continuacion

THE MYSTERY METHOD
H o w  T O  P U T  B E A U T I F U L  W O M E N  U N D E R  Y O U R  S P E L L PRESS AND TESTIMONIALS
"The World's Greatest Pickup Artist."
— Saturday Night Magazine
"...has single-handedly invented  m u c h of the jargon and tactics that men
around the world are using to meet women."
—  T he New York Times
"Desmond Morris, the British zoologist and sexuality expert, admits that
the Method is a shrewd compression of the phases of love. 'One of the
great mistakes men make is not playing all the stages of courtship,' he
says. 'It has to be done stage by stage if it's going to work."'
- Elle Magazine
"Mystery's disciplinal Don Juans often describe the bene£ts of the
Mystery Method as augmenting not only their romantic pursuits but also
their lives in general. They find they become happier, more confident
people. Even Neil Strauss, the New  Y o rk Times' music columnist and
author of an article on Mystery, has become one of the method's most
devoted followers. 'It's revolutionized my life, 'he says."
- Utne Magazine
"What is miraculous is that it works. In four hours, I watch Mystery
work his way into five separate groups of people in the nightclub, and
target a beautiful woman who wraps her limbs around him in less time
than it takes to say impressive. It also worked for his former students..."
- Marie Claire Magazine
"He's like a MAD GENIUS. He sucks women into his reality. It's
LITERALLY one of the most  @ % *^ED UP phenomenons I've seen in
my ENTIRE LIFE. It's worth it just to SEE IT, let alone what it does to
your game. And the cool part is, it's all LEARNABLE."
- Tyler D "I was absolutely amazed. My jaw dropped with surprise by how well The
Mystery Method works and allows you to easily maneuver through sets to
isolate a hot babe and flow quickly from one set to the  n e x t ."
— Papa
"I did  s o m e t h i n g I thought would be IMPOSSIBLE to do. I
approached a set of 6 guys and 1 girl. Played it by the book. The guys
even bought me drinks. I was then able to isolate and attract the hot
babe without any issues. I instant dated her immediately. Then, we
went to her place. That was my BEST pick-up ever. I never would have
dared approach a set like that. Now I can."
~ MT L _ PUA
"I have never seen such a display of Alpha-ness in my life. Mystery had
the whole VIP lounge eating out of his hand. Guys were high-fiving him
and girls were coming up kissing him and getting their pictures taken
with  h i m. It was amazing."
- Thundercat
"Saturday night I went clubbing with two other guys, and opened up lots
of groups — in fact, I was the leader of our group of three guys, and felt
myself generating social proof with every group I opened. I can honestly
say that I'm now 500% more comfortable in bars than I was before.
Thanks."
- Trevor L.
"I took your workshop in LA two weeks ago.. .Last night, I ran the
tightest set. I followed your game plan EXACTLY. I went in with
intriguing opener, picked the target, got the group to love me,
negged/ignored her. I was the center of attention of the entire mixed 6 set.
Later, I isolated her, quali£ed, demonstrated vulnerability, I always knew
all tin's stuff should work, but tonight I actually SAW it work in its entirety
for the first time. It was amazing that everyone in the group acted
according to the plan (group, HB, specific obstacles). Thanks Mystery.
Tins took my game to the next level. "
- Ryan C.
"Is it worth the money? Absolutely. Tin's was probably the single weekend
with the most impact on my life, ever. Life changing!"
— Veroxii "Mystery had his students initiating sets with women all over St. Laurent
Boulevard and some over at the Jazz Festival which is being held currently
in town. There were massive improvements made with several of the
students who showed great changes in their skillset and personal
appearance in response to Mystery's suggestions about dress, presentation
and peacocking. There is a clever method to the madness and it was clear
that results were being achieved as the students got familiar with Mystery
Method. Mystery demonstrated his mastery Saturday evening when he
approached two women (10's) who completely and totally froze him out on
his approach. They gave him a reaction as cold and disinterested as any I
have ever seen. Mystery left them, waited a minute or so, went back into
the set, left, went back again, and again, and within 5 minutes tops these
two women were in rapt attention, fawning over  h i m, the target with her
arm draped around  h i s. It was completely masterful to watch."
- Cliff
"I sincerely wanted to thank you for some of the keen insight and
guidance that you've provided me over the last lew weeks (especially
tin's past weekend)...I frequently find myself laughing with pure
delight at your genius. It's awesome!!"
- A l e c
"Fantastic weekend, I'm still assimilating the tilings you taught... you've
totally changed my game for the better. I can't possibly imagine how
much time and research you had to put in to tin's stuff."
- M ad Dash
"You totally rock. I can't tell you how much the weekend exceeded my
expectations. I really learned a lot more then I imagined I could, even if
most of it was from watching you guys inadvertendy steal all my girls ;-) I
have to admit I was very skeptical about paying the money for the
workshop - mostly because I had heard about most of the material before
and had tried it without REALLY understanding it at all. Now I KNOW it
works, and am starting to understand how working and internalizing a few
key understandings and techniques will really take my game to an entirely
new level. I'm looking forward to applying tin's understanding to the 100+
sets a month I expect to continue to work!"
- Lance "Mystery was very inspirational and I saw his method work right in front
of my eyes when he was kissing a girl (complete stranger) within 10
minutes of entering a bar. His method of approaching women (and
groups of people in particular) has to be seen to be believed. And I would
recommend anyone who is flunking of doing his workshops to do so . . .
fast. My skills and confidence has lifted up to a whole new level after the
last workshop with  h i m. Not only do I now have the skills to approach
groups of girls, but also mixed groups (guys and girls) which I would not
have done before. His practical encouragement and methods are so easy
to learn that anyone who is serious about ha\ing LOTS of choice with
women must do his workshop. The best tiling about Mystery's workshops
is the small numbers they accept and the very specific one-on-one
feedback he gives you right on the spot to correct any mistakes. Since
coming back home, I have had so many amazing experiences with
beautiful women that it is almost like a dream. It's as if Mystery gave me
the wings to soar above all the other AFCs and take my pick of all the
beautiful women out there, swoop down and carry them off at my leisure.
It's so easy for me now..."
- Pierre
"I attended the Mystery Sex Magic workshop in Sydney. The  f i r st day he
arrived at our pre-arranged meeting place, Mystery. . . stood out from the
moment he entered the room. Mystery KNOWS his stuff. This guy is as
good as anyone say he is. He was able to have HOT girls BEG him to
take his number. I have NEVER seen a girl beg someone to take a guy's
number after  k n o w i ng the guy for 20 minutes! He was able to consistently
attract the honest girls in the largest group (with some intimidating guys
in the group) in the club. I could see myself improved DRAMATICALLY.
I was able to run full routines on girls (chickened out on kiss-closes
because I didn't have the particular routine to go on with - damn!) and
ended up with two meet-closes. I met one yesterday (something I wasn't
able to do before the AIM workshop) and will be meeting one on the
weekend. So all in all, it was worth the money spent. My game has
improved dramatically, and will continue to improve once I implement
Mystery's suggestions to my game. The very least is the realization that
the 20 minute PU is possible. I have seen it with my own eyes."
-Jeff C. T he Venusian Arts  H a n d b o ok
A personal note from Mystery:
This  b o ok  r e p r e s e n ts  t he  culmina t ion  of my life's wo r k,  w h i ch  is my only  sour ce
of  i n c ome.  It  h as  t aken  o v er twelve  l o ng years  to  d e v e l op  t he  theor i es described
inside, ma ny of  w h i ch I  h a ve previously  p o s t ed  for free on  t he  int e rne t.  O v er  the
years,  those  p o s ts  h a ve  r evolut ioni z ed  p i c k up  a nd  s educ t ion theory,  a nd  h a ve
c h a n g ed  t h o u s a n ds  of lives.  T he  p i c k up  c o m m u n i ty has  b e en  enr i ched  by mv
ideas  a nd mv teachings —  t h at  h as  b e en my gift to you. So to those with the
capability and inclination to pirate this book, I ask that you please do not.
This  m u ch  r e s p e ct I believe I have  e a r n ed  and  am due.  T h a nk  y ou again for your
int e r e st  and  m a y be  w e ll me et  someday  in  t he field.
L o v e,
Mystery
Copyright © 2005, Mystery Method  C o r p o r a t i on
"Mystery Method" and "Venusian  A r t s"  a re  t r a d ema r ks us ed by The Mystery Method  C o r p o r a t i on
LLC,  a l l  r i g h ts  r e s e r v e d.  T h is book may  n ot  be  r eproduc ed  in whole  or  in  p a rt wi t h o ut
e x p r e ss  p r i or  c o n s e n t.  A il  v i o l a t i o ns  w i ll  be  p r o s e c u t ed  to  t he  f u l l e st  e x t e nt  of  t he law.
Each book  is  i n d i v i d u a l ly numbered and coded and can be  i n d i v i d u a l ly  i d e n t i f i e d. This
i n d i v i d u a l i z ed  coding  i n c l u d es  t he  b u y e r 's name,  c r e d it  c a rd number,  b i l l i ng  a d d r e s s,  e x p i ry
d a t e, and  c v vs number. Each book  c o n t a i ns  at  l e a st one  d e l i b e r a te  t y p o g r a p h i c al  e r r or -
a u t o m a t i c a l ly  g e n e r a t ed  in each book  s a le - and  sma ll  v a r i a t i o ns  in wording  t h at  a re  u n i q u e.
Any book, or segment  t h e r e o f, can be  t r a c ed back  to  i ts  o r i g i n a l owner. Through  t he
s e c u r i ty  s o f twa re you  a re  u s i n g, once we have  i d e n t i f i ed a copy  t h at  is not  b e i ng used by
i ts  o r i g i n al owner,  t h at  " i n v i s i b l e"  b i o g r a p h i c al  i n f o rma t i on can  be made  v i s i b l e .  P i r a t e rs
a re much more  i n t e r e s t ed  in  i d e n t i ty  t h e ft  a nd  c r e d it  c a rd  f r aud  t h an  t h ey  a re  in ebooks.
We have  r e t a i n ed the Agency  S e c u r i ty Group,  I n c. to  a c t i v e ly  s e a r ch  f i l e - s h a r i ng programs
and  s i t e s  to  t r a ck  t h o se down who  p a r t i c i p a t e  in  i n t e l l e c t u a l  p r o p e r ty  t h e f t. Me have  a l so
s et  up a reward system for former  s t u d e n ts  to  i d e n t i fy  i l l e g a l  a c t i v i ty  by  o f f e r i ng  to  t r a de
or buy  b o o k s.
By opening  t h is  f i l e , you  agr ee  t h at you  w i ll  be  h e ld  l i a b l e  f or  c i v i l damages  i n c l u d i n g,
but  n ot  l i m i t ed  t o ,  l o st  s a l es and enforcement  c o s t s,  if you  s h a re  t h is book  or any  p o r t i on
t h e r e of wi th anyone  e l s e . We  w i ll  a l so do  e v e r y t h i ng  in our power  to make  t h a t  t h e se  c i v il
p r o c e e d i n gs (and  t he  n a t u re  of  t he book)  as  p u b l ic  as  p o s s i b l e.
If you  do not  a g r ee wi th  t h e se terms  of  u s e,  p l e a se  r e t u rn  t h is unopened  f i l e  f or a  f u ll
r e fund  w i t h in 24  h o u rs of  p u r c h a se  to legal@mysterymethod.com This book contains a basic and complete description of the Mystery Method. It is
intended to serve as a standard text and handbook for the practicing venusian artist.
Contributions
• Mystery conceived the ideas and concepts in this book. It is ultimately a product of his genius.
• Substantial  p o r t i o ns of  t he  b o ok are also wr i t t en by Mystery's  own  h a n d.
•  L o v e d r op  (bookcomment s@mys t e ryme thod. com) produc ed,  co-wrot e, and edited the book.
• Style contributed va r ious articles found  t h r o u g h o u t.
•  C o n t e nt has also  b e en included from Sinn  ( on compliance  m o m e n t u m ), Wilder (on storytelling),
and Toe cut t er  ( on winging).
w w w . M v s t e r y M e t h o d . c om
This PDF created in 2005
T HE VENUSIAN ARTS HANDBOOK
T H E  M Y S T E RY  M E T H O D I have dedicated my life to
exploring and understanding
humanity.
The Mystery Method is my humble
yet ambitious attempt to solve the
greatest mystery in the universe:
Women.
