"e out there.) (9o they do things different"y here at The Aeat=) asked Ty"er. (>&vious"y,) said 7oy. Aer attention $ent &ack to $hat she had &een doing &ehind the &ar. (I2"" co#e &ack $hen I have a "itt"e #ore training,) he suggested. (.ood idea,) she rep"ied. 9he gave hi# a $ar# s#i"e, (;ou see# to &e picking up on things pretty $e"",) she said. (I i#agine you $i"" &e so#e&ody around here &efore "ong.) 9he gave hi# another encouraging s#i"e. Ty"er $as a&out to $a"k a$ay. 0ut a thought ca#e to #ind. Ae spun &ack around to ask 7oy another +uestion. (?hat a&out the 1ing, ?arrior, Magician, @over archetypes=) he asked. (I had kind of &ought into those.) 7oy "ooked up. (@a#e,) she said f"at"y. (?hy=) he asked. (8o you kno$ so#ething that 7ung didn2t kno$=) 7oy gave hi# an i#patient "ook. (7ung has nothing to do $ith it, #oron. 8r. ,au" is the "o$n $ho pro#otes the archetypes as a too" for diagnosing yourse"f and other peop"e. It2s no different than &orro$ing 3"pha fro# evo"ution. The archetypes #ake fine #ode"s for te""ing a story $ith a #essage, &ut they don2t provide $hat peop"e need to function as hu#ans. It2s another stupid "a&e" that /ust confuses peop"e.)

(;eah, &ut don2t you think it #akes sense that if a gir" has strong Magician characteristics, she $i"" $ant to perfor# for youS or if she has characteristics of a Tueen, asking her to give advice is a good opener=) (No,) retorted 7oy. (Think of it "ike a horoscope,) she said. (,eop"e &uy into it, and they find $ays to /ustify the "a&e"s. 0ut it has no re"ia&i"ity and, hence, on"y rando# usefu"ness. If 8r. ,au" app"ied $hat he is actua""y good at, he $ou"d stop teaching that crap to peop"e.) (?hat do you #ean=) asked Ty"er. 7oy e'p"ained. (Aere is the $ay it $orks. The nu#&er one fear that everyone has is fear of $hat other peop"e $i"" think of the#. 8r. ,au" "ets everyone "a&e" the#se"ves as a 1ing or so#ething e"se that appea"s to the $ay they see the#se"ves, and sudden"y they can fee" good a&out the#se"ves. They have this $onderfu" high!status persona"ity. 9udden"y, they don2t have to care $hat other peop"e think, &ecause they have this se"f! definition to protect their fee"ings. They ca"" it a part of their persona" &oundary. 0ut 8r. ,au" shou"d &e teaching that it is a $a"". It is /ust an artificia" construct that has no &asis in rea"ity. 3s a resu"t, it ro&s peop"e of the f"e'i&i"ity of thought and &ehavior that $ou"d resu"t fro# a #ore accurate se"f!assess#ent.) (I don2t understand,) said Ty"er. (@ook at 8r. ,au",) said 7oy. (Ae confessed to 8avid 8e3nge"o that he rea""y had e#otiona" pro&"e#s, even though he "ooked "ike he had everything together. 6ight= 3nd he to"d that story a&out ho$ he used to &e do#inated &y fear=) (;ou #ean the story a&out the "ightning=) asked Ty"er. (;eah,) 7oy affir#ed. (9o the guy has so#e fear issues. 9o $hat does he do= Ae "a&e"s hi#se"f a 1ing. Ae proc"ai#s that he has found the ho"y grai" of psycho"ogy. Ae ta"ks a&out ho$ $ise the 1ing is and ho$ their ro"e is to dispense inte""igence and advice and order things around hi#. Then he surrounds hi#se"f $ith d$ee&s that he can do#inate &y i#posing order on his socia" re"ationships, &ecause he is the highest ranking 1ing, &eing the one $ho found the ho"y grai".) (>kay,) said Ty"er. (I get that his guest speakers are d$ee&s.) (?e"", $hat is the resu"t=) asked 7oy. (They go out on the to$n to #eet gir"s, and do they get any= No. If they do get a gir"2s nu#&er, they &rag a&out it &ecause it is so rare. They have an arsena" of e'cuses $hich they have insta""ed into their thinking. They are 1ingsB I "oved the guest speaker that ta"ked a&out se""ing yourse"f to $o#en &y pro#oting a certain &rand or i#age of yourse"f $ith her friends. Ao$ #uch effort and p"anning that took, to #ake sure that her friends convinced her of your va"ua&"e i#ageB) (;eah,) said Ty"er, (I re#e#&er that guy. That $as pretty un&e"ieva&"e ho$ stuck in his o$n head he $as.)

(8r. ,au" actua""y teaches so#e good stuff, and his approach definite"y keeps hi# e#p"oyed as a psycho"ogist. 0ut if that $ho"e group $ou"d /ust recogniGe that $hen they "a&e" the#se"ves as 1ings, they are rea""y /ust avoiding their fear, they $ou"d do a "ot &etter. .et rid of a"" that 1?M@ crap, $atching #ovies and ana"yGing yourse"f and other peop"e H you kno$, the passive response to fear H and start taking rea" action to &ui"d courage, kno$"edge and e'perience. I2# not saying they cou"d do it $ithout so#e he"p, &ecause I a# sure that &eing a psycho"ogist has 8r. ,au" a "itt"e &it &o'ed into thinking instead of acting, &ut it $ou"d &e a start.) Ty"er nodded. (It #akes sense,) he said. (9o if so#eone $as "istening to our conversation right no$, and they $ere stuck in one of these "oops of se"f!ana"ysis, ho$ $ou"d you te"" the# to get out of it=) (I2d pro&a&"y give the# a t$o step process,) said 7oy. (I2d say that for any passive, ti#e!$asting &ehavior, you can get rid of it $ith so#ething 0and"er #ight teach, and then you rep"ace it $ith an action #eta!progra#.) Ty"er "ooked at her is si"ence, so she continued. (Eirst, you have to rea"iGe ho$ #uch ti#e you2ve $asted ana"yGing yourse"f and others. In a"" that ti#e, you haven2t &een acco#p"ishing any of the things that rea""y &ring you happiness. ;ou don2t have any #ore confidence and you haven2t &een #eeting your needs. 7ust "et yourse"f fee" disgusted $ith a"" the ti#e that you have $asted. ?hen you fee" good and disgusted $ith that &ehavior, dou&"e the fee"ing &y #aking the i#age "arger, spinning it faster, changing a"" those su&#oda"ities that $i"" increase the fee"ing of disgust, unti" you are thorough"y sick and tired of $asting any #ore ti#e. Then anchor the fee"ing. That $ay, any ti#e you find yourse"f s"ipping &ack into ti#e!$asting &ehavior "ike 1?M@ thinking, you can fire the anchor and have a pretty good chance of doing so#ething e"se.) (9tep t$o,) she continued, (is to "earn ho$ to take action. I2d "isten to D.etting Things 8one2 &y 6o&ert 3""en, or perhaps DTi#e of ;our @ife2 &y Tony 6o&&ins. @earn ho$ to set goa"s and #anage your ti#e in a $ay that invo"ves taking action. Aave a "ist of the things that you $ant to acco#p"ish, inc"uding a very specific "ist of each of the Dne't action2 ite#s that you have to take for each pro/ect. That $ay, you $i"" a"$ays have productive options avai"a&"e for channe"ing your persona" resources.) (Isn2t there a danger of going &ack to /ust ana"yGing things $ith a ti#e #anage#ent syste# "ike .T8 or 6,M=) asked Ty"er. (?hy not /ust te"" peop"e to act $ithout thinking, to get over the pro&"e# of &eing in their o$n heads too #uch.) (9ure, there is a risk,) said 7oy. (&ut you don2t thro$ the &a&y out $ith the &ath $ater. If a person has inte""igence, there is no reason to $aste it or to &ehave foo"ish"y $ithout thinking. These peop"e sti"" $ant to deve"op their e#otiona", kno$"edge and decision #aking resources. They /ust have to "earn to give the#se"ves 30 #inutes every #orning to do the thinking, and then they need to discip"ine the#se"ves to take action the rest of the day. They can "earn that fro# .T8 and 6,M. 3nd if they have set a good anchor for fee"ing disgusted a&out $asting ti#e thinking, then they shou"d &e a&"e to put a stop to that &ehavior if they catch the#se"ves fa""ing &ack into during the day.)

