ney there, |t's 1y|er.

1hanks for com|ng to the kSD not Seat!!

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!