Conta|ned w|th|n th|s document are a br|ef set of notes from what you |earned, to he|p you to remember and app|y |t aher the event. I hope you hnd them he|pfu|. If you haven't yet, I wou|d a|so *mass|ve|y* apprec|ate |t |f you cou|d smash up a qu|ck rev|ew of your exper|ence at.: hup:]]www.rsdnanon.com]forum]2 (1h|s |s rea||y |mportant because ohennmes everyone assumes that everyone LLSL w||| wr|te someth|ng, and nobody wr|tes anyth|ng at a||. If you got a |ot of out of the event, p|ease take even 2 m|nutes to shoot up a qu|ck rev|ew. It means a |ot to me. 1hanks!!) Last|y before we get started, |f you're somebody who has NC1 yet had your own "not Seat" exper|ence, and you've "acc|denta||y" stumb|ed onto th|s short document, my recommendanon |s A11LND 1nL nC1 SLA1 ICk CUkSLLI. [hup:]]www.youtube.com]watch?v=e-k7grh8-1w] A|though you'|| hnd many coo| |deas |n here, |t |s about 0.001 of the va|ue of auend|ng the event |n person, see|ng the content that took me so |ong to put together, |earn|ng from the breakdowns, and exper|enc|ng the |nteracnve exerc|ses as a group. I spent 2 years prepar|ng the "not Seat" because my goa| was to create the u|nmate one-fu||-day |earn|ng exper|ence on "success w|th women", and I kNCW that you w||| be nn||ated and transformed by what you |earn. [hup:]]www.youtube.com]watch?v=SWnV3mGk2C8] 1ake S seconds and "get |n the |oop" on what you've been m|ss|ng.: hup:]]www.rsdhotseat.com Anyway, onto the notes!! 1y|er GCALS CI CUk nC1 SLA1 LkLkILNCL 1- 1o get a taste of what's poss|b|e |f you make a strong comm|tment to get th|s area of your ||fe sorted out. A|though 1y|er and other |nstructors have been go|ng out for many years, the goa| of th|s exper|ence |s to cut down your |earn|ng curve so you can get the same resu|t |n |ess nme. 2- 1o show you that "Success w|th women |s a SL1 CI kINCILLS." Lveryone |s cut from the same c|oth. 1he extent to wh|ch you app|y the pr|nc|p|es w||| be the extent to wh|ch you en[oy success. 1y|er and the |nstructors are no d|erent|f they don't app|y the pr|nc|p|es, they fa|| [ust ||ke anyone e|se. 1hese v|deos |nc|ude text book p|ckups, as we|| as med|ocre p|ckups, and tota| screw-ups. Guys who do we|| |n th|s area are kLAL LCLL, not cartoon characters. ou shou|d see from th|s that the game doesn't have to be "perfect", [ust good enough that the g|r| |s open to you mov|ng th|ngs forward. 3- 1o show you that 1nL GAML IS IUN. If noth|ng e|se, the s|ng|e th|ng you need to get re|nforced from th|s exper|ence |s that the game |s one of the most fun hobb|es on earth. Amtude |s 90 of the game. When you rea||ze how fun the game |s, you're |nc||ned to go out a |ot, and when you go out a |ot, you qu|ck|y |mprove. 4- If you're a beg|nner you shou|d get a drasnc eye-open|ng about what's poss|b|e. If you're |ntermed|ate then you shou|d get an |dea of what you need to do to reach an advanced |eve|. If you're advanced then you've reached a po|nt where "returns don't come as eas||y." 1o get from a 9 to a 10 |n the game ohen takes |onger than to get from a 4 to an 8. A|though th|s event won't be the same drasnc exper|ence as |t |s for a newb|e, |t w||| prov|de a number of advanced subt|enes that wou|d have been rea||y d|mcu|t to acqu|re on your own, and get you from that 9 to 10 |eve| |n your deve|opment. **U|nmate|y there are over 30 years of comb|ned exper|ence |n the he|d here. ou'|| ga|n hundreds of ||u|e d|snncnons that took us years to hgure out. 1hese w||| be d|rect|y down|oaded |nto your bra|n today. If you keep your m|nd open and |mmed|ate|y app|y what you |earned, you w||| ga|n 10k the va|ue out of th|s program. **1he event w||| start o w|th a |ot of h|gh||ght c||ps to keep you engaged, and then move |nto |onger c||ps that aren't as enterta|n|ng, but more va|uab|e to g|ve you a IULL perspecnve of the game. If we showed you pure|y h|gh|y c||ps then your v|ew of the game wou|d be "8CCM 8CCM 8CCM" ||ke a cartoon, |nstead of a h|gh|y rea||snc perspecnve of what an |nteracnve |ooks ||ke from open to c|ose. 1hat be|ng the case, en[oy both the o the wa|| h|gh||ghts, as we|| as the |onger c||psthey are equa||y |mportant. 1LLk 1he IN1LN1 secnon Intent #1 2 out of 10 |ntent. A|though th|s c||p |ooks awesome to a newb|e, because 1y|er |s ho|d|ng the auennon of a hot g|r|, when compared to the 6 out of 10 or 10 out of 10 c||ps, you see where |t's |ack|ng. 1h|s shou|d prov|de you w|th a m|rror of what many of CUk |nteracnons |ook ||ke. 1h|nk about approaches you d|d that |ooked ||ke th|s. Most |mportant|y, nonce how each of the three g|r|s |n the hrst three c||ps are equa||y auracnve (the hrst |s a profess|ona| mode|, and the other two probab|y cou|d be as we||), and equa||y kLCL1IVL. It's on|y how much |nterest 1LLk IS SnCWING that's d|erent. What you shou|d |earn from th|s: It's ohen not how much |nterest the g|r| |s show|ng you, but how LN1I1LLD CU ILLL 1C SnCW IN1LkLS1 1C 1nL GIkL, that |s the d|erence between an approach that goes nowhere, versus an approach that |eads from open to c|ose. Intent #2 6 out of 10 |ntent. 1y|er |s c|oser to the g|r| here. 1y|er |sn't th|nk|ng ahead. ne's |emng her ta|k, IUDGING what she's say|ng, and then reward|ng. She says someth|ng |nto 1y|er's ear, 1y|er [udges, dec|des |t's funny, and rewards her by |ook|ng under her sh|rt, then ||k|ng what he sees, p|ck|ng her up |n the a|r. Nonce a|so that when the pseudo-boyfr|end gets angry, |t doesn't mean the |nteracnon has to end. It keeps go|ng. Intent #3 10 out of 10 |ntent. 1h|s |s an examp|e of the "Un||m|ted ch|ps |n a cas|no frame." 