This work is compassionately
dedicated to four much loved
women:
Christa, Martina, Shalyn &Kaitlyn. Table of Contents
Introduction iv
Who is Mystery? vi
Forward viii
T he  U l t i m a te  P u r p o se of Li fe 1
The Penultimate Purpose of Life 2
Your Purpose in this Life 3
Dynamic Social Homeostasis 9
A Biological Machine 1 0
Survival and Replication Value 11
Alignment 11
Pair Bonding 12
Rejection and Approach Anxiety 13
Maslow's Hierarchy of Needs 14
Soc i al  S t a t us  a nd  B e h a v i o r al  C i r c u i t ry  21
Women select for survival and replication
value 22
Identity 24
Image 24
Peacocking 25
Creatures of Sentiment 26
Social Awareness 27
Intuition over Analysis 29
Congruence Tests 30
Investment 31
Discomfort and Confrontation 32
Fun and Stimulation 32
Women are Dangerous Creatures 33
Rating Women 33
Cat Theory 34
Boyfriends 35
S t r u c t u re  a nd  t he  G a me  37
The Game is played in the Field 37
The Mystery Method Newbie Drill 3S
Calibration and Internalization 3S
Process over Outcome 39
The Sexual Relationship 40
Courtship 41
Attraction 42
The M3 Model 48
The Four M3 Sequencing Mistakes 50
Gaming Locations 63
Location Changes 64
The Nine Phases of the M3 Model 65
Putting It All Together 67
A l :  T he  A p p r o a ch  69
The Meeting Location 69
Proximity 71
The 3-Second Rule 72
Social Proof 73
Tips in the Venue 74
The Protection Shield 75
Canned Material 77
Proper Delivery of Material 78
Opinion Openers 79
False Time Constraints 86
How to Open Seated Sets 87
How to Open Moving Sets 89
What most people do wrong when
approaching 90 A 2:  F e m a l e - t o - M a le  I n t e r e st  93
Indicators of Interest (IOIs) 93
Neg Theory 97
Demonstration of Higher Value (DHV)104
Group Theory 105
Multiple Conversational Threads 107
Winging 112
Storytelling 115
Locking-In 119
Role-Playing 121
False Disqualifiers 121
Various Group Scenarios 124
Pawning 127
A 3:  M a l e - t o - F e m a le  I n t e r e st 131
Frame Control 132
Hoop Theory 134
Role-Reversal 136
Having Standards 138
Screening 139
Intermittence 140
Kino Escalation 141
Takeaways 145
Compliance 146
Token Resistance 151
Qualifiers 152
Compliments 153
Bait - Hook - Reel - Release 154
C 1:  C o m f o rt  a nd  C o n v e r s a t i on 159
The Freeze-Out 160
Comfort Building Locations 162
The Five Location Types for Gaming 164
The C1 Location 165
Moving to CI 166
Conversational Rapport 168
Commonality 171
Conspiracy 172
Vulnerability 173
Punishment / Reward 174
Jealousy Plotlines 175
Grounding 179
M i d - G a me  a nd  E n d - G a me 185
The Seven Hour Rule 185
Kissing 187
The C2 Location 190
The Bounce 191
The Time Bridge 192
Phone Game 195
Dating 197
The C3 Location 200
The Sex Location 201
Moving from C3 to SI 202
S2: Last-Minute Resistance 203
S3: Sex 205
Waypoints 206
Sticking Points 206 "Mystery, one of the most admired
men in the world of  s e d u c t i o n ."
~  T he  N e w  Y o rk  T i m e s
Who is My s t e r y?
My s t e ry  is  t he  a l t e r - e go  of  e n t e r t a i n er  E r ik  v on Ma r k o v i k.  He  is  t he
w o r l d 's  f o r e m o st  e x p e rt  in  t he  a rt  a nd  s c i ence  of  soc i al  d y n ami c s.  H is
e x p l o i ts  h a ve  b e en  c o v e r ed  by  p u b l i c a t i o ns  s u ch  as  E l l e,  T he  M o n t r e al
G a z e t t e,  L as Ve g as Li f e,  S a t u r d ay  N i g h t, Ma r ie Cl a i r e,  a nd  T he  N ew
Y o rk  T i m e s.
E x p l o d i ng  o n to  t he  s e d u c t i on  c o m m u n i ty  in  t he  l a te  9 0 s, My s t e ry
qui ckly  g a i n ed  u n d e r g r o u nd  f ame  for his  g r o u n d b r e a k i ng  c o n t r i b u t i o ns
to  t he art. My s t e ry was  t he first  to  p i o n e er  a nd  o f f er live, in-field
i n s t r u c t i o n,  a nd  he  h as  t r a i n ed  t h o u s a n ds  of  s t u d e n ts all  o v er  t he  w o r l d,
i n c l u d i ng a  W h o 's  W ho  of  t he  m o st  r e s p e c t ed  p i c k up  a r t i s ts  in  t he
c o m m u n i t y.
VI VII
"If you can't attract a woman,
you are, by dictionary
definition, sterile."
~ Mystery F o r w a rd
N a t u re will  u n a p o l o g e t i c a l ly  w e ed  y o ur  g e n es  o ut  of  e x i s t e n ce  if  y ou
d o n 't  t a ke  a c t i on  a nd  l e a rn  h ow  to  a t t r a ct  w o m en  n o w.
Do I  h a ve  y o ur  a t t e n t i o n?
G o o d,  b e c a u se  a t t r a c t i ng  w o m en  is a  s e r i o us  m a t t e r.  Y ou feel  this  to  be
t r ue  or  y ou  w o u l d n 't  t a ke  t he  e f fort  as  y ou  a re  n ow  to  r e ad  this  b o ok  in
i ts  ent i r e ty.  Of  c o u r se  this  d o e s n 't  m e an  t he  p r o c e ss  of  a t t r a c t i ng  w o m en
c a n 't  at  t i m es  be  s u p er fun!
If  y ou  w a nt  to  be a mu l t i -mi l l i o n a i re  a nd  h a ve  w e a l th  m a s t e r y,  y ou  n e ed
a  p r o v en  w e a l th bui lding  g a me  p l an  r i g h t?  If  y ou  w a nt  t he  b o dy  of  y o ur
d r e a ms  a nd  h a ve  h e a l th  m a s t e r y,  y ou  n e ed a  p r o v en  b o dy  b u i l d i ng  g a me
p l an  t o o. We l l,  w h at  if  y ou  w a nt  to  h a ve be aut i ful  w o m en  in  y o ur life
a nd  h a ve  r e l a t i o n s h ip ma s t e r y?  T he My s t e ry  M e t h o d,  or  M M,  is  y o ur
p r o v en  g a me  p l an  for  b u i l d i ng a lifestyle  r i ch  w i th  c h o i c e,  a nd  if you'll
a l low  m e, I'll  be  y o ur  p e r s o n al  m e n t or  to see  t h at  y ou  l e a rn  it  t h o r o u g h l y.
I t 's  no  s e c r et  I 've  d a t ed  s o me  of  t he  m o st be aut i ful  w o m en  in  t he  w o r l d,
a nd I  m a ke  no  apologi es  t or  thi s.  B e a u ty  is  b ut  o ne  of  m a ny qualities I
l o ok for  in a female  c o m p a n i o n. Now, I  n e v er  ident i f i ed  w i th  b e i ng a
p i c k up  a r t i st  in  r e al life,  n or  s h o u ld  y o u,  b ut  it was always  f l a t t e r ing  to
h a ve  f r i e n ds  a sk  h ow I  g ot  s u ch  s t u n n i ng girlfriends.  So I  b e g an  to
i n f o rma l ly  t e a ch  t h em  mv  s e c r et  of  a t t r a c t i o n.  W i th  this  k n o w l e d g e,  s o on
t h ey  t oo  h ad beautiful girlfriends.
v i ii O v er  t he  y e a rs  t h e se  i n f o r m al  d i s c u s s i o ns  w i th friends  d e v e l o p ed  i n to
i n f o - p a c k ed  s emi n a rs  a nd  a c t i o n - p a c k ed in-field  w o r k s h o ps  w h e re I
l i t e r a l ly  b r o u g ht  m en  i n to  n i g ht  c l u bs  a nd  o t h er social  g a t h e r i n gs  to
sys t ema t i c a l ly  t r a in  t h em  to  a p p r o a ch  a nd  a t t r a ct  w o m e n.  B e t w e en  my
magic  s h o w s,  I 've  c o n d u c t ed literally  d o z e ns  u p on  d o z e ns  of  t h em all
o v er  t he  w o r ld  a nd  h a ve  p e r s o n a l ly  h e l p ed  h u n d r e ds  of  m en  l e a rn  w h at
t h e ir  d ad  n e v er  t a u g ht  t h e m.
I  am  p r i v i l e g ed  to  s h a re  o v er  t en  y e a rs of  e x p e r i e n ce 111  t he  s c i ence of
social  d y n a m i cs  a nd  t he  a rt  of  t he  c o ld  a p p r o a ch  p i c k up  so  t h at I  m ay
dr ama t i c a l ly  a c c e l e r a te  y o ur  l e a r n i ng  c u r ve  a nd  s ave  y ou  y e a rs  of pa inful
f rus t r a t ion  a nd  l o n e l i n e s s.
L o v e,
Mys t e ry
(a.k.a.:  E r ik  v on Ma r k o v i k)
m v s t e r y @ m y s t e r y m e t h o d . c om
i x
"May the venusian arts enrich
your life; not define it. "
~ Mystery T he Ultimate Purpose of Life
Survive
W i t h o ut  surviva l,  t h e re  is  no life.
T h e  M y s t e r y  M e t h o d
1 All life  on  E a r th  h as  b e en  d e s i g n ed  by  e v o l u t i o n a ry  p r o c e s s es  to  r epl i c a t e.
T h is is  n a t u r e 's  l o n g - e s t a b l i s h ed engine of survival.
The Penultimate Purpose of Life
Wh i le  t he  p r i m a ry  p u r p o se  of  y o ur life  is  to  survive,  y o ur  s e c o n d a ry  p u r p o se
is  to  r epl i c a t e.
In  h u m a n s,  n a t u r al  s e l e c t i on  h as  f a v o r ed a  m e t h od  of  r e p l i c a t i on wh i ch
allows for  g e n e t ic  v a r i a t i o n.  Just  as a  s u p e r i or  b a s k e t b a ll  p l a y er  l imi t ed by
l o u sy  t e a m - m a t es  m u st  e s c a pe  a nd  join a  b e t t er  t e am  if  he  is  to win,  so  t oo
m u st a  s u p e r i or  g e ne escape  f rom  i ts  i n f e r i or gene-mates  a nd be  g i v en a  c h a n ce
to join a  b e t t er genetic team  for its  c o n t i n u ed  s u r v i v al  T h is  m e t h od of escape  is
called  c r o s s b r e e d i n g.
O v er  s u c c e s s i ve  g e n e r a t i o n s,  c r o s s b r e e d i ng  h as  a l lowed  y ou —  t h at  i s,  y o ur
g e n es —  to anticipate  c h a n g es  in a  d y n a m ic phys i c al  a nd  soc i al  e n v i r o n m e n t,
t h e r e by  i n c r e a s i ng  y o ur  c h a n c es  for  surviva l.
P ut simply,  r e p l i c a t i on is a  m e a ns of continued survival
T h e  M v s t e r y  M e t h o d
2
R e p l i c a te Your Purpose in  this Life
S u r v i ve  R e p l i c a te
You are a biological machine.
Your mot ives in this life are simple, but  n ot simplistic: To live and love.
T h e  M y s t e r y  M e t h o d
3 In  o r d er  to successfully  c r o s s b r e e d,  y ou  m u st  a c k n o w l e d ge  t h a t,  w i t h o ut
r e v o l u t i o n a ry  t e c h n o l o g i c al  a d v a n c e m e n t s,  y ou will  s o me  d ay di e.
Q u e s t i o n:
Without calculating, just by feeling,
how many DAYS do you feel the
average American lives?
(A) Tens of thousands of days?
(B) Hundreds of thousands of days?
(C) Millions of days?
(D) Billions of days?
DO  N O T  t u rn  t he  p a ge  u n t il  y ou  h a ve  c h o s en  A,  B,  C,  or  D.
T h e  M y s t e r y  M e t h o d
4 A n s w e r:
(A) Tens of thousands of days.
In fact, it is only 28,251.
Y ou  h a v e,  on  a v e r a g e,  2 8 , 2 5 1- days  to live  o ut  y o ur life.  T h is  a s s umes  y ou  a re
s m a rt  e n o u gh  to survive  this  l o n g.  E v en  if  y ou live  to  be a  h u n d r e d,  t h at  is still
only  3 6 , 5 00  d a y s.
Your  H u m an Life  T i m e l i ne
Age in Days  Stage  Years
0 to 5,000  Childhood  Birth to 13
l
/2
5,000 to 6,750  Adolescence  13
1
/2 to 18
6,750 to 10,000  To Adulthood  18 to 27
10,000 to 15,000  To Middle Age  41
15,000 to 23,725  To Old Age  65
23,725 to 28,251  To Current Life Expectancy  77.4
28,251 to 36,500  To Becoming a Century Old  100
T he  u n i v e r se  r e q u i r es only  two  t i l ings  f r om  y o u:  t h at  y ou  survive  a nd
r epl i c a t e.  Y o ur  cha l l enge  is  to  do  so  b e f o re  y o ur  l imi t ed  l i f e - s p an na tur a l ly
expi r e s.  T he  m o st logical  c o u r se  of  a c t i on  is  s impl e:
•  A c k n o w l e d ge  t he  n e ed  to  a c c e l e r a te  t he  l e a r n i ng  c u r ve  t h r o u gh
di s c ipl ined  focus.
•  O b t a in us e ful survival  a nd  r e p l i c a t i on strategies  f r om  o t h e r s.
•  T h r o u gh  p r a c t i ce  a nd  t r a i n i n g,  i n t e r n a l i ze  this  k n o w l e d ge  i n to  o ur
a u t o m a t ed  m o t or  r e s p o n se for  p r a c t i c al real-life  a p p l i c a t i o n.
According to  the National Center for Health Statistics in 2002.
T h e  M y s t e r y  M e t h o d
5 T h e re  a re  m a ny wa ys  to  h e lp  y ou  s u r v i v e.  O ne  s u ch  w ay  is  to  l e a rn  t he ma r t i al
a r t s.  T h e re  a re  a l so  m a ny wa ys  to  h e lp  y ou  r epl i c a t e.  O ne  s u ch way  is  to  l e a rn
t he  v e n u s i an  a r t s.
S u r v i ve  R e p l i c a te
The
M a r t i al
Ar ts
The
Venusian
Ar ts
T he Ma r t i al Ar ts  ( T he  A rt  of Wa r)  is  t he  a rt  of  s e l f -de f ens e.  It  is a di s c ipl ine
wh i ch  a ids survival.