(;ou2re pretty s#art,) said Ty"er, (for a gir", any$ayB) Ae s#i"ed at her. 7oy s#i"ed. (I2ve &een $orking here for a$hi"e,) she said. (;ou don2t have to forget everything you think you kno$. ;ou /ust have to reorganiGe it as you get a &etter #ode" to put it in.) (9o $hat does your #ode" "ook "ike=) asked Ty"er. 7oy considered for a #o#ent. (8o you rea""y think I2# going to give that kind of va"ua&"e infor#ation to so#eone I &are"y kno$, "ike you=) ,art 4. 3fter having so#ething to eat, Nei" and Ty"er re/oined 3"vin in the "o$n 6oo#. 3s Ty"er "ooked at the photographs on the $a"", he $ondered $hat each of the individua"s had taught to earn their tit"e as one of the "o$ns. 3"vin gave each of the t$o &oys another accessory for their outfits, gave the o&/ect a #eaning as a conversation piece, and taught the# another story that $ou"d give the o&/ect sy#&o"ic #eaning that $ou"d open up the #ind in another $ay. The #eaning of the second o&/ect $as #uch different fro# the #ystery associated $ith the status sy#&o", &ut the techni+ue of insta""ing a sy#&o"ic #eaning and i#agery $as the sa#e. 3nd it did give the# one #ore interesting thing to ta"k a&out in any situation. 3s 3"vin $as $rapping up, so#eone ne$ ca#e in. It $as instant"y apparent that the ne$ #an $as &u&&"ing $ith energy and enthusias#La persona"ity in stark contrast to the #ystery and seriousness that 3"vin portrayed. 3"vin introduced hi# as the andy#an. (The andy#an $i"" he"p you $ith your persona"ities,) said 3"vin dry"y. (I2# going to give you that 3"pha persona"ity you2ve &een "onging for,) said the andy#an. 0oth 3"vin and the andy#an "aughed out "oud. 3"vin see#ed to "ighten up +uite natura""y $ith the andy#an in the roo#. (>kay, &oys,) &egan the andy#an. (My rea" na#e is 6o&. 7ust ca"" #e 6o&, not the andy#an.) Nei" and Ty"er nodded their understanding. (This is /ust your first "esson $ith #e,) he continued, speaking very +uick"y, (so don2t &e too hard on yourse"ves. Today, I /ust $ant to give you each a coo" nickna#e, a #agic trick and three funny stories you can te"".) (Is this part of the #arketing=) asked Nei". (It certain"y is,) ans$ered 6o&. (It /ust doesn2t see# consistent $ith the persona that 3"vin $as /ust teaching us,) said Nei".

6o& "ooked at the# for a #o#ent. (@isten, you guys. ;ou2re ne$ here. I don2t e'pect you to understand everything, so you go ahead and ask +uestions "ike that $henever so#ething doesn2t #ake sense. That2s the on"y $ay you2re going to "earn, right=) The &oys agreed. (0eing #ysterious and interesting isn2t going to $ork for you a"" the ti#e,) continued 6o&. (;ou have to &e a&"e to s$itch gears, use the right too". ;ou kno$ $hat I #ean=) The "ook on the faces of Nei" and Ty"er said, (I guess so.) (0eing funny and entertaining isn2t going to $ork a"" the ti#e, either. ;ou don2t $ant to co#e across as a "o$n, right=) 3gain, the &oys agreed. (9o if you rea""y $ant to &e the guy in contro" C $hen you rea""y $ant to &e a&"e to #ess $ith peop"e C you have to &e a&"e to pu"" the# &ack and forth a "itt"e. .et the# interest, then #ake the# "augh. If so#ething goes $rong, #ake it serious a "itt"e, then #ake the# "augh. ;ou see $hat I #ean= ,eop"e are going to resist you. 9o you don2t give the# a choice. It2s "ike Mi"ton *rickson2s reverse set. Aave you seen that one=) Neither of the &oys understood. (It2s &een e'p"ained this $ay,) said 6o&. (9uppose a kid says to his dad that he $i"" not drink his #i"k at dinner. The dad cou"d threaten hi# and try to #ake hi# drink his #i"k, &ut a s#art dad $ou"d rea"iGe that there $as a &etter $ay. Ae cou"d do so#ething to inf"uence the kid to drink his #i"k &ecause it $as his o$n idea. 8o you fo""o$ #e=) Nei" and Ty"er nodded. (9o the dad says to the kid, DI2"" #ake you a &et.2 3nd the kid gets interested, &ecause he kno$s it is going to &e a &et a&out drinking the #i"k. 0ut the dad says, DI2"" &et I can #ake you do so#ething.2 3nd the kid, $ho kno$s that his dad $ants to #ake hi# drink the #i"k agrees to take the &et, &ecause the kid &e"ieves that he can refuse a"" night "ong to drink the #i"k and $in the &et. 3re you sti"" fo""o$ing #e=) Nei" and Ty"er nodded again. (9o the dad has set the kid up. 3nd the dad &egins to use the Mi"ton #ode" "anguage sty"e. ;ou kno$ $hat that is, right= It2s per#issive and a#&iguous "anguage, as opposed to co##anding "anguage.) Nei" and Ty"er agreed. (9o the dad is saying things "ike, DI kno$ that if I te"" you to drink the #i"k, you #ight agree to drink the #i"k or you #ight say that you $i"" not drink the #i"k,2 and he goes on for a$hi"e, giving the kid &oth choices. Then he te""s the kid to drink the #i"k, &ut &efore the kid can rea""y do anything, he a"so te""s the kid not to drink the #i"k. 3nd the kid, &eing s#art rea"iGes that he2s &een caught. Ae has to either do $hat his dad said first or do $hat he said second. 0ut in his #ind he isn2t doing either one, yet. ;ou sti"" $ith #e=) Nei" and Ty"er nodded again. (9o no$ the kid has &een softened up, and the rea" suggestion &egins. The dad starts ta"king a&out ho$ good that #i"k is going to taste, ho$ s#ooth it fee"s going do$n