1he best guys' m|ndset = approach|ng women as |f you were g|ven end|ess ch|ps |n a cas|no, and you were runn|ng around on a "happy fro||c", pump|ng ch|ps |nto every mach|ne you can hnd. 1here's no downs|de to a mach|ne not g|v|ng you the [ackpot. ou [ust go to some other mach|ne and pump |n more ch|ps. Lventua||y one w||| g|ve you the [ackpot, |t's a|| good! 1y|er opens th|s g|r| gemng |nto the tax| for no other reason than nL CAN. She's a beaunfu| g|r| and there's noth|ng |ost by shounng someth|ng out to see |f she responds. 1h|s usua||y has about a 1 out of 10 chance of work|ng, but |t happens to work here by the |aw of averages. robab|y because she's 8CkLD, but who cares?? 1y|er says "Don't get |n the cab. Come w|th me |nstead." She says "Do you want to SnAkL a cab?" ne says "No I want you to come w|th me. I want to take you beh|nd the bu||d|ng" (1h|s |s a [oke|f you're not SLkICUSL IUNN then don't say th|ngs ||ke th|s. As a [oke |t's funny, but |f you're not ser|ous|y funny then |t's b|atant|y stup|d and you shou|d never do |t.) She says "Ckay" and even po|nts to the back of the bu||d|ng where she wants to be taken. 1y|er fee|s =ennt|ed, and that none of th|s |s a b|g dea|. When you compare to the prev|ous 2 out of 10 |ntent v|deo, and 6 out of 10 v|deo, you can see that th|s who|e th|ng seems more NCkMAL. 8e|ng "ennt|ed" means that when a beaunfu| woman |s g|v|ng you auennon, |t's coo| and fun, but no b|g dea|. Later 1y|er runs out of strength to carry her, but wants to |ook sexy and not ||ke a dorky w|mp. So he s|ams her aga|nst the wa|| and does a mock-choke, then says "I'm the most abus|ve man you've ever met." She says "I |ove abus|ve men. I've dated many abus|ve guys before you." Intent #4 -1h|s c||p |s meant to show a d|erent |nterpretanon of the word "Intent" - wh|ch can have mu|np|e mean|ngs (or at |east, there are d|erent ways of understand|ng |t). IN1LN1 = CLAkI1 IN CUk 1nCUGn1S, WCkDS, AND AC1ICNS. In other words, you don't a|ways have to be "up |n a g|r|'s gr|||" to show |ntent (a|though |t's obv|ous|y very good II you're h|gh|y auracted). 8e|ng c|ear |n your |ntent can s|mp|y be that you're CLLAk IN WnA1 CU'kL DCING. -Nonce |n th|s c||p that a|though the g|r| |s ta||er and beuer |ook|ng than 1y|er, who appears to be the "|ucky" on |n the |nteracnon. 1h|s po|nts to the "8uyer]Se||er" Dynam|c. Lven |f you aren't as good |ook|ng, ta||, etc, you can sn|| be the "buyer" |n the |nteracnon, w|th the premer g|r| fee||ng |ucky that she's ta|k|ng to you. It comes down to be|ng more at ease |n your own rea||ty, and be|ng the one who GIVLS va||danon, as opposed to kLCLIVING va||danon. 1h|s |s a w|n]w|n frame, as g|r|s en[oy |t and fee| auracted to |t. 1hey're genera||y bored by a guy who seeks approva| and va||danon. 1he CLNLkS Secnon Cpeners Comp||anon **1h|s c||p shows a var|ety of d|erent openers, sty|es of open|ng, etc. Some hook |mmed|ate|y wh||e others are "rough |and|ngs" that eventua||y smoothen out. CLNLk 1 Accomp||shment |ntro. Iey wa|ts unn| 1y|er has "crossed the hook po|nt" and then opens. Nonce he amuses h|mse|f somewhat wh||e wa|nng, as opposed to |ook|ng over desperate|y. 1y|er gets a strong response on the "h|gh hve" and so |t's obv|ous the g|r|s wou|d rather that he stay as opposed to |eave. When Ie comes |n, |t's an examp|e of "commun|canng authennca||y from whatever state you're |n". ne's not super psyched, so references that he's "not |nteresnng" ton|ght. Lven though he's downp|ay|ng h|mse|f, he's not LMC1ICNALL LLACnING. 1here's a d|erence between commun|canng authennca||y that you're not super pumped up, and be|ng an emonona| |each. Use common sense. CLNLk 2 A|though you don't |n|na||y see |t |n the c||p, |f you |ook carefu||y you'|| see th|s g|r| |s about 4 or S |nches ta||er |n her hee|s than 1y|er (she's a runway mode|). 1o estab||sh a "mascu||ne |ead" w|th ta||er g|r|s, a great way to do |t |s to p|ck them up and sp|n them around a b|t, |n some funny way or other. Nonce 1y|er has to auempt to p|ck her up 1WICL here, because she has to bend her |egs to get p|cked up. Nonce how 1y|er a|so gets her hands qu|ck|y. 1he conversanon |s 8CkING and yet there's a good "man to woman" mode of commun|canon, s|mp|y because of the |mmed|ate phys|ca| game. 1h|s same conversanon w|thout the hand c|asp wou|d be at, but w|th phys|ca| game |t's hne. CLNLk 3 1h|s demonstrates kLILLkLS. Nonce how 1y|er sees her wa|k|ng by and |mmed|ate|y c|aws her |n, and |aunches |nto conversanon. key: S|mu|taneous|y |ncrease "awareness" of where the g|r|s are, decrease "reacnon nme". 1h|nk of a|| the nmes that g|r|s wa|ked by and you d|dn't do anyth|ng. ou were aware of them, but more as a "voyeur" than as rea||y acknow|edg|ng them as be|ng w|th|n your "he|d of rea||ty" of peop|e who you cou|d ta|k to. 1o get rea||y good at approach|ng, you want to react |mmed|ate|y when you see a g|r| that you ||ke. Nonce how he's feed|ng o of h|s auracnon for the g|r|, and |ooks a|most buzzed, even though he's stone sober. When approach|ng women you don't want to be th|nk|ng more than "Duuuur, happy, horny, DUUUUUkkkk..." Anyth|ng more than that, and you're overcomp||canng |t. A|so nonce how overwe|ght 1y|er |s here. ne's 20S pounds (|t's an o|der c||p). ne's not se|f-consc|ous about how he's trapped |n a b|g fat body, he's [ust en[oy|ng h|mse|f. Lven though he's fat, the g|r| |s [ust feed|ng o of the emonons. Wou|d |t make any d|erence |f he were SkINNLk? Nope. Nonce a|so here how phys|ca| game adds chem|stry and emonona| re|evance to the |nteracnon. 