• MARTIAL:
[Roman god of war] Of, relating to, or suited for war or a warrior
T he  V e n u s i an Ar ts  ( T he  A rt  of  L o v e)  is  t he  a rt  of successfully  b e g i n n i ng  an
u l t i m a te  r e l a t i o n s h ip  w i th  a n o t h er  p e r s on  w h om  y ou  h a ve  n ot  p r e v i o u s ly me t.
It is a di s c ipl ine  w h i ch aids replication.
• VENUSIAN:
Of or relating to the planet Venus, Roman goddess of love and beauty
T h e  M y s t e r y  M e t h o d
6 T r a i n i ng  f or  S u r v i v a l,  or  R e p l i c a t i o n?
T h e re  is  m o re  to  w i n n i ng a  f i g ht  t h an  s imply  p u n c h i ng first,  a nd  as  a ny
ma r t i al  a r t i st  k n o w s,  t he  s t r o n g er  m an  d o es  n ot always win.  P r e p a r a t i on  a nd
t r a i n i ng  c an  m e an  t he di f f e r ence  b e t w e en surviving  a nd dying.
Similarly,  t h e re  is  m o re  to successfully  b e g i n n i ng a sexual  r e l a t i o n s h ip  t h an
s imp ly  b e i ng  g o od  l o o k i ng  e n o u g h. A  g o od  g a me  p l an  e x p e r t ly  e x e c u t ed  c an
m e an  t he  d i f f e r e n ce  b e t w e en replicating  a nd  h a v i ng  y o ur  g e n es  u n a p o l o g e t i c a l ly
w e e d ed  o ut  of  e x i s t e n c e.
T he ma r t i al  a r ts  a nd  t he  v e n u s i an  a r ts  p o s s e ss  m a ny parallels.
•  B o th  a re di s c ipl ines  in  d y n a m ic social  i n t e r a c t i o n,  a nd  e a ch  is  for
ma n y, a  w ay of life.
•  B o th  r a nk prof i c i ency;  c o l o r ed be l ts  for ma r t i al  a r t i s ts  a nd  c o l o r ed
c h a r ms  h u ng  on bl a ck  c o r ds for  v e n u s i an  a r t i s t s.
•  E a ch  a l so  e m b o d i es a  c o m p r e h e n s i ve  m e n t al  e l e m e nt wh i ch  is
e x p r e s s ed  t h r o u gh physicality.
H o w e v e r,  in  t he ma r t i al  a r ts  it  is  s o m e t i m es  b e st  to  n ot  e n g a ge  in a  g i v en
social  i n t e r a c t i o n.  In  t he  v e n u s i an  a r t s,  t he  o n ly way  to  s u c c e ed  is  to  h a ve  o n e.
T h e  M y s t e r y  M e t h o d
7 B r u ce  L e e 's fighting style Jeet KUne Do  (Way of  t he  I n t e r c e p t i ng Fist) is a ma r t i al
a r ts style. Similarly, My s t e r y 's MM  ( T he My s t e ry  M e t h o d)  is a  v e n u s i an  a r ts
style
The
M a r t i al
Ar ts
A
J e et
Kune
Do
The
Venusian
Arts
The
Mystery
Method
B r u ce  L ee was a  l e g e n d a ry  m a r t i al  a r t i s t.  Y et his life's  a c c o m p l i s h m e n ts  r e v e al
t h at  b e i ng a  m a r t i al artist was only  o n e - h a lf  of a  g r e a t er  w h o l e.  I t 's  no  s e c r et
B r u ce  a l so  i d e n t i f i ed  w i th  o t h er — socially  r e w a r d i ng —  p u r s u i t s. He  w as a
g r e at  a c t or  a nd a celebrity. He was a  g r e at  l e a d er  a nd  r o l e - m o d e l. He was a
g r e at  t e a c h er  a nd a  g r e at father. He  w as  d e f i n ed  by  m o re  t h an a martial artist.
D e f i n ed by his  m o re social  r o l e s, he  w as  a l so a venusian artist...  a nd a  g o od
o n e.
The Mystery Method
8 L i ke  B r u ce  L e e, all  p e o p le live  u n d er  c o n s t a nt  p r e s s u re  to  b a l a n ce  b e t w e en
p r o t e c t i ng  t h e m s e l v es from  o t h e rs  a nd  a l igning  t h e m s e l v es with  o t h e r s.  T h is
b a l a n ce is  c a l l ed dynamic social homeostasis.
D y n a m ic  S o c i al  H o m e o s t a s is
P r o t e c t i on
T h e re  w o u ld  be  no  r e p l i c a t i on  if  m en  or  w o m en  o v e r - p r o t e c t ed  t h e m s e l v es
by  n e v er  l e a v i ng  the ir  h o m e s.  Y et  t h e re  w o u ld  a l so  be  no  n e ed  for  t he
v e n u s i an  a r ts  if  m en  or  w o m en  r e m a i n ed  c o m p l e t e ly na ive  a nd  d id  n ot  w o r ry
a b o ut  p r o t e c t i ng  t h ems e l v es  a nd  t h e ir  l o v ed  o n es  w h en  t h ey  m et  n ew  p e o p l e.
Y ou  c an  n e i t h er  h a ve  t oo  m u ch  n or  t oo little  of  e i the r.  If  y ou  do  n ot  h a ve
dynamic social homeostasis,  y ou  c o m p r o m i se  y o ur  p r o b a b i l i t i es of successfully
surviving  or  r e p l i c a t i n g.
Y o ur  m i nd  h as  b e en designed  by  n a t u r al  s e l e c t ion  to  p owe r f u l ly  e m o te  in wa ys
t h at  c o n t r i b u te  to  b o th  y o ur  survival  a nd  r epl i c a t ion.  Y o ur  e m o t i o ns  c a r ry  o ut
an  e v o l u t i o n a r i ly  s t able  s t r a t egy  t h at  a ims  to  k e ep  y ou  in dynamic social
homeostasis.
from
Others
Al i g n i ng
with
Others
T h e  M y s t e r y  M e t h o d
9 A Biological Ma c h i ne
Y ou  a re a  b i o l o g i c al  m a c h i n e.  W h i le  u n ima g i n a b ly  s o p h i s t i c a t e d,  y ou  a re
h o w e v er literally  an  o u t - o f - d a te  m o d e l.
N a t u re  h as  s imp ly  n ot designed  y ou  f or  t he  w o r ld  in  w h i ch  y ou  c u r r e n t ly live.
T h is  is  b e c a u se  t he  w o r l d,  as  it  is  t o d a y,  h as  n e v er  exi s t ed  b e f o r e.
Ce r t a inly  o ur  p h y s i c al  e n v i r o n m e nt  h as  c h a n g ed little  o v er  t he  p a st 100,000
ye a r s.  T r e e s,  sky,  a nd  r a in  r e m a in  t he  s ame.  It  is  o ur social  e n v i r o n m e nt  t h at
h as  u n d e r g o ne a  d r ama t ic  c h a n g e.  We live  in  t he  m i d st  of  an  u n p r e c e d e n t ed
p o p u l a t i on  e x p l o s i o n.  N e v er  in  E a r t h 's  h i s t o ry  h a ve  t h e re  b e en  so  m a ny
similarly  d e s i g n ed  h u m an  m a c h i n es  e x i s t i ng  at  a ny  o ne  t ime.
As  of wr i t i ng  t h e re  a re  an  e s t i m a t ed 6.45 billion  p e o p le  l iving  on  o ur  p l a n et
t o d a y.  It  is  p r e d i c t ed  t h at  in  o n ly  t h i r ty ye a rs  t h e re will  be  c l o se  to  10 billion
people.
W h en My s t e ry  w as  b o rn  in  t he  1 9 7 0 's  t h e re  w e re 4 billion  p e o p le living  on
t he  p l a n e t.  A r o u nd  t he  t i me  of  C a s a n o va  in  t he  m id 1700's.,  t h e re  w e re only
750 mi l l ion  p e o p l e. 10,000  y e a rs  a g o,  t h e re  w e re  o n ly  30 mi l l ion  p e o p l e.
L o o k i ng  f u r t h er  b a ck  in  t ime  to  a r o u nd 120,000 ye a rs  a g o,  t h e re  w e re  o n ly
10,000  to  4 0 , 0 00  h u m a ns  l iving  on  t he  p l a n e t.
O ur  s t ruggle  f or  survival  a nd  r e p l i c a t i on  c o m es  f rom a  d y n ami c a l ly  c h a n g i ng
social  e n v i r o n m e n t.  E v er  s ince  h u m a n i ty  c a me  i n to  e x i s t e n c e,  we  h a ve  b e en
f a c ed  w i th  t he  c h a l l e n ge  of  t rying  to  k e ep  up  w i th  a nd  a d a pt  to a  c o n s t a nt
i n c r e a se  in  o ur  p o p u l a t i o n.
Life  in a small  t o wn  is  v e ry  d i f f e r e nt  t h an life  in a  b ig city.  C o n s i d er  t he
di f f e r enc es  b e t w e en living  y o ur  e n t i re life  in a small  t r i be  of  f i f ty  to sixty
p e o p l e,  a nd  l iving  in a city  of  twe l ve mi l l ion.  N a t u re has  n ot  y et  h ad a  c h a n ce
to  a d a pt  y o ur  d e s i gn  to  t he  n ew social  e n v i r o n m e n t.
+ According to  the population division of  the US Census Bureau in 2004.
T h e  M y s t e r y  M e t h o d
10 Life's  a d a p t a t i o ns always  l ag  b e h i nd  c h a n g es  in  t he  e n v i r o n m e n t.  F i r st  t he
e n v i r o n m e nt  c h a n g e s,  a nd only  t h en  c an  h u m a n i ty  s lowly  a d a pt  to  t h o se
c h a n g e s.
Y o ur  b o dy —  a nd  m o re  i m p o r t a n t ly  to  y o ur  r e p l i c a t i on —  y o ur  e m o t i o n al
circuitry,  h as  n ot yet  h ad  t he  c h a n ce  to  a d a pt  to  t o d a y 's  soc i al  e n v i r o n m e nt
a nd  t he  n ew  c h a l l e n g es  it  b r i n g s.
Y ou  a re  an  o u t - d a t ed  m a c h i n e, a  p r i s o n er  in  t i m e,  d e s i g n ed for  an  a n c i e nt
e n v i r o n m e nt  w h i ch  no  l o n g er  exi s t s.  Y ou  a re  i n s t e ad  b e st  a d a p t ed  for  an
a n c i e nt  e n v i r o n m e nt  a nd  t r ibal  soc i al  o r d er  t h at  o n ce  e x i s t ed  s o m e t i me
b e t w e en  4 0 , 0 00  a nd 60,000 ye a rs  a g o.
Survival  a nd Repl icat ion  V a l ue
P e o p le  a re  d e s i g n ed  to  s e l e ct  in  f avor  of  h i g h er survival  a nd  r e p l i c a t i on va lue.
W h en a  w o m an  o b s e r v es  two  m e n,  h er  c i r cui t ry will qui ckly  a s s e ss  t he
survival va lue  a nd  r e p l i c a t i on va lue  of  e a ch  m a n.  S he wi ll  t h en emotionally
perceive  t he  r e s u lt  of  this  c a l cul a t ion.  S he will na tur a l ly  be  a t t r a c t ed  to  t he  m an
w i th  t he  h i g h e st va lue.  T he  h e a l t h i e st  m a n,  t he  m o st  i n t e l l i g e nt  m a n,  t he  m o st
s o c i a l l y - c o n n e c t ed  m a n,  t he  m o st  f i n a n c i a l ly  i n d e p e n d e nt  m a n,  t he  m o st
sexually  p re —  s e l e c t ed  m an —  t h e se  s o r ts  of  t r a i ts will  a t t r a ct  t he  w o m an
b e c a u se  s u ch a  m an  p r o v i d es survival  a nd  r e p l i c a t i on va lue  to  h e r,  as well  as
to  h er  o f f s p r i n g.
Al ignment
P e o p le  t e nd  to  f o rm social  a l i g n m e n ts  w i th  o ne  a n o t h e r,  w h e r e v er  s u ch
a l i g nme n ts  b e n e f it  the ir  c h a n c es  of  s u r v i v al  a nd  r e p l i c a t i o n.  F or  e x a m p l e, a
p r imi t i ve  t r i be  is a  f o rm  of social  a l i g nme n t.  T h o se  w i t h in  t he  t r i be  h a ve
i m p r o v ed  c h a n c es  of  survival  t h ey  w o u l d n 't  n o rma l ly  h a ve  if  t h ey  w e re  a lone.
A n o t h er  e x a m p le  of  a l i g n m e nt  is a  m o d e r n - d ay  c e l e b r i ty  e n t o u r a g e.
E n t o u r a ge  m e m b e rs  enjoy  i n c r e a s ed  a c c e ss  to sex.  E v en  t h o u gh  t he
e n t o u r a ge  m e m b er  is  n ot a celebrity,  he  h as still  i m p r o v ed his  survival  a nd
r e p l i c a t i on  v a l ue  t h r o u gh  h is  a s s o c i a t i on  w i th  t he  c e l ebr i ty.
T h e  M y s t e r y  M e t h o d
11 P a ir  B o n d i ng
A pa ir  b o nd  is  an  e m o t i o n al  b o nd  a s s o c i a t ed  w i th a  s e x u al  a l i g nme n t;
b e g i n n i ng  p r i or  to  p r e g n a n cy  a nd  c o n t i n u i ng  up  t h r o u gh  c h i l d - r e a r i n g.  ( F r om
an  e v o l u t i o n a ry  p e r s p e c t i ve —  a nd  t h us  f r om  an  e m o t i o n al  p e r s p e c t i ve —
p r e g n a n cy  a nd  p a ir  b o n d i ng  a re  t he  s a me  t h i n g,  s ince effective  b i r th  c o n t r ol
h as  o n ly  r e c e n t ly  b e en  i n v e n t e d .)