the throat, ho$ coo" and soothing it is. 3nd the kids is starting to get rea""y thirsty, &ecause of those suggestions. 6ight=) Nei" and Ty"er nod again. (9o the dad kno$s that his son is going to drink the #i"k no$, $hich is $hat he $anted in the first p"ace. 9o he te""s the kid, hey, I don2 t $ant you to go thirsty &ecause of this &et. 9o "et2s ca"" off the &et. I agree that I can2t #ake you do anything that you don2t $ant to do. >f course, the kid is co#p"ete"y re"ieved, &ecause here he has &een dead set at resisting $hatever his dad te""s hi# to do. No$, no one is te""ing hi# $hat to do. 9o $hat does he do= Ae picks up that g"ass of #i"k and drains itB) Nei" and Ty"er nodded. They understood the story, &ut they $eren2t #aking the connection to ho$ hu#or $as going to operate as a reverse set in their pursuits. (>kay, "et #e e'p"ain it this $ay,) said 6o&. (?hen you get the sense that so#eone is going to resist you for any reason, you have to kno$ ho$ to run a reverse set.) Nei" and Ty"er nodded. (They cou"d &e resisting you for any reason. May&e they are in a &ad #ood. May&e you said so#ething that #ade the# #ad. May&e they think you "ook "ike a /erk. May&e you are trying to se"" the# so#e product or persuade the# to so#e idea. ,ick a reason. They #enta""y $ant to resist you. >kay=) Nei" and Ty"er nodded again. (3"right, here is ho$ you are going to get around it. ;ou think "ike Mi"ton *ricson. ;ou start &y giving the# t$o a"ternatives. They can do the thing that $ou"d &e resisting you, or they can do the thing that you $ant the# to do. No one can disagree $ith that. ?hen you &oth agree a&out that, they you te"" the# to do $hat you $ant, and you take it &ack at the sa#e ti#e and te"" the# to do the thing that $ou"d &e resisting you. They can2t resist &oth. 9o no$ it2s not a&out resisting you, any#ore. They think it is, &ut their unconscious #ind is confused, &ecause if they do either one no$, it is so#ething that you to"d the# to do. No$, you can2t &e resisted. No$ you start #aking your rea" suggestions, indirect"y. ;ou use your stories and your &ody "anguage or $hatever, and you do a"" the things that $ou"d rea""y #ake the# $ant $hat you $ant the# to do. 3nd they start to $ant it, even though they are sti"" p"anning to resist you. 9o fina""y, you take yourse"f out of the e+uation. ;ou te"" the# that you have no desire to #ake the# do $hat they do not $ant to do. They $i"" &e re"ieved that they don2t have to resist you any #ore. If you have correct"y done your /o& of #aking the thing you $ant the# to do fee" so desira&"e, then at that #o#ent, they $i"" choose to do it &ecause it is $hat they $ant to do.) (It #akes sense,) said Ty"er, (0ut I sti"" don2t see ho$ it app"ies in a rea" situation.) Nei" inter/ected a +uestion. (Is it /ust "ike pushing and pu""ing techni+ue of turning up desire=) (No,) ans$ered Ty"er. (The gir" has to $ant the thing in the first p"ace for the push!pu"" techni+ue to $ork.)

(6ight,) said 6o&. (I2# not ta"king a&out using stand!a"one techni+ues. If a techni+ue is $orking for you, go $ith it. I2# ta"king a&out a techni+ue you use to get through $hen your &asic approaches aren2t going to $ork. @et2s #ake it rea" no$. ;ou approach a gir" $ith your #ystery ring. 0ut for $hatever reason, she isn2t going to ask you a&out it. May&e she thinks you "ook "ike a sno&. May&e she is nervous or doesn2t &e"ieve in sho$ing interest. 9he is ready to resist you. >f course, if she is not the resisting type, she is going to ask you a&out the ring and you can go $ith it, right= ;ou can push and pu"" to ra#p up her interest, a"" that.) Ty"er agreed. (0ut "et2s say that you can see that she has so#e resistance to asking you a&out the ring for $hatever reason, so your initia" persona and that approach isn2t going to &e enough for you to get into her head or her pants. ;ou have to give her the a"ternative. In this case, the a"ternative is that she can "isten to you and try not to sho$ any interest or she can even ignore you. 3re you going to start te""ing her stories and &ore her to tears and reinforce $hatever reason she has for &eing stand!offish=) (No,) said Ty"er. (>f course not,) said 6o&. (0ut if you can entertain her or a#use her, that resistance is going to #e"t a$ay, /ust "ike in the reverse set.) (>kay,) said Ty"er. (0ut don2t go straight to the /okes,) said 6o&. (That $ou"d &e a #istake. 6e#e#&er ho$ Mi"ton "ikes to soften peop"e up, first. @et her kno$ that there are so#e choices, &ut don2t give her either one of the choices to #ake. Thro$ out so#e a#&iguity /ust to soften things up. Eo""o$ it $ith so#e entertain#ent, so#e #agic or a funny story. Then take it a$ay &y &eing serious sudden"y, again. No$ $hich one is she going to resist= Is she going to &e serious and resist the /oke, or is she going to "augh and resist &eing serious= 9he has to do one or the other. 3nd this is $here you have to rea""y &e +uick. >&serve. Eigure out $hether she is ho"ding in the "augh or ho"ding in the hosti"ity. That is the one she is going to choose. 0ack off, give her the freedo# to choose it, and then go in and use it. 3t that point, you either co#e &ack $ith the ring and the serious stuff, or you co#e &ack $ith t$o or three #ore funny stories. >ne of those is going to &e rea""y po$erfu" at that #o#ent, and you are going to &e in her head. (That sounds "ike it2s going to take a "ot of ski"",) said Nei". (It see#s that $ay,) said 6o&. (0ut a"" you need to get started is a fe$ good stories that you can go $ith. >ne has to &e rea""y short, a"#ost "ike a /oke. The #agic trick and the other stories can &e a "itt"e "onger. I guarantee that if you have #ateria" prepared, once you have tried it on t$o gir"s, it $i"" co#e natura""y after that.) (3ctua""y,) 6o& continued, (after using it five or si' ti#es, you2"" pro&a&"y co#p"ete"y forget to use it, &ecause no one $i"" resist you any#ore. It /ust $orks that $ay. @ook at #e, for e'a#p"e. ;ou pro&a&"y think I2# /ust funny and fu"" of energy a"" the ti#e, right=) The &oys nodded. (?e"", that2s /ust #y introductory persona. That2s ho$ I start #yse"f, &ecause I "ike it that $ay. .ive #e a "itt"e resistance, and I2"" s$itch