1he hand c|asp espec|a||y. CLNLk 4 "Cockfarm d|sperse." Do not approach w|th b|g groups of guys |n tow |f you can avo|d |t, as th|s |s we|rd to the g|r|. (Cn the other hand, |f you have no other opnon then there's noth|ng to |ose. 1ake |t as a genera| gu|de||ne, not a hrm ru|e). Uuer|y r|d|cu|ous opener for mov|ng groups: "ou've [ust been body checked. I'm the body check 8ANDI1." Nonce the fear|essness even though |t's a "m|xed group". Noth|ng |s a b|g dea|, |t's a|| a [oke. She says "Are you go|ng to drop me" and he says "I dropped a k|d on |t's head th|s one nme." Lveryth|ng |s a [oke. Cbserve how the guy s|mp|y van|shes. 1h|s typ|ca||y happens when you're funn|er, coo|er, and more dom|nant, assum|ng he d|dn't dr|ve there w|th her (|f he d|d then he's usua||y forced to snck around). CLNLk S A s|mp|e examp|e of how you can ye|| g|r|s down wh||e wa|k|ng beh|nd them, say someth|ng funny and them cora| them |n. "Are you the b|ockers of the street." 1h|s |sn't that funny. 8ut be se|f amused w|th what you're say|ng, even |f |t's not that funny, and |t w||| seem funny. 1ake |n|nanve to get the conversanon mov|ng. Lead, |ead, |ead. CLNLk 6 1y|er |s star|ng at the g|r| ||ke a wo|f stares at sheep, but her man nonces and remarks |t's h|s g|r|fr|end. 1y|er |s po||te and says "ou guys make a |ove|y coup|e" wh|ch a||ows h|m to duck out |n a n|ce way, but a|so a||ows the g|r| to engage h|m |n case 1) the guy was |y|ng about be|ng w|th her, or 2) she's th|nk|ng of d|tch|ng h|m regard|ess. She happens to take |t |n th|s case (th|s doesn't a|ways happen), and so he |mmed|ate|y phys|ca||y esca|ates. Why does he b|te her? 8ecause |t's fun, no other reason. 1he game doesn't a|ways have to be strateg|c - do what amuses you (w|th|n reason) and you'|| bu||d amusement for the fo||ow|ng approaches. CLNLk 7 1h|s approach |s ear|y |n the n|ght, 1y|er hasn't bu||t much momentum yet. 1h|s |s what's known as a "rough |and|ng". 1y|er strugg|es to hnd anyth|ng to say. n|s [okes don't rea||y connecthe makes dumb comments ||ke "Are you a supermode| for rea|" because he's |mprov|s|ng (as opposed to us|ng canned mater|a|) and |s [ust say|ng anyth|ng that comes |nto h|s head. kegard|ess he stays pers|stent, and because the g|r| can te|| he's "Ck" she's cur|ous enough to a||ow h|m to connnue, so |nv|tes h|m to the bar where she's meenng her fr|ends. 1he CNL sem|-decent th|ng he does |s to demand where she's go|ng, and th|s turns out to be enough to keep her engaged. She |sn't |nv|nng h|m to the bar "for sex". 8ut she's w||||ng to "|et h|m sp|t h|s rap"g|r|s see dudes "sp|t the|r rap" a|| the nme, and she's w||||ng to |et h|m connnue. 1h|s a||ows her to dec|de |f she's |nterested as nme goes on. 1he |esson here |s that you don't have to open perfect|y. ou can recover. Iust keep go|ng. Say someth|ng. Say AN1nING. CLNLk 8 1y|er opens [ust by ask|ng an |nnocuous quesnon, and then trans|non|ng. At the end of the c||p, |t becomes obv|ous he's hooked when he says "now o|d are you?" and she |n|na||y says "23". 1y|er |s skepnca| and asks "kea||y?" and she adm|ts "21". Any nme a g|r| tr|es to a|ter your percepnon of her to meet your standards, |t's usua||y a good s|gn. 1he IkLLDCM CI CU1CCML Secnon **1wo |mportant |essons here: 1) the "Soc|a| exper|ment frame", and 2) the "Use re[ecnon to bu||d your state frame". Comb|ne these two frames, and you can |earn to comp|ete|y remove a|| approach anx|ety over nme. Soc|a| Lxper|ment Irame 1h|s |s [ust an examp|e of what the kSD dudes are ||ke when they're out screw|ng around. NC1nING IS SLkICUS. It's a|| a b|g [oke. If p|ckup |s ser|ous to you, you're tak|ng yourse|f too ser|ous|y. If you're not hav|ng fun, CU SUCk. Nonce that Ie g|ves 1y|er a r|d|cu|ous opener o the cu, and 1y|er |mmed|ate|y |mp|ements |t. 1h|s |s the amtude that the most exper|enced guys have a|| the nme. 1hey see someth|ng r|d|cu|ous, they go try |t as an opener. 1nL WCkLD IS CUk SCCIAL LkLkIMLN1 LA8. I1'S ALL IUNN. NC1nING IS SLkICUS. A|so nonce 1y|er's funny fac|a| express|ons here. ke[ecnons Comp||anon Nonce here that 1y|er |s us|ng re[ecnon as LNLkG. Most of these approaches are ear||er |n the n|ght when he |acks momentum. 1he sets are decent, but he's [ust s||ght|y "o". kather than gemng |nto h|s head, he uses the |nteracnons to GL1 CU1 CI nIS nLAD. ne makes drama. Gets h|mse|f ta|k|ng and ye|||ng. Most |mportant of a||: mak|ng h|mse|f |augh. In the hna| c||p 1y|er references how m|sgu|ded |t |s when peop|e on kSD Nanon come on and ta|k about how hard and depress|ng the game |s. 1hey don't "get |t". 1he game |s fun. If |t's mess|ng w|th you, you're tak|ng yourse|f too ser|ous|y. nAVL IUN. 1he GkCU DNAMICS Secnon So|o VS W|th W|ng **Nonce the d|erence here between an |nteracnon w|th a "w|ngman" (buddy who |s a|so ta|k|ng to the g|r|s) as opposed to an |nteracnon that you have to run on your own. SCLC -1y|er keeps the group engaged on h|s own. ne gets them "on h|s team" so that they're h|s b|ggest fans |n he|p|ng h|m and the g|r| to hook up. ne does th|s by be|ng coo| to ALL of them, mak|ng sure they're a|| hav|ng a good nme. -As you watch th|s |nteracnon, bare |n m|nd that aga|n, 1y|er we|ghs 20S pounds. ne's mov|ng h|s body as |f he de|us|ona||y th|nks he's the man, and so you don't rea||y nonce |t that much. 1h|s |s why the g|r|s don't care: they respond to GCCD LMC1ICNS, and they're hav|ng fun. G|r|s aren't as p|cky as guys. -1y|er goes to hug the g|r|, and she res|sts because she fears her fr|ends' [udgment. 1y|er backs o and |ooks to them to see the|r op|n|on, and they ye|| "es, yes, yes.". 1h|s smooth, |s |n contrast to most guys who wou|d s|mp|y p|ow forward ||ke a bu||. -Nonce as the |nteracnon progresses that 1y|er |s "Se|f amused". ne ||kes them, but he'd be hav|ng fun |f they were there Ck NC1. 