P a ir  b o n d i ng  h as  b e en  d e s c r i b ed  as a  c o m p r o m i se  b e t w e en  t he  c o m p e t i ng
s exual  s t r a t egi es  of  t he  m an  a nd  t he  w o m a n.  A l so  k n o wn  as a  " r o m a n c e ,"  it
oc c a s iona l ly  l a s ts a  l i f e t ime,  t h o u gh  in  o ur  m o d e rn  soc i e ty  m o st pa ir  b o n ds
ave r age only  s e v e r al  y e a rs or  m o n t hs 111  l engthIt  is  w o r th  n o t i ng  t h a t,  f r om  an  e m o t i o n al  p e r s p e c t i v e,  t he  w o m an pl a c es  h er
survival itself  in  g r e at  d a n g er  by  h a v i ng sex.  E v o l u t i o n a r i ly  s p e a k i n g,  if a  m an
i m p r e g n a t es  h e r,  she  is  d e p e n d e nt  u p on  h er pa ir  b o nd  w i th  h im  to  p r o t e ct  h er
a nd  p r o v i de for  h er  d u r i ng  this  v u l n e r a b le  t i m e.  If  he  is  n ot  p a ir  b o n d ed  w i th
h e r,  he  is likely  to  m o ve  on  a nd  s he will  n ot  h a ve  a c c e ss  to his  r e s o u r c e s.
W o r s e,  h er  r e p u t a t i on  as a  " s l u t" will  a l so  l o w er  h er  s t a t us  w i t h in  h er social
n e t w o r k,  f u r t h er  j e o p a r d i z i ng  h er  s u r v i v al  a nd  r e p l i c a t i on  p r o s p e c t s.
T he  m an faces  no  s u ch phys i c al  or  soc i al  r e p e r c u s s i o ns for  e n g a g i ng  in sex,
a nd  t h us  m en  o f t en  do  it  q u i te  i n d i s c r imi n a t e l y. Sex  r e p r e s e n ts a  m u ch  g r e at
r i sk  to a  w o m an  t h an  it  d o es  to a  m a n.
Sex  a l so  r e p r e s e n ts a  m u ch  l a rger investment  for a  w o m an  t h an  it  d o es  for a
m a n.  H er  r e p r o d u c t i ve ye a rs  a re  f ewer  t h an his  a nd  h er  t ime  s p e nt  p r o d u c i ng
e a ch  chi ld  is  m u ch  g r e a t er  as well —  t en  m i n u t es  of sex  for  h i m,  n i ne  m o n t hs
of  p r e g n a n cy  for  h e r.
T he  r e s u lt  of  t h is  is  t h at  w o m en  a re  c o n s i d e r a b ly  c h o o s i er  t h an  m e n,  a nd  it  is
also  m u ch  m o r e  i m p o r t a nt  to a  w o m an  t h at a pa ir  b o nd  e x i s ts  b e f o re  she will
engage  in sex.  F or  t h is  r e a s o n,  d ue  to  n a t u r al  s e l e c t ion,  w o m en of t en
e x p e r i e n ce  anxi e ty just  b e f o re  h a v i ng sex  t he  f i r st  t ime  w i th a  n ew  l o v e r.  I t 's
n ot  h er fault —  t h is last-minute resistance is a  p r e - p r o g r a m m ed  e m o t i o n al
r e s p o n s e.  H er  e m o t i o ns  a re  o n ly  t r y i ng  to  do  w h a t 's  b e st for  h e r. Reject ion  a nd Ap p r o a ch  A n x i e ty
Logically,  r e j e c t i on  c aus es  us  no  h a r m.  B ut  emo t i o n a l l y,  r e j e c t i on  c an  be a
p u n i s h i ng  e x p e r i e n c e.  To  u n d e r s t a nd  t h i s,  we  m u st  l o ok  at  t he  a n c i e nt
e n v i r o n m e nt  for  w h i ch  we  w e re  d e s i g n e d.
In a  t r ibal  g r o u p,  t h e re will  be  s o me small  n u m b er  of available  w o m en  of
b r e e d i ng  age.  W h en a  m an  a p p r o a c h es  o n e,  he  r i sks  r e j e c t i o n,  a nd  if  t h at
h a p p e n s, all  t he  o t h er  w o m en will  k n o w,  w h i ch will  d i m i n i sh his  v a l ue  in  t h e ir
eyes —  m a y be  to  t he  p o i nt  w h e re  n o ne  of  t he  w o m en will  m a te  w i th  h i m.  T h is
is called preselection —  w o m en  l o ok for social  v a l i d a t i on of  t h e ir  c h o i c e s. A
s u i t or  w ho  is preselected will  be  m o re  a t t r a c t i v e,  w h e r e as a  m an  w ho  h as  b e en
r e j e c t ed will  be  l e ss  s o.
A n o t h er  f a c tor  r e g a r d i ng  a p p r o a ch  anxi e ty  is  t he  p o s s i b i l i ty  t h at  s he  m ay
a l r e ady  be  t a k e n,  in  w h i ch  c a se  t h e re  is a  c o m p o n e nt  of  r e a l, phys i c al  d a n g er
to  a ny ma le  w h o  a p p r o a c h es  h e r.
F or all  t h e se  r e a s o ns  a nd  m o r e,  m en  a re na tur a l ly  s e l e c t ed  to  e x p e r i e n ce
a p p r o a ch  anxi e ty. Logically,  of  c o u r s e,  m o d e rn  soc i e ty fixes  t h e se  p r o b l e m s.
If I  am  r e j e c t e d, I  c an  s imp ly  go  to  a n o t h er  p a rt  of  t he  b a r,  or  l e a ve  t he bar
entirely. I will  p r o b a b ly  n e v er  s ee  a ny  of  t h o se  p e o p le  aga in.  B ut  my  e m o t i o ns
d o n 't  k n ow  t h a t.  My  e m o t i o ns  a re  t r y i ng  to  do  w h a t 's  b e st  for  m e.
So  h ow  c an  y ou  a v o id  r e j e c t ion?
T he  a n s w er  i s:  y ou  c a n ' t.  It  i s n 't  t he  s o l u t i on  to  a v o id  b e i ng  v u l n e r a b l e.
R a t h e r,  t he  s o l u t i on  is  to  e m b r a ce  y o ur vulne r abi l i ty,  to  e m b r a ce  r e j e c t i o n,
a nd  l et  t he  F i e ld  s h ow  y ou  w h at  is  g o od  a nd  w h at  is  b a d.  M o st  a p p r o a ch
anxi e ty  is a  r e s u lt  of  i m a g i n ed  r e j e c t i o n s,  n ot  r e al  o n e s.  E v e n t u a l l y,  t ime  in  t he
F i e ld will  d e s e n s i t i ze  y ou  to  t he  e m o t i on  of  r e j e c t ion.  In a  g a me  w h e re  y ou
m i g ht pl ay five  or  t en  s e ts  e v e ry  n i g h t,  l o s i ng a few  of  t h em  h e re  a nd  t h e re
n e v er really  s e e ms like a big deal.
And remember, if you don't make it happen, Nature
will unapologetically weed your genes out of existence.
T h e  M y s t e r y  M e t h o d
13 Maslow's Hi e r a r c hy of  N e e ds
B o u nd by  t he  h u m an  c o n d i t i o n,  y ou  h a ve a hierarchy of needs  a nd everything  y ou
do  is di r e c t ly  or  i n d i r e c t ly a  r e s u lt  of  e m o t i o ns  t h at  do  n o t h i ng  l e ss  t h an
demand  y ou  m e et  t h e m.
Se l fAc t u a l i z a t i on
Esteem
l o ve
Sa f e ty
P h y s i o l o g i c al
E s t a b l i s h ed  by  p s y c h o l o g i st  A b r a h am Ma s l ow,  this  t h e o ry  s t a t es  t h at  h u m an
be ings  a re  m o t i v a t ed  by uns a t i s f i ed  n e e d s,  a nd  t h at  c e r t a in  l o w er  n e e ds  m u st
be satisfied  b e f o re  h i g h er  n e e ds  c an  b e.
F or  e x a m p l e,  if  y ou  w e re  c h o k i ng  r i g ht  n o w,  t he  n e ed  to  b r e a t he  w o u ld  be
s t r o n g er  t h an  y o ur  n e ed  to  be  loved.  L e t 's face it;  y ou  w o n 't  t he  if  n o b o dy
l o v es  y o u.
T h e  M y s t e r y  M e t h o d
14 P h y s i o l o g i c a l : The se needs include very basic needs such  as
air, water, food, wa rmth, sleep, and sex.
S a f e t y :  T h e se needs have  to  do with establishing stability  and
consistency in a chaotic world and are mostly psychological in nature.
L o v e : People desire  to  be loved and accepted  by othe r s.  We need  to
belong-.
E s t e e m :  T h e re are  two types. Self-esteem results from  compe t ence  or
mastery of a task, while attention, recognition and social status comes from
othe r s.
Self-Actualization: We desire to  b e c ome everything  that
we are capable of becoming. People  w ho have all lower needs met can
maximize their potential.
More information on Maslow's hierarchy of needs may be found online.
T h e  M y s t e r y  M e t h o d
15 To  m e et  e v e ry  n e ed  on Maslows hierarchy  of needs  a nd satisfy  t he  f u n c t i on  of
y o ur highly  e v o l v ed  e m o t i o n al  s y s t e m,  t h e r e by fulfilling  y o ur  p u r p o se  in life,
t h e re  a re  t h r ee vi t al  a r e as  y ou  m u st  f o c us  o n.  E v e ry  t ime  y ou  h a ve  m a r k ed
suc c e ss  in  a ny  of  t h e se  a r e a s,  y ou  m i nd  r e w a r ds  y ou  w i th a  f e e l ing  of happiness.
Vital Areas of Focus
He a l th  Wealth  Love
T h is  s imple  m o d el  is  as  o ld  as  t he  K a b b a l a h,  a nd  suc c e ss  in  t he  t h r ee  a r e as  of
health, wealth,  a nd love will  e n s u re  y o ur  s u r v i v al  a nd  r e p l i c a t i o n.
T h e  M y s t e r y  M e t h o d
16 H e a l t h :  H e a l th refers  to  b o th  t he phys i c al  a nd  t he  m e n t al —  b o dy and
m i n d.  Y ou  n e ed a  p r o v en  m e t h od  or game-plan  to  m a i n t a in  y o ur  h e a l t h.
W e a l t h :  W e a l th  h e l ps  y ou  to  m a i n t a in  y o ur  h e a l th  a nd  y o ur
r e l a t i o n s h i p s.  Y ou  n e ed a  r o of  o v er  y o ur  h e a d,  c l o t h es  on  y o ur  b a ck  a nd  f o od
in  y o ur  s t o m a c h.  A d d i t i o n al  c r e a t u re  c o m f o r ts assist  in  y o ur  survival  a nd
r e p l i c a t i o n.  An  a p a r t m e nt  m ay  k e ep  y ou  w a rm  a nd dry,  b ut  a l so  p r o v i d es a
p r i v a te  l o c a t i on for sex. A  v e h i c le  n ot  o n ly  e n a b l es  y ou  to  m a ke  m o n e y,  b ut
a l so  i m p r o v es  y o ur  r o m a n t ic  o p t i o ns  by  i n c r e a s i ng  y o ur  e f f e c t ive  r a n g e.  Y ou
n e ed a  p r o v en  w e a l th bui lding  g a m e - p l an  to  h a ve financial  i n d e p e n d e n ce  a nd
to fund your game for  r o m a n t ic  p u r s u i t s.  It  a l so  c o s ts money  to  h a ve a  g ym
m e m b e r s h i p,  d r e ss well,  a nd socialize  at a  n i g h t c l ub  or  r e s t a u r a nt
LOVE  ( R e l a t i o n s h i p s ):  T h is  r e f e rs ma i n ly  to  y o ur  l o v i ng  r e l a t i o n s h i p s,  b ut
m ay  a l so  e x t e nd  to  f r i e n d s h i p s, family  m e m b e r s,  a nd  b u s i n e ss  r e l a t i o n s h i p s.  If
y ou  w a nt  to  h a ve  l o v i ng  r e l a t i o n s h ip  s u c c e s s,  y ou  m u st  s t u dy  r e l a t i o n s h i ps
a nd  in  p a r t i c u l ar  h ow  to  b e g in  o n e.
Y ou  m ay maintain  an  a r e a, improve  it  or neglect  it  If  y ou  r a te  y o ur  s u c c e ss  in  a ny
area  f r om 1  to 10, a  10  r e q u i r es  y ou  to only  m a i n t a in it.  If  t he  r a t i ng  is  b e l ow
10,  y ou will  n e ed  to  d e v i se a way  to  i m p r o ve  y o ur  suc c e ss  in  t h at  a r e a.  If  y ou
n e g l e ct  an area  t oo  l o ng  t h en  t he  q u a l i ty  of  y o ur life will  d e c l i n e.