&ack and forth +uicker than you can fo""o$ #e, and I2"" &e right in. That2s /ust the $ay I a#, no$.) It sort of #ade sense. 0ut Nei" and Ty"er $ere &oth fee"ing "ike their heads $ere a&out to e'p"ode. May&e after fie"d testing it C they needed a chance to "et their &ody catch up $ith the infor#ation that $as s$ir"ing around in their heads. 6o& cou"d sense e'act"y $hat $as going on. (@ike I said $hen I ca#e in, &oys. It2s your first day. 8on2t &eat yourse"f up if your heads fee" rea""y fu"". @et2s $ork on your #ateria". Tonight, you can go out $ith 6e' and fie"d test it.) That2s $here the theory ended. >ver the ne't t$o hours, 6o& $orked on teaching the &oys a coup"e of easy #agic tricks and practiced $ith the# te""ing funny stories and /okes. Then he sent the# ho#e $ith instructions to co#e &ack at I:00 p.#.

hapter %: Training 8ay. ,art 1. 6e' $as $aiting in the "o$n 6oo#, ta"king $ith 7oy, $hen Nei" and Ty"er arrived. (3re you t$o ready for so#e action=B) 6e' near"y shouted $ith enthusias#. (9ure,) ans$ered Nei". (3re you going to get us pu#ped up &efore $e go out=) (If you guys need he"p $ith your inner ga#e stuff,) said 6e', go ta"k to the storyte""er a&out that. (;ou $ou"dn2t have &een invited here if $e thought you had inner ga#e pro&"e#s you had to dea" $ith.) 6e' #otioned for the &oys to fo""o$ hi#, as he headed for the e'it. (I2# taking you t$o on #y paper routeB) he said $ith a s#i"e. 6e' $as driving a 0M?. The three of the# got into the car, as 6e' e'p"ained $hat his paper route $as a&out. (If you are going to &e a p"ayer, you have to get to kno$ peop"e around to$n,) he said. (That can on"y happen if you see peop"e on a regu"ar &asis. 9o I have $orked out a syste# to do that $hich I ca"" #y paper route. I have K0 stops I #ake during the $eek, usua""y a&out 10 per night. I2# there for a coup"e of #inutes to #ake #y de"iveries, pick up referra"s, and then get on #y $ay. That gives #e K0 p"aces $here peop"e can see #e, see that I have connections, $here I can esta&"ish #y na#e recognition. It gives #e a higher status pretty #uch $here ever I go.) 6e' pu""ed t$o fo"ded sheets of paper fro# his g"ove &o'. Aere is a "ist of the 10 p"aces $e2re going to stop &y tonight. ,ut that infor#ation in your co#puter to#orro$ #orning $ith $hatever notes you take a&out each p"ace. That2s ho$ you are going to start to deve"op your o$n paper route. Make sure you keep track of $ho you kno$ at each "ocation, ho$ you get your referra"s there, and $hen you p"an to stop &y every $eek. That2s ho$ you2"" deve"op your Dcusto#er "ist.2) ,art F. The first stop $as another c"u&, ca""ed The 8unes. 6e' s"ipped the door#an a R% as he $a"ked past. (I guess you can2t $ait in "ine at 10 p"aces, if it2s your paper route,) Nei" $hispered to Ty"er. >nce inside, 6e' "ead the# to the &ar, $here he introduced the# to the &artender, 0arry. (These guys are #y ne$ recruits,) he said. (;ou got anything for #e tonight=) 0arry nodded. (T$o gir"s in the corner,) he said. (This is the first ti#e I2ve seen either of the# here. @ots of guys have tried the#. 9o far, they2ve a"" &een shot do$n.) (I think these t$o &oys $i"" &uy the# drinks,) said 6e'.

(That2s $hat I thought,) said 0arry. (I2"" send Tina around for the tray.) 6e' handed a RF0 to 0arry. 0arry "oaded t$o &eers on a serving tray and handed it to 6e'. Nei" and Ty"er "ooked at 6e'. (3re you sure that &uying those t$o a drink is going to &e a good approach=) asked Nei". (It sounds "ike peop"e have a"ready tried that tonight.) 6e' turned to 0arry. (*'p"ain it to the#,) he said. Then he turned and $a"ked to$ard the t$o gir"s $ith the drinks on the serving tray. (;ou2re &uying the drinks for the gir"s,) said 0arry to Nei" and Ty"er, (&ut 6e' is doing the pickup. 3&out 1 out of F0 ti#es, the gir"s $i"" so#e over and ta"k to the t$o of you or send you a note. Most of the other 1I ti#es, they2"" drink the &eers $hi"e they ta"k to 6e'.) The &oys $atched $hi"e 6e' operated. 3s he arrived at the ta&"e, he took the t$o &eers off the serving tray and set the# on the ta&"e. Ae turned s"ight"y and indicated to$ard the &ar $here Nei" and Ty"er $ere sitting. (The t$o gent"e#en at the &ar $ou"d "ike to &uy you "adies a drink,) he said. (No thanks,) said one of the gir"s co"d"y. 9he g"ared at Nei" and Ty"er, $ho &oth "ooked a$ay in response. 6e' #ade a #otion $ith one hand to a near&y $aitress. Tina responded &y co#ing #y the ta&"e. 6e' handed Tina the serving tray. (?e"" the drinks are paid for,) he said. (9o I2"" have to drink the# &oth if the t$o of you are no "onger thirsty.) Ae "eaned in a "itt"e c"oser $here he cou"d speak in a "o$ tone. (The &artender to"d #e I $ou"d pro&a&"y &e getting a free drink for &ringing these over to your ta&"eB) Ae grinned at the#. (Ae2s &een $atching you a"" nightB) 6e' &egan to e'tend his ar# s"o$"y to$ard the drink of the gir" $ho had not yet spoken. (I2"" drink #ine,) she said, s"apping his hand a$ay. 6o& turned and "ooked in+uisitive"y at the first gir". 9he g"anced at the &ar. Nei" and Ty"er $ere "ooking their $ay again. (.o ahead and drink it,) she said giving Nei" and Ty"er another snotty g"ance. 6e' sat do$n and pu""ed the &eer to$ard hi#se"f. >ver the course of the ne't t$o #inutes, 6e' to"d the# that he didn2t reco##end The 8unes. There $eren2t any rea" p"ayers here. If you $anted to see peop"e $ho cou"d ho"d their o$n, in &usiness or in socia" circ"es, then The Aeat $as the p"ace to go. Ae to"d the# he $ou"d &e there at 11:00 p.#., and if he sa$ the# there tonight, he $ou"d introduce the# to so#eone $ho $ou"d &e $orth kno$ing. ?hen he got up to "eave, the second gir" s"ipped hi# a scrap of paper $ith her phone nu#&er, unso"icited. ,art 3. The three of the# #et &ack at the 0M? a coup"e of #inutes "ater. (?hat $as up $ith that=) asked Nei".