1hat's why they compete for h|s auennon. It wou|d never happen |f he cared about the|r approva|. WI1n WING -nere we see an approach where 1y|er |sn't requ|red to keep the group engaged, because he has another guy keep|ng the other g|r| engaged -1h|s a||ows h|m to "bang the guns" w|thout any |nterrupnon, and resu|ts |n rap|d esca|anon, fo||owed by br|ng|ng the g|r|s to the couch where he can "rea||y work" - and hna||y the extracnon. eer Group #1: -1y|er a|ways says "I'|| open w|th anyth|ng that comes to m|nd". Nonce here that he opens w|th the most uuer|y random nonsense. ne's nred at the end of the n|ght |n the heat, so h|s speech |s a b|t s|ow, but he sn|| opens w|th any nonsense that comes to m|ndand |t makes no d|erence at a||. -1he "fr|end" cr|nc|zes 1y|er as be|ng ||ke the "guy from s||ence of the |ambs". 1h|s throws h|m o |nterna||y and he takes |t persona||y, but outward|y he responds w|th the pr|nc|p|e of "A|ways have the beuer answer." 1he pr|nc|p|e 1y|er uses to have the "beuer answer" |s: "If th|s |s true, then what e|se |s true." It's a pr|nc|p|e of comedy you can use: |f one crazy th|ng a person says |s hypothenca||y true, then what other even CkA2ILk th|ng cou|d be true as we||? A|though 1y|er wa|ts a b|t too |ong to s|t (because he was thrown o by the |n|na| comment) he recovers and s|ts down. -1y|er messes w|th the fr|end for be|ng rude to h|m, then befr|ends her by k|ss|ng her hand. 1h|s |n|na||y d|sarms her anger and rage. -1y|er |gnores the fr|end and pays too much auennon to the g|r| he's try|ng to engage. 1h|s was emonona| and |mpanent: s|oppy game. ne was s|oppy because he'd taken |t persona||y ear||er, and d|dn't want to ta|k to the mean g|r| anymore. As a consequence for be|ng |mpanent, the fr|end starts freak|ng out and mess|ng w|th h|m. She tr|es to ba|t h|m to |eave by say|ng they want h|s number, but he dec||nes. She tr|es to mess up 1y|er further by say|ng "DC CU LIkL nIM??" 1y|er responds by say|ng "Don't answer. Say you don't ||ke me" |n order to ma|nta|n contro| of the frame. kegard|ess |t's not enough, but |t's a good eort. U|nmate|y 1y|er's fa||ure to proper|y engage the group messed up a s|tuanon where he cou|d have h|t |t o w|th the g|r|. eer Group #2 1y|er starts o w|th the beneht of approva| of the fr|end. ne doesn't have to do that much to get |n|na| auracnon. A|so nonce the benehts of be|ng coo| w|th ALL peop|e. 1y|er wou|dn't have expected a conversanon |n Los Ange|es to he|p h|m |n hoen|x a week |ater, but because he treated the g|r| we|| she hooks h|m up w|th her cute fr|end. -1y|er |nterrupts the g|r| when she kLALL wants to get someth|ng |n (th|s create an open-|oop of tens|on). ne uses mu|np|e "push]pu||s" |n a s|ng|e sentence: USn: Interesnng|y I understood noth|ng of what you [ust sa|d r|ght now. USn: 1he accent got too th|ck. ULL: 8ut |t was hot. ULL: I ||ke that I don't understand you. USn: It means you can't p|ss me o. USn: (1urns away from her, to her fr|end.) -1y|er sw|ngs her hand wh||e ta|k|ng to her fr|end and |ook|ng away from her. It's as |f he's her dad, and they're ta|k|ng to someone at the shopp|ng ma|| (or someth|ng]anyth|ng ||ke that). It creates rapport and a dynam|c where she wants h|s auennon. -1y|er drops a c|gareue down her bra, and then uses h|s mouth to put |t |n yet aga|n. 1h|s fo||ows a CLASSIC "game format". Near|y a|| natura|s do th|s: you tease ] take away approva| ] cross a boundary |n a funny way, then GIVL va||danon w|th phys|ca| esca|anon. 1hat be|ng the case, 1y|er p|cks her up |n the a|r r|ght aher, motorboats, etc. She wants to make out w|th 1y|er ("ou have to k|ss me."), a|though he tr|es to avo|d |t. -1y|er stacks push]pu||s aga|n (S |n a s|ng|e sentence): ULL: Cnce we're marr|ed. USn: ou won't be a use|ess. ULL: not trophy w|fe. USn: 8|tch. ULL: I ||ke that 1y|er does th|s unconsc|ous|y, because h|s m|nd understands the "format" from many years of soc|a| |nteracnon. It's ||ke r|d|ng a b|ke: veer|ng a ||u|e to the |eh, a ||u|e to the r|ght, etc. -I|na||y 1y|er gets perm|ss|on to take her to the bar to get her number, from the fr|end. Nonce how she's tota||y hne w|th |t and doesn't get |n the way, |n contrast to the "fr|end" from the prev|ous v|deo where she b|ocks at every step of the way. eer Group #3 1y|er |s ta|k|ng to h|s buddy, who mennons that h|s g|r| has a SIS1Lk |n the bar. 1y|er asks her |f that's her boyfr|end she's ta|k|ng to: she says "es" because she doesn't want her s|ster to |ook prom|scuous and "|ose va|ue". 1y|er senses her hes|tanon so asks "Comm|ued boyfr|end?" She says no, he says "1hank you" and wa|ks over. Nonce how casua||y 1y|er opens, even w|th a "m|xed group". ne [ust says "n|.Cwen." -Dude guy tr|es to say he's her boyfr|end. 1y|er "ro||s w|th |t" by say|ng "She's sa|d many good th|ngs about you." 1y|er says "She sa|d you're ||ke WCCCCCCnCCCCC!" (referenc|ng h|s d|ck s|ze) and the guy foo||sh|y says "eah I'm hung to the oor". 