T h e  M y s t e r y  M e t h o d
17 E a ch vital area of focus  is  b o u nd  to  t he  t wo  o t h er  a r e as  in  c o u n t l e ss ways.
Wealth
H e a l th  Love
Suc c e ss  in  a ny  o ne  v i t al area will  p o s i t i v e ly affect  t he  o t h er  t w o, whi le
n e g l e c t i ng  to  m a i n t a in  a ny  o ne area will nega t ive ly affect  t he  o t h er  t w o.  W h en
y ou  n e g l e ct  an area  for far  t oo  l o ng  t he effects  c an qui ckly  inf e ct a  s e c o nd
area.  T he  s e c o nd  a r e as  n e g a t i ve  e f f e c ts  c an  t h en  c a s c a de  i n to a  t h i rd  a r e a,  a nd
so  o n.  T h is  r u n a w ay  c h a in  r e a c t i on  is called spiraling  a nd  if  l e ft  u n b r i d l ed  c an
u n d e r m i ne  y o ur life's  p r i me  d i r e c t i v e s.  R a t i o n i ng  y o ur  t ime  equa l ly  a m o ng all
t h r ee vi t al  a r e as  is crucial  in  p r e v e n t i ng a  d o w n w a rd spiral  w h i ch  c an  l e ad  to a
great collapse  ( s i ckne s s,  p o v e r t y,  a nd  l o n e l i n e s s ).
S o m e t i m e s,  to  i m p r o ve  in a  c e r t a in  a r ea  y ou  m u st first  focus  on  a nd  i m p r o ve
a n o t h er area.  F or  e x a m p l e,  y ou  c an  i n c r e a se  y o ur  s u c c e ss  in  l o ve  by
ma i n t a i n i ng  or  i m p r o v i ng  y o ur  h e a l th  or  y o ur we a l t h.
Healthy wealthy  a nd love  s h a re  an  i n t i m a te  r e l a t i o n s h ip  w i th  e a ch  o t h e r.
T h e  M y s t e r y  M e t h o d
18 W e a l th  N e g l e c t:  If  y ou  h a ve health  a nd
r e l a t i o n s h ip  s u c c e ss (love),  b ut fail  in  t he area of
wealthy  y ou  w o n 't  h a ve  t he  r e s o u r c es  to  p u r s ue
love  ( u n a b le  to  p ay  c o v er  c h a r g es  for  i n s t a n c e)
n or  h a ve  t he  m e a ns  to  m a i n t a in health  ( p r o p er
f o o d, he a l thy phys i c al  e n v i r o n m e n t,  a nd  exe r c i se
e q u i p m e n t ). A  b ig  b ed  in  y o ur  o wn  c o n do  n ot
only allows  y ou  to  s l e ep  b e t t er  t h an  on  y o ur
p a r e n t 's  c o u ch (health),  b ut  a l so  r e w a r ds  y ou
w i th a  p l a ce  to  b r i ng a  w o m an (love).
L o ve  ( R e l a t i o n s h i p)  N e g l e c t:  If  y ou  a re
healthy  a nd wealthy,  b ut  y ou  d o n 't  h a ve  suc c e ss  in
your  r e l a t i o n s h i p s,  t h is failure wi ll  m a ke  y ou feel
l o n e ly  a nd  c o m p r o m i se  y o ur  s e l f - e s t e em (mental
health).  It will  a l so  u n d e r m i ne  y o ur  w e a l th
bui lding  p l a n s.  F or  b u s i n e ss  r e l a t i o n s h i p s, you'll
h a ve a  t o u gh  t i me  m a k i ng  n ew  c o n t a c t s,
n e t w o r k i n g,  a nd you'll  a p p e ar  l e ss  t o g e t h er
w h i ch wi ll affect your wealth  b u i l d i ng  p o t e n t i a l.
Y ou  m u st  m a i n t a in  or  i m p r o ve all  t h r ee vi t al  a r e as  of  y o ur life  w i th  b a l a n c e.  If
y ou  a r e n 't  g e t t i ng  t he  r e s u l ts  y ou  w a nt whi le  p r a c t i c i ng  y o ur  g a m e,  it  m i g ht  be
useful  to  e x a m i ne  y o ur social life  in  g e n e r a l,  y o ur  h e a l th  a nd  f i tne s s,  a nd  y o ur
c a r e e r.
H e a l t h  N e g l e c t:  If  y ou  h a ve wealth  a nd
suc c e ss  in love  ( r e l a t ionships)  b ut  a re  l a c k i ng  in
health  (me n t al or  p h y s i c a l ), you'll  h a ve
d e c r e a s ed  suc c e ss  in  t he  a r ea  of  w e a l th  w i th
l o w e r ed  p r o d u c t i v i ty  a nd  e n e r gy levels,  as we ll
as  in  t he  a r ea  of  r e l a t i o n s h i p s.  P e o p le  w ho
d o n 't  r e s p e ct  t h ems e l v es  a re  s e l d om  r e s p e c t ed
by  o t h e r s.  U n h e a l t hy  p e o p le  a re  s imply  n ot
a t t r a c t i v e.
T h e  M y s t e r y  M e t h o d
19 Chapter One Review
• The ultimate purpose of life is survival.
• The penultimate purpose of life is replication.
Someday you will the. Before that time comes, you
must pass on your genes.
• The average person lives for just 28.251 days. The
logical course of action is to determine the most
effective way to survive and replicate, and practice
this until it becomes an automatic response.
• The Martial Arts consist of practiced routines that,
once internalized, improve your survival chances.
The Venusian Arts consist of practiced routines
that, once internalized, improve your replication
chances.
• Dynamic Social Homeostasis is the balance
between the drive to protect ourselves from others
and the drive to align ourselves with others.
• Our emotional circuitry is designed to best suit our
survival and replication needs, based on an ancient
environment and tribal social order that once
existed tens of thousands of years ago.
• People make sexual decisions largely based on this
emotional circuitry.
• People tend to form social alignments with one
another, wherever such alignments most benefit
their chances of survival and replication.
• A pair bond is an emotional bond associated with
a sexual alignment, beginning  p o or to pregnancy
and continuing up through child rearing several
years later.
Women take a much larger risk, evolutionarily
speaking, when they have sex. Sex is also a much
larger investment for them than it is for men. For
thus reason, women have emotional circuitry
designed to take this into account. For example,
women tend to experience much more anxiety
just prior to sex with a new lover.
Men take a larger risk than women when first
approaching. In ancient times, this posed a
legitimate safety concern and thus men still
experience approach anxiety.
Women tend to look for social validation of their
choices. For example, a woman will find a man
more attractive if he has already been
preselected by other women.
Bound by the human condition, everyone has a
hierarchy of needs that must be met, including
physiological needs, safety needs, social needs,
and so on.
Our emotions are designed to motivate us to get
these needs met.
There are three vital areas of life we must focus
on: Health, Wealth, and Love. Deficiencies in
any one of these categories will cause problems to
surface in the other two.
T h e  M y s t e r y  M e t h o d
20 Social Status and Behavioral Circuitry
E
m o t i o ns are circuits  in  the br a in  that judge value  a nd  c r e a te mot iva t ion.
T h ey  a re designed  to  k e ep  y ou alive  and  to replicate your gene s.  It  is
int e r e s t ing  to  n o te  that  t he  v a r i o us  emo t i o ns  d o n 't  h a ve  to  be  in
agr e ement  w i th  e a ch  o t h e r.  Y ou  c an  be  h a p py  a b o ut  s ome t h i ng  b ut
simultaneously  d i s a p p o i n t ed  a b o ut  it  as well.  Y ou  c an enjoy  s o m e o n e 's  c o m p a ny
b ut also find  t h em completely una t t r a c t ive sexually.  Y ou  c an  y e a rn for  s ome t h i ng
b ut  t h en  be  u n h a p py  w h en you  g et it.  It  i sn't necessary for  t h e se  emo t i o ns (and
the behavior  they generate)  to be logically  cons i s t ent —  it  is  o n ly necessary  that
they  k e ep your  g e n es alive.
W h at  do  w o m en want? The ir  v a r i o us drives  a nd mo t i v a t i o ns are often  in
conflict. She  m ay desire a  s t rong, alpha  m a n.  B ut  w h en  she acquires  o n e,  she may
set  a b o ut  t u r n i ng  h im  i n to a be ta male, bit-by-bit, as a na tur al  n e s t i ng instinct. If
she succeeds  a nd he  is  t ame d,  t h en  she will feel  r e a s sur ed  in  h er feminine  p o w er
b ut  s imul t aneous ly  she will find  h im less attractive as a result.
C an  she ever truly  be happy?  It  d o e s n 't ma t t e r.  In  t he
g r a nd  s c h e me of tilings, her  e m o t i o ns  d o n 't have  to
k e ep her happy. All  they  h a ve  to do  is  k e ep her alive.
(And  g et  h er pair  b o n d ed  and  p r e g n a nt wi th  t he  r ight
man.)
I t 's  t rue  that  s ome t imes  it can be frustrating  that  h er
behavior  is  g o v e r n ed  by  h er  e m o t i o n s.  B ut  t h e re  is
p o w er  to  be  h ad be c ause  of this.  T h r o u gh
expe r iment a t ion, we  c an discover  the me c h a n i sms
b e h i nd her  b e h a v i or  a nd  t h r o u gh practice we can
consistently  c o n t r ol  t h em.
T h e  M y s t e r y  M e t h o d
21
Chapter
2 Pr a c t i c ing  t he  g a me  is  n ot unlike  t he  m o v ie Groundhog Day,  w h e re Bill Mur r ay
re-lives  t he  s a me day over  a nd over again for  w h at  s e ems like ye a r s.  E a ch day he
tries  to pi ck up  the same girl,  a nd  h er  r e spons es are different  as he tries  n ew
tactics  f rom day  to day.  O v er  t ime his skills  i m p r o ve  and he ge ts closer  a nd closer
to his goal.
If  t he right  swi t ches are  f l ipped, she will feel  a t t r a c t ion  and  she  w o n 't really  h a ve
a choice  a b o ut this. Similarly, if  the  w r o ng switches are flipped,  she will  lose
a t t r a c t ion  and  s he  w o n 't  h a ve a  c h o i ce  a b o ut  that either.  S he  m ay  even feel
di s appoint ed  t h at  it  h a p p e n e d.
T h is me a ns  t h at her  r e s p o n s es have  absolut e ly  n o t h i ng  to  do  w i th  w ho you are  as
a  p e r s o n.  I t 's  n ot  a b o ut  w ho  y ou are — it's just a  r e s p o n se  g e n e r a t ed by your
tactic,  y o ur delivery,  a nd  o t h er factors.  I t 's just a game. So  it  is  that  in  t he game
m e t a p h or we  compl e t e ly separate  o ur  e go  f rom  t he  r e s p o n s es  t h at we get.
Of t en  p e o p le  c an  be  u n awa re  of  t he subtleties  in their  o wn behavior  t h at
gene r a te  t h e se  r e s p o n s e s.  S ome t imes  by  r a n d om  chanc e,  t he  r i g ht tilings  h a p p e n,
the right  r e s p o n s es  a re gene r a t ed,  a nd  e v en a  c h u mp ge ts laid. He says  to himself,
"I  g ot lucky."  H ow right he is.
L e t 's  examine  in  m o re detail  some  of  t he mo t i v a t i o ns  b e h i nd  w o m e n 's behavior,
and  s o me of  t he ways we  c an  t ake  advant age of this.
Women  s e l e ct for survival  a nd  r e p l i c a t i on  v a l ue
So  w h at  a re  s o me characteristics  that  c o n v ey S  a nd R value?
•  L o o ks  a n d  h e i g h t. All  o t h er factors be ing  the  s ame,  w o m en will
generally  be  m o re  a t t r a c t ed  to taller  or be t t e r - looking  m e n. Howe v e r,  if
you are  s h o rt or ugly,  that  is  absolut e ly no excuse  to feel  sor ry for yourself.
T h e re  a re pl enty of successful  v e n u s i an arists  w ho  a r e n 't very tall or
classically attractive.  L o o ks  a nd  h e i g ht are real factors,  a nd  should be  t aken
i n to  a c c o u nt —  b ut they  a r e n 't de a lbr e ake r s.
•  B e i ng  h e a l t hy  a nd  in  s h a p e.  A l t h o u gh it's pos s ible  to eat  w r o n g,  avoid
the gym,  a nd still pi ck up girls,  m en  w ho stay fit  a re simply  m o re attractive
to  w o m e n.  T h is really has a big effect  on results;  p e o p le  w ho  w o rk  o ut  n ot
only  l o ok better,  b ut they  a l so give off a  b e t t er energy in social
int e r a c t ions.
T h e  M y s t e r y  M e t h o d
22 •  H y g i e ne  a nd  g r o o m i n g.  T h e se  a re essential. Stay clean  a nd wellg r o o m e d,  a nd  k e ep  y o ur  b r e a th smelling fresh.  D o n 't be a scrub.
•  F a s h i on  s e n s e.  P e o p le  w ho  d o n 't  k n ow  h ow  to  d r e ss  a re completely
oblivious  to  h ow bad  the ir  c lothes  l o ok  in  t he eyes  of  p e o p le  w ho  do  k n ow
h ow  to  d r e ss  (mo st  of  w h om  a re wome n .) Dr e s s i ng  p o o r ly also conveys a
lack of social intelligence,  w h i ch  is a  d e m o n s t r a t i on of  l ower value.
A n y o ne  w ho  i sn't being regularly  c omp l ime n t ed  on his  c lothes  should  g et
a fashion  consul t ant  to  h e lp  f ix  this  p r o b l em.
•  B e i ng  c o m f o r t a b l e.  I t 's often  s t r e s s ed  that  o ne  should  be confident.  B ut
t he  t r u th  is  t h at  t he  m o st  i m p o r t a nt state  of  m i nd  in  p i c k up  is  o ne  of
comfor t.  Y o ur  b o dy language  s h o u ld reflect  t h i s. Relax,  a nd  t ake  up space
in a  comfor t able way.  L e an ba ck  a nd make yourself  at  h o m e.
•  S m i l i ng  a n d  h a v i ng a  s e n se  of  h u m o r.  M en  w ho  d o n 't  g et laid usually
d o n 't smile.  T h e re are a lot of guys walking  a r o u nd  w ho  d o n 't  look happy.