(0arry is one of #y referra" sources,) said 6e'. (If those t$o gir"s co#e &y The Aeat tonight, then I score and I pay 0arry another RF0 the ne't ti#e I go in for a referra". If they don2t sho$ up, then he o$es #e another referra". 9o you can understand that he is rooting for #y success. If those gir"s ask hi# any +uestions after I "eave, he gives #e a so"id &ackup. Ae #akes sure the $aitresses in the p"ace do the sa#e.) They pu""ed up to a second c"u& and $ent inside. This proceeded si#i"ar to the $ay they had at The 8unes. They $a"ked up to the &ar, and the &artender indicated a group of four gir"s. (The one in the $hite top is the designated driver,) he said. (>kay Ty"er,) said 6e'. (;ou take this one.) Ae handed a &usiness card to Ty"er. In $as a &usiness card for The Aeat, e'cept that in the p"ace $here the na#e shou"d have &een, the $ords (8esignated 8river) $ere printed. -nder the na#e, in s#a""er print it indicated (9aturday 445.) Ty"er "ooked up fro# the card. (;ou give that card to the designated driver,) 6e' to"d hi#. (;ou te"" her that it $i"" get her past the door#an on 9aturdays, as "ong as she has four peop"e $ith her. ;ou te"" her you2"" &e that at 11:00 tonight, and you2"" introduce her to one of the &artenders that "ikes to give free virgin #i'ed drinks to the designated drivers, instead of /ust free soda.) Ty"er understood. Ty"er found hi#se"f $a"king to$ard the designated driver, &ut he had no idea $hat he $as going to say. 7ust past her, he sa$ an e#pty ta&"e. ,erhaps he $ou"d $a"k past her to the e#pty ta&"e, $here he cou"d think a&out ho$ to approach. ,erhaps he $ou"d hear so#ething interesting as he $a"ked past, so#ething that $ou"d give hi# an idea. Ae $as fighting that se"f dou&t as he stepped &ehind her chair to get past. 9he g"anced up over her shou"der at /ust that #o#ent. Ty"er caught the g"ance out of the corner of his eye. Ae stopped. ?ithout turning to "ook at her, he said, (The &artender te""s #e that you are the designated driver.) >ut of the corner of his eye, he sa$ her turn her &ody to "ook at hi#. 9he $as a&out to turn &ack around, $hen he continued. (I $as $ondering C) he &egan hesitant"y, as he no$ turned his head. (C if I get too drunk, $ou"d you take #e ho#e tonight=) Then he added, (The &artender said you $ere pro&a&"y #y &est chance.) The other gir"s at the ta&"e &egan to "augh at her. (Eor #e to take you ho#e,) she retorted, (I2d have to &e getting drunk, tooB) (>h, ouchB) shouted so#eone at the ta&"e, and they a"" "aughed. 0ut that gave Ty"er an idea. (?e"", then, I $onder if you cou"d give #e an opinion on these shoes,) he said. Then he to"d the# the story of the gay #an and his shoes. >f course, these $eren2t the sa#e shoes, so he didn2t kno$ if they $ou"d appea" to any gay #en that #ight see hi# getting drunk tonight. The gir"s "oved the story, and they started

teasing hi# a&out the shoes, and then &egan pointing out #en in the &ar that he shou"d approach to get there opinions. (That guy #ight &e gayB) they $ou"d say. Ty"er fo""o$ed up $ith a coup"e of the other funny stories that he had rehearsed $ith 6o& that afternoon. Ae cou"dn2t &e"ieve that the prepared #ateria" $as rea""y $orking so natura""y for hi#. Ae thought a&out the #ysterious side, &ut he re#e#&ered $hat 6o& had said. If the fun approach $as $orking, stay $ith it. Ae /ust needed to de"iver the designated driver card and #ake his get a$ay $hi"e they $ere sti"" having fun. ,art 4. The sa#e patterns repeated at the re#aining U stops that evening. Nei" #ade a coup"e of successfu" approaches. They $atched 6e' approach at a coup"e of "ocations, and Ty"er had another success. >n the "ast stop, it $as Nei"2s turn again. Nei" $a"ked up to t$o gir"s ta"king to each other. (I need an opinion,) he said as an opener. Ae set his right hand on the ta&"e, so that the gir"s cou"d see his ring. Ae $as /ust a&out to ask his opinion +uestion, $hen the first gir" interrupted. (My opinion is that you shou"d "eave,) said the first gir". 9he turned &ack to her friend and they continued ta"king. Nei" figured that he2d &etter turn to a funny approach. Ae directed it to$ard the second gir". 9he $asn2t i#pressed. (I thought she to"d you to "eave,) said the second gir", as rude"y as the first. Nei" had no$here to go. Ae took a step &ack, $hen 6e' ca#e up &ehind hi#. (8o you t$o $ant to &e thro$n out of here=) 6e' asked the gir"s harsh"y. Ae turned and #otioned to the &artender to co#e over to the ta&"e. The gir"s "ooked to $here 6e' had indicated and sa$ the &artender send a &ouncer to$ard their ta&"e in response to 6e'2s #otion. (@ook, this guy $as &ugging us,) said the first gir", sti"" co"d, &ut at "east a$are that 6e' $as $earing the pants in this situation. (?e /ust asked hi# to "eave.) (This guy happens to &e a friend of #ine,) said 6e', #aintaining a harsh tone. (If you don2t $ant to ta"k to hi#, I suggest that you ask hi# nice"y to give you so#e space. If you2re going to &e rude to #y friends in this p"ace, then you2re not going to &e $e"co#ed here.) (9orry,) said the first gir". ( an you p"ease give us so#e space= My friend here has had a &ad &reakup this $eek.) 6e' re"a'ed his tone. (3"right,) he conceded. Ae #otioned to the approaching &ouncer that he $as no "onger needed. (I $as sure there $as a reason that you didn2t