1y|er says "Me.I'm hung ||ke a ||u|e wet carrot" and the g|r| starts |augh|ng. 1he reason th|s works |s because the g|r| doesn't care about the WCkDS (our reproducnve systems probab|y evo|ved before we |nvented comp|ex spoken |anguage). What's more |mportant |s WnC IS UALIIING 1nLMSLLVLS, AND WnC IS 1nL IUDGL. It's obv|ous that 1y|er |s k|dd|ng, but what's |mportant |s the dude has qua||hed h|mse|f, whereas 1y|er doesn't care. -1y|er asks "Do g|r|s have to pay the 20 do||ar cover to get |n here?" 1he guy foo||sh|y responds "I'm throw|ng the fuck|ng party" (||ke "LLLAn, I'M 1nkCWING 1nL Ak1, WI1n M 8IG DIIIIICk!!!"). **NC1L: 1y|er probab|y asked th|s quesnon because h|s UNCCNSCICUS MIND knew that the guy wou|d be ba|ted |nto qua||fy|ng h|mse|f. It was on|y aher watch|ng the v|deo |ater that |t became apparent. our m|nd w||| |earn ||u|e d|snncnons that you aren't even aware of, from years of approach|ng. ou'|| see a s|m||ar pauern w|th A|ex's hna| v|deo where he gets a k|ss from a g|r| |n a car. -1y|er cuts the guy o when he kLALL wants to say someth|ng. 1h|s creates a vacuum where he wants to qua||fy h|mse|f. -1y|er a|so makes a few r|d|cu|ous sounds and |m|tanons, wh|ch sort of stuns the guy from know|ng what e|se to say to keep up. **NC1L: 1he peer group here was IAkL. Most guys wou|d have 1nCUGn1 |t was the peer group, when |n fact |t was [ust a random guy. ou see as he |eaves that he d|dn't rea||y know her. 1he nSICAL GAML Secnon G|r| S|mng Cn 8ar 1h|s v|deo |s to |ntroduce you to the concept of "hys|ca| game". "hys|ca| game" a||ows you to create auracnon w|thout a great verba| game. Lven |f your verba| game |s a b|t rusty, you can a|ways go phys|ca| to ma|nta|n chem|stry. Lven an uuer|y bor|ng verba| game works GkLA1 w|th phys|ca| game. Let's watch th|s next c||p. hys|ca| VS Non hys|ca| Game In th|s c||p 1y|er tr|ed to h|m |ndoors. It was SULk WLIkD to h|m r|ght there |n the m|dd|e of the ma||, so he got sketched out. LS nSICAL GAML WCkkS IN 1nL DA. WL IUS1 DIDN'1 GL1 A LC1 CI CLIS CI I1 8LCAUSL I1'S nAkD 1C SnCC1. WL'LL GL1 SCML A1 SCML CIN1. o|nt be|ng, w|th the hrst set w|th the b|onde g|r| there |s actua||y more "natura|" chem|stry between 1y|er and the g|r|, but because there's a |ack of phys|ca| game, |t's more awkward. 1h|s second set w|th the As|an g|r|, 1y|er actua||y has LLSS natura| chem|stry than w|th the b|onde, but because there's phys|ca| |nteracnon |t's much more natura|. o|nt be|ng: "1hat wh|ch seems LLSS awkward |s |n fact MCkL awkward..and that wh|ch seems MCkL awkward |s |n fact LLSS awkward." Get phys|ca| |mmed|ate|y and |t w||| actua||y be |ess awkward, even though |t may fee| more awkward |n|na||y. hys|ca| Game In 1he Daynme Next up the SAML quesnon comes up over and over: "Can you use phys|ca| game |n the daynme?" 1h|s v|deo answers that quesnon. 1y|er emu|ates the type of energy and |mmed|ate phys|ca||ty that you'd norma||y th|nk of as be|ng reserved for the c|ub. Nonce the |eve| of dom|nanon and |nsan|ty |n the m|dd|e of the daynme, as peop|e |ook on. Nonce as we|| how 1y|er has structured a s|tuanon where the |nteracnon can be |ead from "open to c|ose" very qu|ck|y, by the energy that he's us|ng. 8ehave ||ke a rockstar, get treated ||ke one. 1he LCNGLk SL1S Secnon **It's been fun to watch h|gh||ght c||ps to get hyper-focused on spec|hc |deas, but we need to watch a few |onger c||ps to get a beuer |dea of how an |nteracnon p|ays out from "open to c|ose". ADD arty G|r|s u|| 1h|s set |s an examp|e of how to hand|e g|r|s who are out of contro|. 1hese g|r|s are out party|ng, danc|ng, and they don't care about any guy |n parncu|ar. ou'|| nonce they have no "|nvestment" |n 1y|er. 1hey [ust want to have fun, and whoever |s there at the end of the n|ght |s who they'|| go home w|th. It's ||ke "Last man stand|ng" game: ou [ust want to be there at the end of the n|ght, and |t doesn't rea||y mauer what happens |n order to get there. 1he |nteracnon starts w|th 1y|er fo||ow|ng them |nto the c|ub. Nonce that he cou|d have engaged them on the street, but C1LD to wa|t unn| they get |nto the c|ub. 1h|s |s a sub[ecnve [udgment ca||. -1he g|r|'s fr|end freaks out, because 1y|er |s esca|anng too qu|ck|y. ne d|sarms |t by say|ng "If peop|e don't accept an apo|ogy then how are Israe| and a|esnne are go|ng to work |t out?" 1hen he sh|hs |nto LMC1ICNAL kLLLVANCL by [ok|ng that he won't do anyth|ng to her fr|end that he wou|dn't do to nLk as we||. -G|r| asks "Do you have k|ds." 1y|er answers "robab|y but I don't know." 1h|s |s a common answer to a common quesnongets her a ||u|e mad, but her unconsc|ous m|nd rea||zes that you have "opnons". -1y|er starts |ncoherent|y ye|||ng "I CANNC1 GC nCML WI1n CU!!" 1h|s |s c|ass|c funny game stu. ou cou|d mod|fy |t to say "I'm not go|ng to have buu sex w|th you |n the bathroom!!" or "I'm not go|ng to do you beh|nd the dumpster!!" It [ust g|ves the g|r| a b|t of a thr||| and gets her |augh|ng. -1y|er d|sarms quesnons |n the park|ng |ot by [ust push|ng forward. Cute 8ut No Chem|stry 1h|s |s an examp|e of a set where you re|ate to the g|r| more as a IkILND than as someone you have chem|stry w|th. 1he truth |s that when you get good at meenng women, [ust because a g|r| |s v|sua||y auracnve doesn't mean you have rea| chem|stry. In p|ckup you can e|ther re|ate as 1) a man to a woman, 2) a fr|end to a fr|end, or 3) a woman to a woman (||ke by say|ng "ne treats you so bad g|||r|!!" ||ke many of us used to do before we found the p|ckup commun|ty.) 1h|s g|r| |s from the country and has a funny accent. 1y|er fee|s no chem|stry for her, but befr|ends her, wa|ks her around the c|ub so other g|r|s see them together, and has fun w|th her. 1y|er ||kes to show th|s c||p because many guys th|nk that you have to try to have sex w|th every decent |ook|ng g|r| you approach, and "burn |t to the ground." nowever |f you want fema|e fr|ends who w||| |ntroduce you to the|r fr|ends, or get you |nto c|ub, you have to meet LC1S of g|r|s out ||ke th|s, who you become fr|ends w|th. Nonce however that when a g|r| says "Let's [ust be fr|ends" she rea||y means "Let's not LVLN be fr|ends." It's usua||y g|r|s that you have SCML chem|stry w|th, [ust not enough to have sex w|th, who w||| become your fema|e fr|ends and hook you up. ALSC NC1ICL: 1y|er near|y b|ows h|mse|f out by go|ng on a nrade about h|s op|n|ons about psycho|ogy. What's coo| |s that he CA1CnLS nIMSLLI, and s|ows h|mse|f down, and then says "Actua||y I th|nk I'm |nsane." So rather than [ust g|v|ng h|s 10 m|nute nrade on psycho|ogy, he s|ooooows down, and re-ad[usts the conversanon. 