Be  t he guy  w ho  is  h a v i ng a  g o od time  a nd  w ho makes  o t h er  p e o p le feel
g o o d.  D o n 't  t ake yourself  t oo seriously.
•  N o t  b e i n g  n e e d y. A typical  m an wi th high survival  a nd replication value
is  p r o b a b ly  d o i ng  f ine wi th his  f inanc e s. He  p r o b a b ly has access  to sex. He
is  p r o b a b ly  comfor t able  in  t e r ms  of his he a l th  a nd physical ne eds.  T h u s,
he  is  n ot a  n e e dy pe r son.  I t 's  i m p o r t a nt  to  convey this  s ense  of  a b u n d a n ce
and  to really feel it.  W h en you  lust after  an  o u t c o m e,  w o m en will pi ck up
on  this  a nd perceive you  as a  l ow value guy —  a nd  w o m en  a re  n ot
p r o g r a m m ed  to have sex  w i th  d e s p e r a t e,  l ow value guys.
•  B e i ng  u n a f f e c t e d.  In  k e e p i ng  w i th  t he  a b o ve line  of  t h o u g h t,  d o n 't  be
reactive  or try  to  imp r e ss  p e o p l e.  T he  p e r s on trying  to  imp r e ss  is
pe r c e ived  to be  the  o ne wi th  l ower status. Similarly,  d o n 't make excuses
for yourself,  a nd  d o n 't  c o me  a c ross  as  s o m e o ne  s e eking a  r e a c t ion, or
seeking  a t t e n t i o n, validation or  u n d e r s t a n d i n g.
•  H a v i ng a  l i f e. Be  ambi t ious  a nd stay  in shape.  H a ve a  s t r o ng identity  and
p u r p o se  in  y o ur life.  H a ve friends  a nd  t e nd  to  y o ur social circle.
•  T h e re  a re ma ny  o t h er ways  to  c o n v ey value —  t h r o u gh  y o ur  g ame, your
b o dy language, your  p r e - s u p p o s i t i o n s, your social  int e r a c t ions,  a nd  so  o n.
T he rest of this  b o ok will de s c r ibe all of  the se tilings.
T h e  M y s t e r y  M e t h o d
23 Identity
Who am I?
Such a  c omp l i c a t ed que s t ion  b ut  w i th a simple
answer:  Y ou  a re what you  convey.  T h i nk for a
m o m e nt  w h at  y o ur  f i r st choice  of career  w o u ld  be
if you  h ad  no  chance  of failure.  In  o t h er  w o r d s, are
you really  p u r s u i ng your dr e ams, or have you  g r o wn
compl a c ent :'
W o m en  a re  a t t r a c t ed  to pa s s iona t e, purpos e ful
m e n. A  q u i ck perusal of  w o m e n 's pe r sonal  ads will
often reveal  s o me  c omb i n a t i on of  t he phr a s e s,  " p a s s i o n a t e ,"  " amb i t i o u s ,"
" k n ows  w h at  he wants  and  k n o ws  h ow  to get  i t ," etc.
She  d o e s n 't really care  so  m u ch what  y ou are pa s s iona te  a b o u t, just  that  y ou are
pa s s iona te  a b o ut something.  I t 's attractive.  T h is  is be c aus e, for wh a t e v er  r e a son,
w o m en  in  anc i ent  t imes  w ho successfully pa s s ed  on their  g e n es  t e n d ed  to  be
a t t r a c t ed  to  t h e se  sor ts  of  m e n. Are you  this  sort  of  m a n?
W h at  if you  w e re  to  c h o o se  an identity  that carried  the  s t e r eotype of be ing a
leader  of  m e n, be ing pre-selected  by  w o m e n,  or being  t he  s u p p o r t er  a nd
p r o t e c t or  of  t h o se close  to  y o ur  To wh a t e v er degree  y ou  convey  the se
characteristics,  h i g h er value is  d e m o n s t r a t ed —  t h us triggering  a t t r a c t ion.
I m a ge
Is your image  c o n g r u e nt wi th  y o ur identity?
T h e re is a big difference  b e twe en dr e s s ing well,
and dr e s s ing  in a way  that  is  c o n g r u e nt  to your
identity.  H ow  d o es a  r o ck star dr e s s?  H ow  d o es a
basketball player dress?  H ow  do you dress?  D o es
it  c o n v ey a distinct identity?  W h at is the first
imp r e s s i on  that  p e o p le will  h a ve  w h en they see
you?
S o me  of  the se que s t ions  a re  n ot easily  answe r ed,
and  in fact  o ne  s h o u ld never  s t op  a sking  t h em.  T he  p r o c e ss  is  cont inua l.
T h e  M y s t e r y  M e t h o d
24 P e a c o c k i ng
Peacocking is  t he use of  a t t ent ion-ge t t ing clothes to
amplify your  r e s p o n s es  in  t he  f i e l d.  If  y ou are pe a cocked,
girls will  l o ok at you  m o re often,  a nd guys will make
sniggering  c o m m e n t s. This me a ns  that  t h e re will be  m o re
social pressure on you  t h an  y ou wo u ld normally
experience.
It  is a  d e m o n s t r a t i on of higher value  w h en  p e o p le perceive
that you are  a c c u s t omed  to this social  p r e s s u re  a nd
othe rwi se una f f e c t ed by it. (In  o t h er  w o r d s,  w h en  p e o p le see
that  y ou  a re  c o n g r u e nt wi th your image.)
T h is  c o n g r u e n ce  is  t he critical  p o i n t. A  m an  w i th a  t op  h at  a nd a feather boa, wi th
two  w o m en on his  a rms  a nd  s u r r o u n d ed by  l aughing friends,  l o o ks like the man.
E v e r y o ne  in  the  r o om will not i ce  h im  a nd  w o m en will wh i s p er  to  o ne  a n o t h er
that  they wa nt  to  be  i n t r o d u c ed  to  h im. But  the  s ame  m an sitting  by hims e lf  in
the  c o r n er  could  end up  l o o k i ng like a social reject.
T ry we a r ing  at least  o ne  i t em  t h at  is cool  a nd
attention-getting. It  m ay be  u s ed as a lock-in
prop  ( chapt er 5) as well as allow  w o m en to  m a ke a
c o m m e n t,  g o od  or  b a d,  if  they wi sh  to  o p en  or
sustain a  c o n v e r s a t i on wi th you.
F or example,  o ne tiling  she mi g ht  do  if  y ou  a re
talking  to  h er  a nd  she senses  that  the  c o n v e r s a t i on
is wi n d i ng  d o w n,  she may  suddenly say,  " Oh  tha t 's
a cool necklace."  T h is is her way of  c o n t i n u i ng  the
int e r a c t ion in a perfectly  r e a sonable way, while
r e s e rving  s o me  e l eme nt of plausible deniability.
On  m o re  t h an  o ne oc c a s ion Mystery  h as  h ad  w o m en walk  up  to  h im  and tell  h im
that  they  h a te his goggles. He  w o u ld reply, "No you don't, you're attracted to me."
T h is  is  w hy it's  i m p o r t a nt  t h at  t he  p r op be genuinely cool. Ot h e rwi se  she
w o u ld  l o ok like a  t ry-ha rd  f or  c o m m e n t i ng  on  it  a nd she'll  lose  t he  cour age  to  do
so. (Incidentally you also  l o ok like a  t ry-ha rd every time  y ou tell a girl  h ow cool her
necklace looks.)
T h e  M y s t e r y  M e t h o d
25 C r e a t u r es  of  S e n t i m e nt
Logic  and  r e a s on can be  u s ed  to  d e t e rmi ne a  cour se of action,  b ut often they are
ins t e ad  u s ed  to rationalize  the  a c t ion after  t he fact.  T h is  is  t rue of  b o th  m en  a nd
w o m en — we  a re mo t i v a t ed  by  o ur  emo t i o ns  a nd  t h en we backwards
rationalize  o ur  a c t ions.
E m o t i o n s,  to  w o m e n, are  even  m u ch  m o re  p r o f o u nd  a nd  a l l - encompa s s ing  t h an
they  a re  to me n.  T h u s,  they are also a  m o re powe r ful  a nd  c o n s i s t e nt mot iva tor.  In
fact,  w h en a  w o m an explains  s ome t h i n g, she will often use  e m o t i o ns as legitimate
r e a s o ns  u n to  thems e lve s.
Don't convince
D o n 't  b o t h er trying  to  convince her,  a rgue  w i th her,  or  engage her  in any  o t h er
way on a logical level. Logic  should  n e v er be us ed as a  m o t i v a t or in  the field,
be c ause wh at a  w o m an  thinks  she likes, or says  she likes,  is  n ot necessarily  w h at
she  r e s p o n ds  to  emot iona l ly  a nd sexually.
Stimulate her emotions
T he venus i an artist us es emotional stimulation  ins t e ad of  r a t ional discourse. As
l o ng  as  it feels  r ight, your  r oma n t ic  int e r e st will  i n v e nt her  o wn  r e a s o ns for  w h at  is
h a p p e n i n g.  In  o t h er  w o r d s,  w h en  y ou  c an give  h er  the  r ight feelings,  h er
rationalization process starts to  w o rk in your favor  ins t e ad of against it.
A  w o m an  k n o ws  h ow susceptible  she  c an  be  w h en  she  is  in  an  emo t i o n al state.
Of t en her  solut ion  to this  is  to  avoid  b e c omi ng  emot iona l ly engaged  in  an
int e r a c t ion  w h e re  she  d o e s n 't feel  t rust  or safety,  or  w h e re  t he  m an  g ami ng her
d o e s n 't  s e em  to  h a ve  e n o u gh S  a nd R value.  W h en this  h a p p e ns  she will  s e em
non-responsive.  T h u s, if you can  engage a  w o m an on an  emo t i o n al level,  even if
it's a  "bad"'  e m o t i on  such  as frustration or jealousy,  this  is  m u ch preferable  to her
r ema i n i ng  n o n - r e s p o n s i v e.
Al so,  ins t e ad  of only trying  to give her  " g o o d"  emo t i o ns  or avoid  " b a d"
emo t i o n s, stimulate  h er wi th a range of emotions  such as curiosity, fascination,
fear of  l o s s,  c o n n e c t i o n,  indigna t ion, validation  and devalidation,  h u m o r,
emba r r a s sment,  h a p p i n e s s,  s adne s s,  a nd  so  o n.  T he  m o re  she  is stimulated,  the
m o re  compe l l ing  t he  expe r i ence will be for he r.  C h a p t er 5 describes va r ious
t e chniques for  thi s.
T h e  M y s t e r y  M e t h o d
26 Social  A w a r e n e ss
T he va r ious  a spe c ts of social  n e t w o r k i ng are of great  int e r e st  to  p e o p le  a nd
especially  w o m e n,  inc luding status,  r e p u t a t i o n,  compe t i t ion,  a nd alignments  and
pair  b o n d s.
Discretion is a virtue
When she says, "not here," you say, "I understand."
A  w o m a n 's  r e p u t a t i on directly influences her social status.  T h is  is  w hy  w o m en  a re
easier  to get  i n to bed  w h en  they  a re  on va c a t ion —  they  a re  m o re likely  to indulge
in  an  adventure  for  w h i ch  they  t rust  t h e re are no social  c o n s e q u e n c e s.  T h is  is also
w hy  w o m en are appreciative  of  m en  w ho  u n d e r s t a nd  and pr a c t i ce discretion.
A venus i an artist will never  b r ag  a b o ut his sexual  c o n q u e s t s.  If  y ou  d o,  n ot only
will  it eventually get  b a ck  to her,  b ut  a ny  o t h er  w o m an  w ho  h e a rs  it will also be
on not i ce  t h at sexual relations wi th  y ou carry social  c o n s e q u e n c e s. So,  for
example,  w h en  y ou  o b t a in a  p h o ne  n u m b er from a  w o m a n,  d o n 't walk straight
over  to  y o ur  f r i ends  and be seen high-fiving  t h em enthusiastically.
Anti-Slut Defense
The word 'Slut' is a weapon that women use against other women
W o m en  h a ve a powe r ful  i n t e r r u p t i on  m e c h a n i sm  k n o wn as anti-slut defense,
or ASD.  N ot  o n ly  d o es she prefer  to  avoid having othe rs perceive  h er  as a slut,
wh i ch  w o u ld  p o se dire  c o n s e q u e n c es  to  h er social status,  b ut  a l so  she  w a n ts  to
avoid  the  d i s c omf o rt of feeling like a slut.  T h us  she  h as  t he  A SD  i n t e r r u pt
m e c h a n i sm  to  h e lp her avoid this fate.
A SD is wh at ma k es a girl blurt  o ut 'I have a boyfriend' (whether  she actually  d o es
or not) —  b e c a u se you escalated faster  t h an  she was  comfor t able wi th.
T i me  in  t he field will eventually  i m p r o ve your calibration  to  t he  p o i nt wh e re you
can escalate  w i t h o ut activating  h er  A S D.  C h a p t er 6 describes  h ow  to escalate
smo o t h ly  t h r o u gh  t he  u se of false disqualifiers.
T h e  M y s t e r y  M e t h o d
27 Plausible deniability
She will never do  anything  d u r i ng  t he  p i c k up  that ma k es her feel  r e spons ible  for
wh at  is  g o i ng  d o w n.  To wha t ever degr ee  she feels  r e spons ibl e,  h er  A SD will  be
activated.
T h us  she has a  n e ed for plausible deniability.  F or example, if you we re to say
to  h e r,  "He y,  l e t 's go ba ck  to my place  and have  s ex,"  she will  h a ve  to  s ay  n o,
even  t h o u gh  she wants to say yes, because saying yes would make her responsible for what
is happening—  w h i ch  she  c an  n e v er  d o.