$ant to ta"k to hi#. Ae2s not a /erk, $hich is pro&a&"y the kind of guys you2re used to,) he added a "itt"e sarcas# to his tone as he stated that "ast c"ause. (9o I can understand $hy you #ight have fe"t "ike you needed to &rush hi# off. 0ut I /ust $ant to #ake sure that you understand that $hen you hang around here, $e e'pect peop"e to sho$ respect and co##on courtesy. ?e don2t $ant this c"u& to get kno$n as a p"ace $here peop"e act "ike /erks to the regu"ars.) The t$o gir"s $ere no$ giving 6e' their fu"" attention. (?hy don2t you "et #e &uy you a drink, as a peace offering,) he said on"y to the second gir". (3nd if you /ust $ant to get &ack to dro$ning your sorro$s a"one, you can go right ahead, and I2"" te"" the &artender to have the &ouncers keep the guys around here a$ay fro# you.) (No,) said the second gir". (It2s a"right.) 9he paused, (?hy don2t you go ahead and sit do$n.) 6e' pu""ed up a chair fro# the neigh&oring ta&"e and sat do$n. Ais &ack $as to Nei", $ho no$ $a"ked a$ay. Nei" and Ty"er $ent outside to $ait for 6e' to finish #aking the de"ivery. It $as near"y 11:00 and ti#e to head &ack to The Aeat. Eifteen #inutes "ater, 6e' ca#e outside. Ae had the phone nu#&ers for &oth gir"s. Ae hadn2t invited either of the# to The Aeat. (That $as a tough one, Nei",) said 6e'. (8on2t fee" &ad"y a&out it.) (;eah, $hatever,) said Nei", o&vious"y de/ected. (9o #uch for getting the# either $ith #ystery or $ith hu#or.) Ae $as referring to his atte#pt to app"y the concept of the reverse set as 6o& had e'p"ained it. (@isten,) said 6e'. (6o& /ust gave you a si#p"e version of a reverse set $ith t$o choices. ?hen you #eet a gir" in a &itchy #ood, you2re going to need to &e a&"e to offer #ore choices than that. ;ou2ve had on"y one day of training. ;ou have #ore patterns to "earn. ;ou have "earning to do $ith #eta!progra#s and #eta!fra#es. ;ou need training in hypnosis, n"p "anguage patterns, and a "ot of other things.) (3#aGing,) said Ty"er. (9o are you one of those guys that pretty #uch gets any gir" he $ants=) (8epends on $hat you #ean &y that,) said 6e'. (I get any gir" I $ant, &ecause if I don2t $ant a gir", there is a reason. Eat chicks, I cou"d pro&a&"y get &ut I have no interest. -g"y gir"s, sa#e thing. Aot $o#en that are a"ready $ith another guy, a &igger cha""enge, so I have to decide if they are $orth the e'tra effort or not. 8epending on $hether the guy $as $i""ing to $ork as hard as #e, I #ight &e a&"e to get her, &ut I #ight not $ant to put in the effort $hen there are so #any other choices.) 3fter a pause, 6e' added a fina" &it of $isdo#. (?hy do you guys $ant to "earn a"" these ski""s= It2s not /ust a&out having #oney or $o#en. ;ou have enough ski""s to get a good "ooking gir". It2s a&out having #ore choices. ?ith these ski""s, you have the a&i"ity to deter#ine $hat you $ant, and the kno$"edge that if you put in the $ork re+uired, then you $i"" get $hat you rea""y $ant.) Ae turned to Nei". (9o to#orro$, you

"earn a "itt"e #ore, you $ork a "itt"e harder, and you can c"ose one #ore set than you cou"d the night &efore. ?hen you #eet that perfect gir", she2"" &e $ithin your grasp.) ,art %. They arrived &ack at The Aeat at a&out 11:10. The three of the# greeted the &ouncer as they $a"ked past the $aiting "ine of peop"e and entered the c"u&. Ty"er scanned the "ine, &ut did not see anyone that they had approached that evening. There $ere a coup"e of peop"e doing #agic tricks, either $orking for tips or $orking for The Aeat to keep the peop"e in "ine fro# getting &ored. >nce they entered, Ty"er &egan scanning the inside for peop"e he #ight recogniGed. 9udden"y, his gaGe stopped at a ta&"e $here *&an $as sitting $ith t$o $o#en. Ae recogniGed one of the $o#en as Venus. 9he $as /ust standing up and "eaving the ta&"e, "eaving *&an a"one $ith the second $o#an. Ty"er gave Nei" a shove. ( heck it out,) he said, pointing to *&an and the "one gir". (?hat the he""=) said Nei", shocked. (Ao$ did he get in here $ith a gir" "ike that=) The t$o of the# &egan $a"king to$ard *&an2s ta&"e. Ae $as so tota""y engrossed on his conversation $ith 0rooke, that he didn2t notice Nei" or Ty"er unti" Ty"er p"aced a hand on his shou"der. (;o, *&anB) greeted Ty"er. (;ou2re "ooking good.) Ae "ooked at 0rooke. (3nd I see that you have found yet another ad#irer.) Ae he"d out his hand to 0rooke, (I2# Ty"er, a friend of *&an2s.) 0rooke s#i"ed and shook Ty"er2s hand. (I2# 0rooke,) she said. (?e actua""y #et "ast night.) Nei" pu""ed up a chair and sat do$n right &et$een *&an and 0rooke. Nei" $as o&vious"y +uite taken $ith 0rooke2s &eauty. 3pparent"y, Nei" $as thinking that if *&an cou"d get so#e$here $ith this $o#an, he $ou"d &e a&"e to get "ucky, too. Nei" addressed 0rooke $ith his &ack to *&an, physica""y shutting hi# out of the conversation. Ae he"d up his right hand to his chin, so that the ring $as apparent to 0rooke. Ae sa$ her eyes g"ance at the ring, and he dropped his hand to his "ap &e"o$ the ta&"e. (There is so#ething puGG"ing #e a&out you,) he &egan. Nei" didn2t get to finish. Venus hadn2t gone far. 3s soon as she sa$ Nei" sit do$n &et$een 0rooke and *&an, she had #otioned for a &ouncer. The &ouncer tapped Nei" on the shou"der. (,hone ca"" for you, &rother,) he said in a serious tone. It $as c"ear that he e'pected Nei" to stand up and fo""o$ hi#.

>nce they $ere &eyond earshot of the ta&"e, the &ouncer turned so that Nei" cou"d see that he had so#ething to te"" hi#. (Venus #ust "ike you, &rother,) the &ouncer said to Nei". Nei" "ooked at hi# in+uisitive"y. Ae continued. (If she didn2t "ike you, she $ou"d have to"d #e to thro$ you out, and that $ou"d #ean the end of your /o& here. The fact that she to"d #e /ust to take you to the &ack #eans you2re getting a rare second chance.) The &ouncer opened the door to the "o$n 6oo# for Nei". (9he2"" &e in to ta"k to you "ater. 9tay here unti" she co#es to see you.) The door c"osed &ehind Nei". Ae "ooked at the photos on the $a"". Ae $ondered if he got fired, $ou"d they add his photo to $a"" and start ca""ing hi# one of the c"o$ns=