1h|s |s |mportant because when you "go o" on some top|c for 1CC LCNG you may |mpress the g|r|, but you'|| ohen |ose auracnon. It's ca||ed "b|ow|ng yourse|f out w|th your own awesomeness": the g|r| th|nks you're awesome, but |sn't auracted whatsoever. It's good to ta|k about th|ngs you're |nterested |n, but |f |t's a menta|-thought-|oop that [ust goes o on a nrade of op|n|ons that you're over|y A11ACnLD 1C, |nstead of ta|k|ng about |t to nAVL IUN, then |t's ohen a buzz k|||. Use common sense. u|| W|th Connecnon nere's an examp|e of a g|r| who 1y|er DCLS have chem|stry w|th. She's a so||d person (she works |n a hosp|ce for dy|ng peop|e) and |s easy to ta|k to, and respect as a woman. Nonce throughout the |nteracnon that 1y|er commun|cates w|th 1WC SLLVLS. ner "se|f" that wants to "have fun" (|e: have sex) w|th random guys, and her "se|f" that wants to be a "good g|r|" and not be [udged. kLALL WA1Cn AS nL CCMMUNICA1LS WI1n 1WC DIIILkLN1 SLLVLS: 1y|er goes back and forth between mak|ng funny sexua| and aggress|ve comments, and ta|k|ng about be|ng a gent|eman, be|ng more trad|nona|, etc. 1y|er says that |f he wa|ks her home he won't come |n. 1he reason he says th|s |s that she's on|y known h|m for 1WLN1 IIVL MINU1LS. A|though |n "de|us|ona| p|ckup |and" 2S m|nutes |s |ong enough for a g|r| to dec|de to have sex w|th you, |n the rea| wor|d many g|r|s need |onger. She's say|ng "Wa|k me home but you can't come |n." to a||ow her to ta|k to 1y|er more, and see |f she's |nterested |n |emng h|m come |n, but at the same nme to GIVL nLkSLLI AN "CU1" |f she dec|des she doesn't ||ke h|m. G|r|s do th|s because un||ke guys, they need 1IML to te|| |f a guy |s auracnve or not. Any guy can IAkL be|ng conhdent for a few m|nutes, but |t's harder to fake over an hour or two. 1hat's why they want to spend nme w|th you: to see |f you are CCNGkULN1 to the coo| and awesome guy that you seem to be. 1nL ULL: nere 1y|er knows that he has to bu||d as much rapport as poss|b|e between now and the nme they get home. 8ecause she has a more stab|e and h|gh qua||ty persona||ty, he doesn't have to keep pump|ng w|th snmu|us. 1hey can [ust ta|k and get to know each other. "Auracnon" |s done. Cnce they arr|ve home, the "you can't come |n" th|ng |sn't remote|y an |ssue. She [ust sa|d |t to see |f he was coo|. 8ecause he was, he was |nv|ted |n no prob|em at a||. So||d Day 2 Lstab||sh|ng Game 1h|s g|r| |s out for a bache|oreue party. She has been "pa|red up" |n a buddy-system w|th th|s g|r| she doesn't know, and the g|r| has gouen tota||y drunk. She's now stuck tak|ng care of a drunk g|r| she bare|y knows. 1h|s creates a we|rd s|tuanon for 1y|er. 1he drunk g|r| |s on the other s|de of the ra|||ng, and 1y|er wants to [ump over and ta|k to the g|r| he ||kes, but he doesn't want to we|rd her out by gemng too near to the drunk g|r|. **1he ma|n |esson of th|s |nteracnon |s the ba|ance between "Va|ue" and "ua||hcanon". -Lar|y on you see that the g|r| |s skepnca| that 1y|er rea||y ||kes her. ne says "I |ove you" and she says "No you don't." 1y|er |n|na||y fa||ed to nonce th|s. -Nonce how she pu||s on 1y|er's arms. She ||kes pu|||ng away and be|ng he|d. She a|so revea|s that she runs her own bus|ness. She's got her ||fe together. It seems ||ke a natura| ht. -1y|er asks for the phone number and gets DLNILD. ne qu|ck|y has to assess: Is |t because he |acks the VALUL to get her auracted, or the UALIIICA1ICN to make her fee| that he rea||y ||kes her. -1y|er shou|d have nonced ear||er when she was skepnca|, when he sa|d "I |ove you" and she sa|d "ou say that to everyone". ne d|dn't spot |t because he was mesmer|zed on the g|r| and wasn't th|nk|ng. 1o ASSLSS where he stands w|th her, he says, "Why? I wou|d sta|k you, you're r|ght." and she says "No you wou|dn't." 1nA1 IS 1nL 1ICII 1nA1 nL LACkS UALIIICA1ICN. She assumes he wou|dn't' be bothered. Now 1y|er has to spend the next ten m|nutes show|ng he's rea||y |nterested. ne starts ta|k|ng about a|| her good qua||nes. -1y|er gets her hote| address. 1he qua||hcanon has pushed through the |n|na| skepnc|sm, and she hgures that |f he's w||||ng to ca|| her, then |t's at |east decent proof he ||kes her. 1h|s |s so |mportant because for a GIkL 1C ILLL VALIDA1LD by sex, she has to fee| the guy ||kes her, or chose her from among other g|r|s. Guys ALWAS fee| va||dated by sex, because the g|r| cou|d have chosen some other dude (that's why we have a hard nme re|anng to th|s who|e th|ng). 8ut g|r|s need MCkL |n order to fee| any emonona| va||danon. ILII Saves 1he Day nere's a qu|ck examp|e of h|s amtude |n the he|d. ne [ust ||kes to mess around. ne's hav|ng fun. Aga|n, Ie |s a|ways screw|ng around. It's a|| a [oke. 1w|||ght Nonce here how he's ta|k|ng about th|ngs that CU Ck I wou|d not hnd that funny, but because ILII hnds |t funny, by the "|aw of state transfer" she starts |augh|ng (to the po|nt that she asks h|m to say the same th|ngs aga|n and aga|n). Ie actua||y fee|s ||ke he's qua||fy|ng h|mse|f by do|ng |t, but she's |augh|ng so hard he goes w|th |t (the ru|es are [ust genera| gu|de||nes, and can a|ways be broken. It's newb|es who w||| never break a ru|e.) Lng||sh u|| -Some of the sharpest verba| game ever recorded. -Demonstrates how Ie pushes through res|stance towards |eav|ng the c|ub and hook|ng up: keys are connnua| pers|stence w|th a |ot of h||ar|ty. kAN kandom Nonsense kyan was NC1 natura| w|th women at a||. ne d|dn't hnd h|s conhdence eas||y. What you shou|d rea||y nonce w|th kyan are two th|ngs: 1) how he's an examp|e of a dude who |s NC1 natura||y conhdent but [ust USnLS 1nkCUGn and ga|ns success (|f he can do |t, then nobody |n th|s room has an excuse), and 2) how he has Ied|-||ke frame contro|. Wa|k|ng Street Set 1h|s v|deo w||| |ntroduce you to kyan's Ied|-||ke Irame Contro|. 