B ut  if  ins t e ad YOU we re  to say,  "He y,  l e t 's  s t op  by my place  on  the way  to  that
pa r ty — I have  to  s h ow you mv tropical fish." Well,  she  n ow  h as  an excuse  a nd
plausible deniability to  s t op by your place  a nd  t h en — oopsie—  h a ve sex wi th you.
"One thing led to another..."
T h is is why serendipity is so  r oma n t i c. Af t er all, if it was meant to be,  t h en  h ow  c an
it be her fault?  W ho  is  she  to deny Fa t e?
Act wi th moxie
Moxie me a ns inventive courage.  T he  v e n u s i an artist  m u st always be leading
the  int e r a c t ion  to wh e re he wants  it  to  g o.  T h is  is partly  d ue  to  t he fact  that he has
no  choi c e, since  the  w o m an  w o n 't  t ake  a ny responsibility for  w h at  is  h a p p e n i n g.
F or example,  it  is necessary  to  k e ep  things  int e r e s t ing  d u r i ng  t he  o p e n i ng pha se
of  the  g ame.  If  y ou  d o n 't  m a ke  the  c o n v e r s a t i on interesting,  t h en  she will raise
b o r i ng  topi cs —  a nd  t h en  she will feel  b o r ed  and bl ame  it on you.
I t 's  n ot fair,  r ight?  T h is  p a t t e rn of  b e h a v i or  c an be ma d d e n i n g.  B ut  t he  t r u th is,  if
she feels  b o r ed  a r o u nd  y ou  b ut excited  a r o u nd  o t h er guys,  t h en why  should  she
wa s te her time  on you?
Make tilings happen.  T a ke full responsibility for  y o ur  s h a r ed experience wi th
he r.  It  is  y o ur  job  to act wi th mo x ie —  to  m o ve  f rom pha se  to  p h a s e,  to me et  the
objectives  of  e a ch  p h a s e,  to escalate,  to  v e n ue  change,  a nd  so  o n.  T he  r e st  of this
b o ok will explain exactly  h ow  to  do  t h e se tilings.
T h e  M y s t e r y  M e t h o d
28 P e r s i s t e n ce
Persistence is  a n o t h er way to alleviate her of  a ny responsibility for what is
h a p p e n i n g. Of  c o u r s e,  d o n 't confuse pe r s i s t ence with begging, arguing,  or being
pushy, needy, or creepy. All it me a ns is, don't give up too easily. Gi r ls will test  y ou to
f ind  o ut  h ow easily  y ou give up —  t h ey wa nt  to see  h ow  conf ident you are  in
yourself. Just  a s s ume  t h at  she is giving a little  t o k en resistance,  a nd  cont inue.
Token  r e s i s t a n ce
W o m en will give token resistance —  e x p e ct it. If she  d i d n 't resist at least a little
bit,  she  w o u ld feel like a slut —  and that's  n ot going to  h a p p e n.
T h is can be tricky —  an overly aggressive  m an mi g ht mi s int e rpr et all resistance  as
be ing merely  t o k en resistance,  a nd  c o u ld eventually find himself facing a  r ape
charge. Wh e r e as a  m an  w ho  i sn't  p e r s i s t e nt  e n o u gh will acquiesce every  t ime she
resists,  w h en  in  m a ny cases  she was secretly  h o p i ng that he  w o u ld be a little  m o re
forceful
Intui t ion over Analysis
W o m en  f o l l ow  the ir intuition,  so believe  y o ur  o wn bullshit.  F or example,  if  she
wants  to  d e t e rmi ne  w h e t h er  or  n ot  y ou  a re be ing real wi th  h e r,  s he  w o n 't logically
analyze  w h at  y ou said for inconsistency.  I n s t e a d, she'll  l o ok to you to see if  y ou
s e em  c o n g r u e nt wi th wh at  y ou are saying. (Are you?)
A n o t h er  e x a m p le  of  f e m a le  i n t u i t i on
W o m en often  l o ok for  t he "real  m e a n i n g"  b e h i nd  w h at  y ou say.  F or example,  if
you tell a  s tory  a b o ut your "friend-"  she will usually  a s sume  t h at you are actually
talking  a b o ut yourself.  T h is  c an be useful  w h en  the story  d emo n s t r a t es higher
value.  F or  exampl e,  if  y ou  d o n 't wa nt  to  l o ok like a braggart, you  could say, "My
friend hooked up with this amazing girl and they had wild sex all weekend..."
On  t he  f l i p s i d e,  if you  w a nt  h er  to believe  that  t he  s tory really  is  a b o ut  s o m e o ne
else (like if it  d emo n s t r a t es  lower value)  t h en  u se a specific  n a m e.  F or example,
"My friend Craig woke up last weekend wi th a condom in his ass and..."
S h e ll  a s sume  y ou really are talking  a b o ut  s o m e o ne else  if  y ou give  h im a  n ame.
T h e  M y s t e r y  M e t h o d
29 Congruence Te s ts
A  w o m a n 's  n u m b er  o ne  emot ional priority is safety  a nd security.  A b o ve all,  she
wants a  m an  w ho makes  h er feel safe  a nd  p r o t e c t e d.
It wo u ld  be  c o n v e n i e nt  if  she  c o u ld simply ask each  m an  in  o r d er  to  d e t e rmi ne
whether  or  n ot  he will  be able  to adequately  s u p p o rt  a nd  p r o t e ct her  a nd  h er
offspring.  B ut of  cour se he  w o u ld  t h en lie  in  o r d er  to  o b t a in sex —  so  she  m u st
test.
I t 's  i m p o r t a nt  to  r e m e m b er  that often  s he  is  n ot deliberately  t e s t ing you.  I t 's  n ot
necessarily  s o m e t h i ng  that  she is  cons c ious ly aware of She just ge ts a feeling to
behave a certain way,  a nd  so  she doe s.  B a s ed on  h ow you  r e a ct  to  thi s,  she  t h en
feels either more or less  a t t r a c t ed as a result.  T h is is  k n o wn as a congruence test.
If  she views  y ou  as a  c o n t e n d e r,  t h en  s he will test you. A  w o m an of t en  w o n 't  even
b o t h er to test  l o s e rs —  ins t e ad she'll just  b e c o me  n o n - r e s p o n s i ve  a nd  t h en leave as
s o on  as  she can.  T h u s, a test  c an be  cons ide r ed  an  indi c a tor of  int e r e s t, of sorts.
C o n g r u e n ce  t e s ts are a doubl e - edged  sword; if you  r e s p o nd  t he  r ight way,  she will
be noticeably  m o re  a t t r a c t ed  to  y ou after  t he test.  B ut  if you fail,  t h en  she will be
noticeably less  a t t r a c t ed.  (Chapt er 6 explains  h ow  to ma int a in  c o n t r ol of  the
frame  and pa ss  h er tests.)
Appeasement is futile
W o m en are like  chi ldr en  in this  r e s p e c t .. .they have  to  k n ow  w h e re  the bounda r i es
are.  T h ey will  k e ep  p u s h i ng  and testing  u n t il they find  t h o se  b o u n d a r i e s.  W h en a
w o m an  p u s h e s,  a nd feels  that  r e s i s t anc e, it allows  h er to feel secure with you.
T h is is  w h at  s h e 's  l o o k i ng for.  B ut if  s he  d o e s n 't feel  that resistance,  t h en  she will
k e ep  p u s h i ng  u n t il  she walks all over you.
Of  c o u r s e, she'll be unable  to  r e spe ct a  m an  if  she  c an wa lk all over him.  I t ' ll be
mildly di s appoint ing  to  h e r,  b ut she'll also feel reassured  a b o ut her feminine
p o w er — wh i ch feels  g o od —  a nd she may  even  r ewa rd his  submi s s ion wi th
positive  r e infor c ement.  G o od doggy.
T he mo r al  i s,  j u st  b e c a u se  s he  l i k es  s o m e t h i ng  d o e s n 't  m e a n  it wi ll  b r i ng
y ou  a ny  c l o s er  to  s e x. A girl enjoys  t he  ego  b o o st  w h en  m en cat-call  at her —  b ut
she'll never  h a ve sex  w i th  t h o se  m e n.
T h e  M y s t e r y  M e t h o d
30 Investment
Al t h o u gh you  m ay be  an attractive guy  w i th relatively high S  a nd R value,  a n o t h er
guy just like  y ou  could easily  c o me  a long  t o m o r r o w.
In  t he  m o m e n t,  w h en  she  is  intoxi c a t ed wi th  the  emo t i o ns  of flirting  w i th  y ou
and  she gives you  h er  p h o ne  n u m b e r,  s he may  h a ve every  i n t e n t i on of following
up wi th  y ou  in  t he future. But  o n ce  y ou  a re separated,  m e m o r i es  s l owly fade  a nd
n ew flirtations arise.
T h u s, it's  n ot  e n o u gh  f or  h er  to  be  a t t r a c t ed  to you. She  m u st  b e c o me invested
in  h er  i n t e r a c t i on wi th  y o u.  T he  m o re  she  is  inve s t ed  in her  i n t e r a c t i on  w i th  y o u,
the  m o re  she will  be mo t i v a t ed  to get a  r e t u rn  on  t h at  i n v e s tme n t.
T h u s,  t he  m o re time  she  s p e n ds wi th  y o u,  t he  m o re  m o n ey  s he  s p e n ds  on you,
the  m o re effort  she exerts  to get your  a t t ent ion or va l ida t ion,  t he  m o re  she  is
emotionally  and physically engaged  w i th you,  the likelier it  b e c o m es  that you will
eventually begin a sexual  r e l a t ionship  w i th he r.
W h at  a re  s o me  f o rms  of  i n v e s tme n t?
•  E m o t i o n a l  i n v e s t m e n t.  W o m en are  r e luc t ant  to allow  thems e lves  to
b e c o me emotionally vulne r able  a r o u nd  m en  of  d u b i o us  i n t e nt  or  l ow S
a nd R value. A  w o m an  k n o ws  t h at  o n ce  she  g e ts  emot iona l,  it
b e c o m es  m u ch  m o re difficult  to  ext r a ct herself  f rom  t he situation.
•  P h y s i c al  i n v e s t m e n t. Ki s s i ng  is a bigger  i n v e s tme nt  t h an walking
a rm- in- a rm. Sex is the biggest  i n v e s tme nt of all.
•  T i m e .  T he  m o re time  y ou  s p e nd  toge the r,  t he  m o re  inve s t ed she
b e c o m e s.  It takes  an average  of  four  to  t en  h o u rs  b e f o re sex.
•  E f f o r t.  Is  she chasing?  P e o p le  d o n 't value  that wh i ch  c omes  t oo easily.
T he  m o re effort  she  p u ts in,  t he  m o re  inve s t ed  she  h as  b e c ome.
•  M o n e y.  D id  y ou buy  h er a dr ink,  or  d id  she  b uy  o ne  for  y o ur
Ma ny  of  the tactics  in  t he game are  n ot designed  to attract  h e r,  b ut  r a t h er  to use
that  a t t r a c t ion  as bait  in  o r d er  to get  h er  m o re invested  in  h er  int e r a c t ion  w i th
you. (See  c h a p t er 6 for  the se tactics.
T h e  M y s t e r y  M e t h o d
31 Discomfort and Conf rontat ion
W o m en  t e nd  to  avoid di s comfort  a nd  conf ront a t ion.  T h is  m ay  s e em  r a t h er
c o m m o n - s e n s e,  b ut  t h e se  p o i n ts are  c r i t i c al  to achieving success  in  t he game:
•  H a ve a pos i t ive,  o p en attitude.  D o n 't be judgmental or jealous.
•  D o n 't act as if tilings are a big deal. They  a r en' t.
•  D o n 't  c omp l a in or be  emot iona l ly puni shing.  If  y ou call  h er on her shit
while talking on  the  p h o n e,  she will just  avoid talking  to you on  the
p h o n e.  I n s t e ad of be ing  the  w h i ny or emotionally  abus ive boyfriend
w h e n e v er  she pulls a fast  o n e, be  the guy  w ho has pl enty of  o p t i o n s.
•  If  she flakes on you,  d o n 't  c o n f r o nt  h er  a b o ut  it next  t ime  y ou see he r.
Are  y ou  t he guy  w ho sat  a r o u nd  a nd  g ot ups e t?  Or are  y ou  t he guy  w ho
called  o v er  a n o t h er girl  a nd  t h en forgot all  a b o ut it?
Fun  a nd  S t imu l a t i on
Just  as  she  t e n ds  to avoid di s comfor t,  so she  is also  a t t r a c t ed  to fun  a nd
stimulation.  (On ce her safety has  b e en  s e cur ed, of course.) At t r a c t ive  w o m en  a re
often  f o u nd  on  b o a ts  or dance floors,  in parties  or ni ce cars,  a nd  a r o u nd  b ad boys
and  r i ch me n.  T h e se  t i l ings are  m u ch  m o re  compe l l ing  t h an  b e i ng a nice guy.
• Be a fun  a nd pl ayful  p e r s o n. This is preferable to appearing tough or 'deep.'
• Be  c h a l l e n g i ng  to  w o m e n. They love this.
• Be  s l ight ly  u n p r e d i c t a b l e. Familiarity breeds  cont empt.
•  E m b r a ce  y o ur  p a s s i o ns  and be involved in activities. (See chapter 7 for
mo re info on building a strong identity.)
•  D e v e l op  y o ur  s o c i al  c i r c l e.  P ut time  and energy  into this.