hapter K. Truth 8ivu"ges the ,ast and ,resent. M8ear 6eader, 9ince it #ay &e so#e ti#e &efore I co#e &ack to $ork on this "itt"e pro/ect, I $anted to &ring up so#e of the notes that $ere "eft over fro# the origina" version 1.001, and sho$ $here $e #ight put the#. 0y the ti#e I get &ack to $riting again, I2"" pro&a&"y have changed #y #ind and have so#ething ne$ to insert.N 3s hapter K opens, so#e tur#oi" has surfaced. Nei" is turning into the &ad &oy at The Aeat, resu"ting in his conf"ict $ith *&an and Ty"er, &ut increasing his inti#acy $ith Venus. *&an is spending ti#e $ith 0rooke, to the chagrin of his friend 8avid . The $eaker characters are turning to the 9toryte""er for #ore e'p"anation a&out the Monster, the Magician, the "o$ns and the #eaning of "ife. 9o $e $i"" get so#e history on ho$ each of the "o$ns co##enced their $ork in the $or"d of ,-.s, and ho$ #uch they "earned fro# either the Monster or the Magician, &efore they decided to try their hand at teaching 4$hich usua""y #eant they $ere through "earning5. -p co#es the &"ur& and feed&ack a&out 6oss 7effries: Aistory. >ne of the first peop"e to report &ack his o&servations $as a #an na#ed ,au". Ae disguised his identity and $ent &y the na#e of 6oss 7effries. This is $hat he reported a&out the Magician, in a nutshe"": (The Magician is a #aster of "anguage. Ae uses techni+ues of N@, and hypnosis. Ae has deve"oped po$erfu" se"f!confidence. Ae has great po$er to inf"uence $o#en through touch, &ody "anguage, and suggestion.) (;ou have #et the Monster,) o&served the storyte""er. (?hat you say a&out the Magician has so#e truth, &ecause the Magician does have a"" the a&i"ities that you descri&e. Ao$ever, &e carefu" a&out "earning the po$ers of the Magician fro# the Monster. 6e#e#&er that the Monster kno$s the Truth /ust as $e"" as the Magician kno$s it. 0ut the Monster has a hidden agenda. ;ou $i"" find that if you attract a"" your "earning fro# $hat you receive the fro# the Monster, your po$er $i"" a"so &e "i#ited in the sa#e $ay that the Monster has "i#its and those around you $i"" on"y &e your s"aves. 3nyone under your inf"uence $i"" on"y &e suited to &e a s"ave, unti" a #agician teaches the# ho$ to &e free.) 0ut ,au" did not care a&out the source of his "earning. @ike the Monster, he $anted s"aves. Ae continued to "earn and teach his version of the secrets of #onsters and #agicians. ?e $i"" continue to add to $hat $e kno$ a&out his secrets in su&se+uent Versions of this &ook. 0t$, 7effries had a tre#endous change over the past year and no$ heVs rea""y open #inded. hanged his sty"e and attitude and &een changing ideas $ith #any puas inc"uding Mystery.

Truth a"so needs to te"" peop"e #ore a&out the distinctions &et$een the Monster and the Magician, particu"ar"y since #any of the differences are +uite su&t"eLas $ith the differences &et$een Venus and 3#y. ?e can pro&a&"y take so#e "earnings fro# the presuppositions of N@, at this point, and &egin to teach so#e hypnotic "anguage patterns. The storyte""er see#s "ike the right person to present these, so up they co#e: @isted ,resuppositions of N@, C 1. 6espect the #ode" of the patient F. The #eaning of the co##unication is the response you get 3. 3"" #eaning is &ased on conte't, inc"uding conte't supp"ied &y interna" representations 4. There is no fai"ure, on"y feed&ack the #eaning of the conversation W the response received therefore, &ehaviora" f"e'i&i"ity re+uired %. 3"" procedures shou"d increase $ho"eness, increase choices K. The #ost i#portant infor#ation a&out a person is their &ehavior &ehavior is not the person, &ut it conveys #ore infor#ation a&out C J. The "a$ of re+uisite variety 4ther#odyna#ics5: the person $ith the #ost &ehaviora" f"e'i&i"ity $i"" contro" the syste# U. ,eop"e have a"" the resources they need to succeed $ithin the#se"ves I. ;ou are in contro" of your interna" resources and therefore your resu"ts 10. There are no resistant c"ients 4or "earning disa&i"ities5, on"y inf"e'i&"e co##unicatorsS resistance W "ack of rapport $e need to have enough f"e'i&i"ity in our co##unication to introduce teaching in a $ay that a""o$s the# to understand or overco#e resistance 11. 6esistance in a c"ient is a sign of "ack of rapport 1F. ,eop"e are doing the &est they can $ith the resources they have avai"a&"e i#p"ies forgiveness, not /ustification 14. >ur &e"iefs deter#ine our focus 1%. >ur focus deter#ines our rea"ity 1K. No such thing as "earning disa&i"ity on"y poor teaching and poor "earning strategies. 3s $e start to e'p"ore hypnotic "anguage patterns, "ook for so#e 1enrick "eve"and, 1ein, and others. I $i"" $ant to keep a #eta!fra#e structure to use for presentation purposes as $e get to concept J app"ications. 9o unti" the storyte""er fina""y capsu"iGes these ideas into the story for#at, $e sti"" have the fo""o$ing notes: oncept 1. Michae" Aa""2s concept of ,ri#ary 9tates. >ur pri#ary states are the fee"ings $e have in reaction to our environ#ent. ?hen $e hear a "oud noise, $e are start"ed. ?hen $e s#e"" vo#it, $e fee" nauseous. ?hen a $o#an te""s us $e are too short, $e fee" e#&arrassed. >ur fee"ings and e#otions are our states. The states that $e create in response to our environ#ent #ake up our pri#ary states. oncept F. Michae" Aa""2s Meta 9tates!"eve" 1.