1hroughout the c||p the g|r| w||| say that 1nINGS AkL CNL WA, and he'|| say "Nope, they're 1nIS C1nLk WA." And she'|| |mmed|ate|y agree. -"I don't need to te|| you you're endear|ng, you are endear|ng." -(She says "ou don't |ook 26.") and he says "ou [ust won so many po|nts." (to reframe |t as a comp||ment). 1hen he grabs her auennon by say|ng "8ut then you |ose them, by do|ng the th|ng I hate most |n the wor|d." (further re|nforc|ng that he g|ves va||danon, she rece|ves |t.) -(She says "ou have an |hone.ou [ust |ost a po|nt.") and he says "No I d|dn't" and she |mmed|ate|y agrees. -"Sweet heart I th|nk both of us are past the po|nts." Crossht u|| 1h|s v|deo shows kyan us|ng the SAML IkAML CCN1kCL ILDI MCVLS as the prev|ous set, but |n a far more aggress|ve "frame bau|e" (so to speak). Nonce as he pu||s her out, that her LLGS AkL WkALD AkCUND nIM. A|so nonce at the end, that |f he "|oses state" at any po|nt, that she w||| fa|| out of state as we||, and |ose |nterest. It takes very good state-contro| |f you want to do th|s. LVLk1nING nAS 1C 8L IUNN. LVLk1nING IS A IUNN ICkL. If you take th|s type of s|tuanon ser|ous|y, 8CCM, she |oses |nterest. Last|y, nonce |n the tax| |nterv|ew aher how much fun she had. Why d|d what he do work? 8ecause |t was funny, she was |nto |t, and he |ead |t from open to c|ose. 8kAD 8rad |s a very |nteresnng dude to watch. Guys w||| try to excuse h|s game on h|s |ooks, wh|ch |gnores the m||||on amaz|ng th|ngs he's do|ng (and frank|y |t's super pathenc when dudes make any excuse). 1he two th|ngs to |earn from 8rad are 1) h|s sense of h|gh ennt|ement, and 2) the way he us. 1hese two aspects of h|s game are parncu|ar|y great to mode|, because he never |nches or qua||hes h|mse|f to g|r|s whatsoever. And second, because he's ab|e to keep conversanons go|ng forever and ever by mak|ng them ||ght and uy. Comp||anon 1h|s shou|d show a b|t about 8rad's game. -"ou have bad eye contact". Nonce how MCS1 guys wou|d "|nterpret" a g|r| |gnor|ng them as be|ng about 1nLM, whereas 8kAD |nterprets |t as be|ng about nLk bad eye contact. (1hat's h|s sense of ennt|ement). -"CU!" ne commands her to |ook at h|m here, |n a funny way. -"WnCCCCCAAA!!" as he fa||s to makeout w|th the g|r|. It's h|s "pos|nve]dom|nant" voca| tona||ty. She can te|| he's a popu|ar and coo| guy [ust by the way he ye||s "WnCA!" as he fa||s. -A|so nonce how even a bor|ng conversanon |s |nteresnng, by h|s LNLkG. Imag|ne |f the average person had th|s conversanon, how bor|ng |t wou|d be. 8ut because of h|s |nterest |n h|s own conversanon (and [ust re|anng to her as a person), |t's fun to ||sten to. -8rad forgets her name. ne |gnores |t and says "|et's not ta|k, we don't need to ta|k" and [ust keeps mak|ng out w|th her. ne doesn't |et |t dera|| h|m. -nav|ng fun |s what g|ves you the emonona| enthus|asm that g|r|s are auracted to. ou goua stop and sme|| the roses, not [ust h|t, h|t, h|t. -G|r| asks 8rad |f he's ready to fuck. ne says "WnCA!" w|th a voca| tona||ty that re-asserts dom|nance |n a casua| way. -1hen he says "I AM preuy good at |t" very mauer-of-factua||y. What's |nteresnng here |s that he |sn't us|ng the typ|ca| "p|ckup arnst" cocky and funny remark, but [ust us|ng "rad|ca| honesty" (a book by 8rad 8|anton). -What's powerfu| about rad|ca| honesty |s that there are no h|ters |n your commun|canon. A|though you |ose the conven|ence of |y|ng to peop|e, your commun|canon becomes a |ot more powerfu| and authennc. 8rad has tapped |nto th|s. -Anyway th|nk of 8rad's response as hav|ng three |eve|s. 1) Chode |eve| "Duuur, yeah I'm ready to fuck!! Woooo!!!" 2) the UA |eve| "I|rst you goua pay me S bucks!!", and 3) 8rad's |eve| "I AM preuy good at |t." w|th a stra|ght face. 8rad has sort of taken |t "fu|| c|rc|e" back to chode-|and, but w|th a certa|n v|be that makes |t WCkk. -Later she says "ou've goua |ast at |east 4S m|nutes." and he pauses, th|nks to h|mse|f, and casua||y says "I...can |ast that |ong." Aga|n |t's that b|unt, mauer-of-fact rad|ca| honesty, that a||ows h|m to qua||fy h|mse|f |n a way that's NC1 AC1UALL UALIIING nIMSLLI. -1h|s causes her to become so auracted she [ust [umps h|m for the make-out. u|ck Makeout -Nonce 8rad's sense of ennt|ement here. -A|so nonce how he's ta|k|ng ||ke a tota||y norma| conversanon, wh||e he's fee||ng her ennre body. ne's speak|ng to her "|og|ca| se|f" wh||e h|s phys|ca| commun|canon speaks to her "emonona| se|f". -Nonce aga|n 8rad's rad|ca| honesty. ne's very |n the moment and doesn't rea||y even remember what he says. She says "What wou|d you do to me??" and he honest|y answers "What?? Ch, yeah th|nk of th|s, ||ke, nmes hve." Long Set Cf n||ar|ty CnALLLNGL: 1ry to fo||ow 8rad's conversanon. ou can't summar|ze |t because he's fu||y |n the moment, and doesn't care enough about her approva| to over|y th|nk about what he's say|ng. Wou|d add|ng |n any "structure" or "rounnes" he|p h|m?? NCL. ALLkANDLk A|ex |s a guy who expresses a true "ch||d ||ke [oy". n|s "[oyfu| se|f" comes to the surface. ne's a|ways "|n state". 1he way you see h|m, th|s |s how he |s 24]7. ne's a|ways go|ng o about "She's gonna get the prawn." (he ca||s h|s d|ck the prawn) and nonsense ||ke that. It's [ust the way that he |s. C|ub u|| A|ex beg|ns by say|ng "G|ve me a chode opener." ne's try|ng to de-bunk myths about how you need a certa|n type of opener. Nonce that even though he oers to buy the g|r| a dr|nk, he's be|ng command|ng and cha||eng|ng. -ne says "Lxcuse me, why don't you have a [ob??" random|y. Nonce how he's |nterrupnng her whenever he fee|s ||ke |t. We ca|| th|s GAMING 8LIND. ne has no regard for her responses whatsoever. -ne k|sses her. Nonce how you don't even rea||y see |t, |t's so "casua| and assumed". It's ||ke they're a|ready danng. - 1y|er asks "Do you need he|p" and he's ||ke "No, I got th|s, I'|| own th|s." Nonce how he's |n comp|ete contro|, from do|ng th|s hundreds of nmes. ne can be |og|ca| to ta|k to 1y|er, and then |mmed|ate|y sh|h |nto game mode: "Iu||eue?? Is that you??" -VLk IMCk1AN1: "Are you from LA?" "No". "Irre|evant" and then kISS. (A|ex |s us|ng a hypnonc pr|nc|p|e here, |nadvertent|y. ne doesn't rea||ze he's do|ng th|s, but by ask|ng where she's from, she g|ves an autop||ot response, and then he says "IkkLLLVAN1" as he k|sses her). NC1 CNL |s A|ex break|ng an "autop||ot |oop" by ask|ng a quesnon and then respond|ng w|th a k|ss (wh|ch her unconsc|ous m|nd can't process, because she's so accustomed to peop|e say|ng "Ch you're not from LA, where are you from??"), but he's say|ng the word "Irre|evant" as he k|sses her, as |f |t's no b|g dea| (|rre|evant) that he's do|ng so. ALSC VLk IMCk1AN1: "Do you be||eve |n |ove at hrst s|ght?" and then sucks her neck. Nonce that AGAIN, he's e||c|nng an autop||ot response, and then com|ng back w|th someth|ng unexpected. It's a pauern he's us|ng: ask a quesnon, then when she g|ves an answer, h|s response |s to phys|ca||y esca|ate as |f |t was the proper response. -She says "keep go|ng". ne says "What? What do you want me to do? Ckay turn your head the other way." and then sucks her neck, then boobs. (ne does th|s to |p the frame from her |ead|ng to h|m |ead|ng.) -A|ex w|nds up hook|ng up w|th th|s g|r|. Done dea|. Street Game -Look at A|ex's reexes and reacnon nme. 1h|nk of a|| the nmes you [ust |et a g|r| pass by. Look at how he [ust c|aws her o of the street. -Is he re|anng to her as a fr|end to a fr|end, or a man to a woman?? now qu|ck|y |s he do|ng th|s?? A|ways keep th|s |n m|nd. -A|so nonce how dumb h|s opener |s. It makes no sense, |t's [ust a space-h||er. 1here |s no need for a good opener when you're re|anng as a man-to-a-woman. -"Is th|s her b|rthday?? 8Ik1nDA kLSLN1!!" and k|ss. (1h|s |s the SAML A11LkN you saw |n the |ast v|deo, of A|ex ask|ng a random quesnon, and then respond|ng w|th a phys|ca| esca|anon. Aga|n, A|ex's unconsc|ous bra|n hgured out th|s pauern from years of approach|ng.) -"Come here...kLLAk...What's your number??" Nonce the |ead|ng here, even as he turns her head. IULL LLADING. -Nonce the os|nve]Dom|nant voca| tone. ILSS, CCML 8ACk!! It's not ||ke he's begg|ng, he's command|ng. **1h|s next secnon |s a ser|es of hypnonc commands that A|ex doesn't even rea||ze he's do|ng. n|s unconsc|ous m|nd knows to do th|s, he doesn't know he's do|ng |t. -"No, I'm |n the way of the door." (her m|nd can't process how to answer to that. CI CCUkSL he's |n the way of the door, but |t makes no sense so she can't respond). -"I have to go.I have to go." (Imp|y|ng 1nL are ho|d|ng h|m up, and the k|ss |s ASSUMLD.) -"See ya.." (and |aunches |n for the k|ss, as |f |t's her boyfr|end say|ng bye.") -"Ch no, I'm |n the way." (Aga|n her m|nd can't process th|s.) -"I've goua k|ss Iess good-bye." (As |f they're ho|d|ng h|m up, the k|ss |s assumed.) -"See ya.." (|aunches |n AGAIN) (Nonce h|m |augh|ng. Look at h|s state contro|. ne tru|y |s tru|y ob||v|ous to the|r responses and hav|ng fun, so they can't get any neganve emonons o of h|m.) -"u|ck! u|ck!!" (As |f they're ho|d|ng h|m up, and a|so, |t's a command.) Cther rograms Ior Iurther Learn|ng 1he two other programs that you may want to auend now that you've had the not Seat Lxper|ence are the kSD 8ootcamp and the kSD Wor|d Summ|t. 1he bootcamp |s a three day event where |nstructors take you |nto the he|d and persona||y coach you, through a process of demonstranng how p|ckup |s done, and then gemng CU do|ng |t too. [hup:]]www.youtube.com]watch?v=_px28Wkp8s] 1he Wor|d Summ|t |s a week of fu|| |mmers|on |n Las Vegas. 1h|s |s the event where every |nstructor |es |n to teach the|r most cumng edge mater|a|, as we|| as prov|d|ng you w|th an end|ess number of ||ke-m|nded |nd|v|dua|s to go out and share adventures w|th. (It's a|so worth nonng that the Wor|d Summ|t tends to auract the h|ghest qua||ty of peop|e. 1h|s |s ||ke|y because they have to have the|r ||ves together sumc|ent|y to take a week o of work and make |t to the event. Genera||y I've been shocked by how good most of the students are at the Summ|t, as we|| as the resu|ts that I've persona||y seen the students get wh||e auend|ng.) Cons|der how much you |earned |n a s|ng|e day of not Seat, and then |mag|ne go|ng through the same process aga|n and aga|n for an ennre week, fo||owed by go|ng out to some of the best n|ghtc|ubs |n the wor|d (h||ed w|th extreme|y hot women |n one of the most sex charged env|ronments |mag|nab|e). [hup:]]www.youtube.com]watch?v=t3rpk8|3|] About 70 of students who auend a kSD program w||| come back and check out another one, wh|ch I be||eve |s because we push ourse|ves very hard to keep evo|v|ng our ab|||nes, content, and teach|ng methods. I wou|d |ove for you to connnue to |earn from us, and apprec|ate your bus|ness! 1hank you for auend|ng the kSD not Seat, and p|ease |et other peop|e know about your exper|ence!