>ur #eta!states are the fee"ings $e have in reaction to our thoughts a&out our pri#ary states. ?hen $e think a&out approaching a $o#an, $e fee" nervous or e#&arrassed. ?hen $e think a&out not having enough #oney or good "ooks, $e fee" inferior. ?hen $e think a&out so#eone attacking us, $e fee" afraid. Nothing has actua""y happened. There is nothing threatening us, yet $e go into a physica" state 39 IE the i#agined circu#stances $ere rea". >ur response to $hat $e IM3.IN* can actua""y &e stronger than our response $ou"d &e in the actua" circu#stance. ;our heart $i"" &eat faster in the 1% seconds &efore you approach a $o#an than it $i"" &e after you have &een ta"king to her for K0 seconds, even if things are not going $e""B oncept 3. Michae" Aa""2s Meta 9tates!higher "eve"s. 7ust as $e can think a&out our pri#ary states, $e can a"so think a&out our #eta!states. In fact, this is $hat $e do $hen $e think a&out changing our se"f!confidence or our #otivation. ?e think a&out $hy $o#en #ake us fee" nervous, and $e try to change our thinking to deve"op confidence. That thinking a&out our thinking is a "eve" F #eta!state. The higher our #eta!state "eve", the #ore po$er it has over our response. This is &ecause higher #eta!states represent our #ost deep"y entrenched &e"iefs. These deep"y entrenched &e"iefs are the su&stance that needs to &e changed to produce per#anent resu"ts. oncept 4. hanging ,ri#ary 9tates and @eve" 1 Meta!9tates is 9i#p"e &ut Transitory. 3&out ha"f of a"" hypnosis and N@, techni+ues are designed to change our pri#ary state. The other ha"f are designed to change our "eve" 1 #eta!states. 3t these superficia" "eve"s it is easy to affect our physio"ogy and response. hange your posture and s#i"e, and you $i"" fee" #ore happy. 0ut you $i"" not re#ain happy for ever after. 9oon, you #ay &e s"u#ping and fro$ning again. 6epeat positive incantations to yourse"f, and you #ay fee" energiGed and #otivated for a$hi"e. 0ut the ne't #orning you #ay $ake up fee"ing depressed or stuck. The &asic techni+ues $e use to change our state are very i#portant. ;et, #ost peop"e co#e to rea"iGe that the per#anency of these changes is short!"ived. If you are discip"ined, you can #aintain a routine of constant reinsta""ation of po$erfu" states. ?hen that discip"ine $anes, you #ay fee" that you have not actua""y #ade a rea" change. oncept %. hanging Aigher @eve" Meta!9tates ,roduces More ,o$erfu", ,er#anent hange. ?hich &rings us to 9anta "aus. No #atter $hat you do to shift su&#oda"ities, integrate your parts, hypnotiGe yourse"f, or anything e"se to #ake yourse"f &e"ieve 9anta "aus is rea" C you kno$ that you cannot #ake hi# rea". This kno$"edge e'ists as a very deep! seated #eta!fra#ed "eve" of &e"ief. Eor #ost peop"e, it $ou"d re+uire a night de"ivering presents $ith 9anta "aus to change this &e"ief. The sa#e is true of a"" of the #ost difficu"t changes that you $ant to #ake. If you rea""y e'a#ined your deepest &e"iefs, you $ou"d find that you have had an e'perience in your past or you have a &e"ief a&out rea"ity $hich is preventing the change you are seeking. These #ight inc"ude fears fro# your chi"dhood e'periences, $hich you are not conscious"y a$are of. They #ight a"so inc"ude &e"iefs a&out $hat is possi&"e or rea", for $hich you ho"d strong /ustifications. 4Eor e'a#p"e, can you rea""y &e"ieve that $o#en are /ust as attracted to ug"y #en as they are to handso#e #en= ?e a"" kno$ that &eauty is a factor in initia" attraction. ;ou2"" never change that one, so the change has to occur at a #eta!state "eve" that supersedes the issue of &eauty C rea"iGing $hat is #ore i#portant that "ooks

and deve"oping po$er in that kno$"edge or ski""B5 Those deep"y!he"d &e"iefs are the ones that #ust &e changed. oncept K. ?o#en 3"so Aave 8eep"y Ae"d 0e"iefs. >ther peop"e a"so have deep"y!he"d &e"iefs $hich govern their reactions to you. The typica" ,-3 guru doesn2t take this into account. They give you patterns for on"y one type of $o#en. 0eautifu", insecure $o#en respond to &eing teased and va"ue the &ad &oy over the rich, handso#e provider type. True C &ut $hat a&out &eautifu", secure $o#en= They have different #eta!progra#s running. Ao$ are you going to inf"uence the $o#an you $ant, if she isn2t running the sa#e #eta!progra# as the insecure &eauty= oncept J. 6ea" 9e"f! ontro" and Inf"uence >ccurs in the 8eepest Meta!,rogra#s. 3dvanced hypnosis and #eta!progra##ing are a&out getting past conscious and unconscious fi"ters, and inf"uencing peop"e2s deepest #eta!progra##ing. ;ou can affect peop"e unconscious"y, &y running progra#s of $hich they are not a$are. ;ou can affect peop"e conscious"y, &y he"ping the# address and #ake choices a&out the #eta!progra#s they have &een running. ;ou can a"so affect peop"e using e'perience, &y giving the# ne$ e'periences or understandings a&out their e'periences.

3 "ot of hypnosis has ignored #eta!states and the truth, preferring to /ust go for $hatever the su&/ect $ants to &e"ieve $ithout &ui"ding rea" kno$"edge. Eor e'a#p"e, I cou"d &e"ieve that I a# the &est ,-3 in the $or"d. I cou"d convince #yse"f of that fact, &ut that $ou"d /ust &e in #y head. ?o#en I #eet #ay fee" co#p"ete"y different"y. The &usiness $or"d is another good e'a#p"e. I cou"d convince #yse"f that I $as the greatest persuader in the $or"d, &ut #ost &usiness peop"e sti"" $ou"dn2t have any interest in $hat I $as offering. ;ou have to &e a&"e to &ack up &e"iefs $ith rea" kno$"edge and an a&i"ity to satisfy the rea" needs of other peop"e. ?e $on2t rea""y &egin to app"y #eta!progra#s to hypnosis unti" $e get to concept J. oncepts % is a&out rea""y understanding and reso"ving your o$n #eta!progra#s. oncept K is a&out rea""y understanding and using other peop"e2s #eta!progra#s. oncept J is a&out going to the unconscious "eve" $ith a fu"" understanding of the #eta! progra#s that are "urking inside a"" of us. 9o#eone $orking on concept J can reso"ve the pro&"e#s that e'ist at an unconscious "eve", &ring the issues to conscious a$areness and app"y rea" true kno$"edge to the#. ?hen you are free of the unconscious &arriers and you start to &ui"d a "ife &ased on rea" kno$"edge, then $e can #ove to deve"oping rea" po$er. Then $e are going to #ove into other #ore advanced concepts. Eor those fa#i"iar $ith 8r. ,au", re#e#&er $hat he said a&out Aappiness. It re+uires &oth se"f!estee# and $e""!&eing. ;ou get $e""!&eing &y &eing a&"e to #eet your needs. ;ou #eet your needs &y getting $ork done. ,o$er is the #easure#ent of $ork done in a #easura&"e period of ti#e. 3 person $ith #ore po$er can get #ore $ork done. ?e increase our po$er $hen $e "everage our kno$"edge and other resources to get #ore $ork done. I a# getting $ay ahead of the story, &ut that shou"d give you so#e idea of ho$ #uch $e have "eft to go &efore you $i"" have a co#p"ete ans$er to your +uestion.

EIN3@ ?>68: There is nothing in this &ook that cannot &e edited, added or de"eted. This version is sti"" /ust a draft $ith on"y a fe$ of #any possi&"e ideas. The state#ents a&out individua"s $ho are the (pu&"ic figures) of the ,-3 and N@, co##unities ref"ect the opinions of the author. >ther peop"e are sure to have different vie$s, and the individua"s the#se"ves #ay &e a &etter source than the infor#ation provide a&ove. 0y this reference, a"" of the disc"ai#ers fro# The Magic 0u""et &y 8ie0o"d are incorporated herein as if fu""y set forth. 4My "a$yer #ade #e put that in.5 9o have fun $ith it, and for 8ie0o"d2s sake, "earn so#ething.

,.9. (There2s a R%.00 fine for $hining.) !!3"an 7ackson The fo""o$ing contri&utors deserve recognition for their inf"uence on #y thinking and the evo"ution of the &ook thus far: 9i"i$o"f, 8ie0o"d, 3"pha*ag"e, Vani""a C