Ke e p i ng a  w o m an  a r o u nd  is  an active  p r o c e s s. After  y ou win  h er over, you  c a n 't
just  p ut her  in a  b ox  a nd pull her  o ut like a  t oy  w h en you feel like playing wi th
he r. She  n e e ds  c o n s t a nt  a t t ent ion, stimulation, a  f i rm  h a n d,  a nd several trillion
o t h er tilings.  S he will  n e v er be  compl e t e ly  c o n t e n t,  b ut  it  is pos s ible  to  k e ep her
c omi ng ba ck for  m o re  and  g et her "in  lov e" wi th you.
T h e  M y s t e r y  M e t h o d
32 Women  a re Dangerous Cr e a t u r es
W o m en are  n ot angels of pur i ty  a nd morality, tit for placing on a pede s t a l.  T h ey
are  h u m an just like  t he  r e st of us.
Of t en  in  t he field  y ou  m ay not i ce  w o m en  l y i ng  or us ing  o t h er manipul a t ion.  T h ey
may act jealous, try  to  m a ke  you jealous, use  the ir sexuality  to ga in  p owe r, stir up
t roubl e,  a nd of t en will  n ot hesitate  to  d i t ch  y ou for  s ome t h i ng shinier —  s ome o ne
wi th  m o re  s t a tus,  m o re  t e s tos t e rone,  m o re cocaine.
A nd  as  emp a t h e t ic  as  w o m en are  d e e m ed  to be,  she will  n ot later wa l low  in
p a t h os  w i th a solitary tear on her cheek, full of regret for di t ching you.  D o n 't take
it personally;  i t 's just  p a rt of  t he game. Incidentally,  n ow  w o u ld be a  g o od time  to
admit  that  the  s a me is  t rue of yourself. We are all human.
Rating  W o m en
A  w o m a n 's S  a nd R value  c an be  r a t ed  a lmo st purely ba s ed on her  looks.  T h at  is
a  t e rnble  thing to say. But  i t 's  n ot denigr a t ion — it's a  s t a t eme nt of fact.  M en  a re
p r o g r a m m ed  to  ins emina te  as ma ny  p r e t ty  w o m en  as pos s ibl e.  T h us a  w o m a n 's
sexual value to a  m an  c an be easily  d e t e rmi n ed by  h er physical  a p p e a r a n c e.
M en often  emp l oy a de c imal rating system,  r anging from 1 to 10,  w i th a 7 be ing a
cute gi rl  a nd a 10 be ing a  supe rmode l.  It may  s e em  u n c o u th  to refer  to a  w o m an
as a  n u m b e r,  s u ch as a 5 or a 9.  B ut  the  t r u th is  that  w o m an of different ratings do
behave differently,  to a gr e at degree.  A nd  fur the rmor e,  m en and  w o m en will also
respond differently  to  o t h er  p e o p le ba s ed on  p e r c e p t i on of their relative difference
in social status.  T h is prejudice is a  fundament al  h u m an behavior —  i t 's ha rdwi r ed.
H e re  is  o ne  e x amp le of  r e s p o n d i ng  b a s ed on social status: Seeking  r a p p o rt  is
often an easy  w ay to  o p en a  c o n v e r s a t i on wi th a set of 5s,  b ut will only get you
b l own  o ut wi th a set of 10s. Wh e r e as  b e i ng  cocky  a nd challenging, wh i ch 9s  a nd
10s absolutely  love, will often cause a 4 or 5 to  r e a ct in a nasty way.
T he Mystery  M e t h o d,  w i th its  empha s is on negs, group theory,  a nd preselection,  is  g e a r ed  t owa r ds attracting 10s.  In fact,  y ou may  h a ve  to  t o ne  d o wn
the se aspects of  y o ur  g a me  if you  a re dealing  w i th a lesser-caliber  w o m a n,
othe rwi se  she  m ay reject  y ou  in  o r d er  to  p r o t e ct her  o wn  ego.  I t 's easier for her  to
take  the  imme d i a te  ego  b o o st of  s h o o t i ng  d o wn a guy,  r a t h er  t h an risk be ing
rejected by  o ne  w h om  she  d o e s n 't feel qualified for  in  the  f i r st place.
T h e  M y s t e r y  M e t h o d
33 Cat  T h e o ry
"Why do you suppose we only feel compelled
to chase the ones who run away?"
~ Vicomte De Valmont, Les  l i a i s o ns Dangereuses
Ca ts  d o n 't  t ake orde r s,  b ut  t h ey  c an  be  t e m p t ed
to  cha s e.  If you  t ie a  f e a ther  to  t he  e nd of a
string, and use it properly, YOU  c an  g et a cat to
p e r f o rm acrobatics.  B ut  i sn't  it  int e r e s t ing  that  if you  p ut  t he feather  d o wn  in
front  of  t he cat,  s he will  t u rn  up  h er  n o s er
Cats are always  cur ious, especially  a b o ut shiny  n ew tilings  s u ch as  t he ball on a
r u b b er  cord,  the  c a tnip,  the treats,  t he feather on a string, etc. She  c an be easily
distracted  b ut  o n ce  she  is  inve s t ed  in  t i l i ng  to  c a t ch  s ome t h i n g,  it  c an  b e c o me
h er  s ingl e -minded focus.
T h e re  is a  l ot  to  l e a rn  f rom cats.  If  y ou  p u sh a cat off of you,  she  jumps back  i n to
your  l ap.  If you  w a nt  to  h o ld  h e r,  t h en  she wants you  to  p ut  h er  d o w n.  If  she  is
feeling nasty  s he mi g ht bite or scratch.  S he craves  a t t ent ion  a nd  she gets jealous
of  o t h er cats.  S ome t imes she'll just  r ub against you  a nd  p u rr  w i th  c o n t e n t m e nt —
you can really tell  w h en a cat likes  s o m e o n e.
A cat sees the feather from across the room, but continues about her
business. Then the feather slightly moves and her gaze is drawn. When the
feather jumps once or twice more, she starts to steadily creep in its direction.
Jerk the string at just the right time, and the cat suddenly goes crazy,
running circles around the worn, flying over furniture to catch that feather.
As  the venus i an artists  p r o c e e ds  w i th a  p i c k u p, he  k e e ps va l ida t ion  and  a t t ent ion
just slightly  o ut of her reach.  If he  is  t oo easily acquired,  then  she will quickly  g r ow
b o r ed  a nd  lose  int e r e s t.  B ut likewise  if he  is completely una t t a inabl e,  t h en  she will
also  lose  int e r e st  and give  u p.
Therefore, keep the bait just barely out of her reach
and then continually entice her in small increments.
T h e  M y s t e r y  M e t h o d
34 Boyfriends
W h en a  w o m an says  t he  w o r d s,  "I have a
boyfriend,"  n i ne  t i m es  o ut  of  t en  w h at  s he  is
really saying  i s, 'You just telegraphed too much
interest."
It  h as  n o t h i ng  to  do  w i th  w h e t h er  s he
a c tua l ly  h as a boyf r i end.  In fact,  if  she  is
a t t r a c t ed  to  y o u,  s he will  o f t en de l ibe r a t e ly
h i de  t he  b o y f r i e nd  f r om  y ou  u n t il after  y ou
h a ve  h ad sex  w i th  h e r.
W h e t h er  s he  m e n t i o ns  h im  or  n ot  in  no  w ay
p r o v es  t h at  he  a c tua l ly  exi s ts —  o n ly  t h at  s he  h ad a  m o t i ve  to  m e n t i on  h im.
S o me  r e a s o ns  w hy  w o m en  m i g ht  s ay  t h ey  h a ve a  b o y f r i e n d:
1) She  d o e s n 't have a boyfriend,  s h e 's just saying  that  b e c a u se  she 's  n ot
a t t r a c t ed  to you.
2) She does  h a ve a boyfriend  a nd given her  c u r r e nt  o p t i o n s, she has  c h o s en
to stick  w i th  that  r e l a t ionship.
3) She does  h a ve a boyfriend,  b ut  s he is willing to sleep wi th you:  and she just
wants  to  m a ke  sure  t h at you  u n d e r s t a nd her  s i tua t ion  f i r s t. She  w a n ts
discretion  a nd understanding.  A nd  t h o u gh  she mi g ht be available  to you for
sex.  she 's not  immedi a t e ly available for any  m o re of a  c o m m i t m e n t.
4) She does  h a ve a boyfriend, she is willing to  che at on him (they usually are if
your  g a me  is  t ight ),  b ut  she  d o e s n 't wa nt  to feel guilty  a b o ut it.  T h is  is  h er
rationalization process at  w o r k. As  l o ng as she  m e n t i o ns  t he boyfriend
before sleeping wi th you,  she  c an rationalize  to herself  t h at  it was  "y o ur
fault." Sur e,  she mi g ht  r egr et  it  l a t er  b ut  t h at  w o n 't  s t op  h er from cheating.
5) She doesn't have a boyfriend,  she is  a t t r a c t ed to you;  she just  d o e s n 't  w a nt
to  l o ok like a loser  w ho  c a n 't  g et a ma n. Mo st  h ot  w o m en  h a ve orbiters
anyway:  n i ce guys  w ho  p o se  as  h er friend  b ut secretly  w a nt  to sleep  w i th
he r. Since  the  w o rd  " b o y f r i e n d" can have  so ma ny different me a n i n g s,
she is  thinking of  o ne of  h er  o r b i t e rs as a  "pl a c e -ke epe r '"  w h en she makes
this  s t a t ement.
The bottom line is, don't ask about her boyfriend, and don't be fazed if
she mentions him. Just take it as a hint that you probably telegraphed
too much interest too soon, and then continue gaming as normal.
T h e  M y s t e r y  M e t h o d -
35 C h a p t er  T wo  R e v i ew
Emotions are circuits in the brain that judge
value and create motivation. They are designed
to keep vou alive and to replicate your genes.
People seek alignments and pair bonds based
on survival and replication value.
Part of being a man of value is pursuing your
dreams, having a strong identity, and living a
passionate life.
Your image should congruently convey your
identity.
Peacocking is the use of attention-getting
clothes to amplify your responses in the field.
Try wearing at least one item that is cool and
attracts attention.
People are likely to act based on their emotions
and then backwards rationalize Because
women are more emotional, they are especially
susceptible to this.
What a woman likes, or says she likes, is not
necessarily what she responds to emotionally
(and thus sexually.)
To get results with women, stimulate their
emotions. They will follow their emotions and
then backwards rationalize whatever happens.
If a woman remains non-responsive, that
means she is deliberately cutting you off from
gaming her. A women will not allow herself to
become emotionally vulnerable around you if
you haven't demonstrated enough value, or if
she doesn't feel safe enough.
Do n 't bother trying to convince her, argue with
her, or otherwise engage her on a logical level
Do n 't act as if tilings are a big deal. Just repeat
the words no problem in your head until you
really believe it. No matter what happens, it's
no biff deal.
A woman's reputation is very important to
her, and thus she is much more likely to indulge
sexually when she trusts that there will be no
social consequences.
All women have a powerful interruption
mechanism known as anti-slut defense, or
ASD. When you play solid game, you will be
able to escalate smoothly without triggering her
ASD.
A woman won't do anything that makes her
feel responsible for the escalation — she needs
plausible deniability. The venusian artist must
take responsibility to make tilings happen and
act  w i th moxie,
She will use congruence tests to provoke a
reaction from you. Then her intuition tells her
whether you seem congruent. She tests in this
way so that she can find your boundaries,
which allows her to feel secure. This behavior is
instinctive and allows her to more accurately
determine what sort of man you really are.
Most women view men as an abundant
resource. Thus it's  n ot enough to attract her —
she must become invested in the interaction.
She will seek out fun and stimulation, and avoid
confrontation and discomfort.
The decimal scale is used for rating women
based on their looks, from 1 to 10.
As you proceed with the pickup, keep her just
inside that window between validation and
rejection. She must be baited to chase in small
increments, just like a cat with a string.
Don't ask about her boyfriend, and don't be
fazed if she mentions  h i m. Just take it as a
hint that you telegraphed  too much interest  too
soon, and then continue gaming as normal.
T h e  M y s t e r y  M e t h o d
36 Structure and the Game
The M3 model and the proper mindset for learning the Game
T
he Mystery  M e t h od consists of several aspects. Fi r s t, the M3 model
de s c r ibes  the  cour t ship proc e ss  b e twe en a  m an  and a  w o m an  f rom  the
t ime  they me et unt il  the beginning of  the sexual  r e l a t ionship. Se cond,
group theory de s c r ibes  the application of social dynamics  and  t he M3 mo d el  to
g r o u ps of  p e o p le  found in public settings. (This is  i m p o r t a nt  b e c a u se high-caliber
w o m en are of t en  found in this social  cont ext .) Thi rd,  t he Mystery  M e t h od is a
m e t h o d o l o gy for pr a c t i c ing  t he game  in  t he field,  a nd fourth,  it includes a set of
f i e ld-proven  t e c h n i q u es  that  h a ve arisen  f rom  this me t h o d o l o g y,  s u ch  as  the Neg
and  the False Time Constraint, wh i ch are described in the  s u b s e q u e nt  chapt e rs of
t h is  b o o k.
T he  G a me  is played  in  t he Field
T he  G a me  is  n ot played  on a  c o m p u t er  or  t he  I n t e r n e t.  I t 's  n ot played  in a  b o o k.
I t 's  p l a y ed  in  t he real wor ld,  w i th real  p e o p le  a nd real  s i t u a t i o n s. On ly  t h r o u gh
r e p e a t ed pr a c t i ce  in  the  f i e ld  c an we ga in  intui t ion  a nd skill.  O v er  t ime,  the se
m e t h o ds  b e c o me habitual.  O n ce  int e rna l i z ed over a few disciplined we e k s,  it  is  in
fact easier  to  k e ep doing  them  t h an  to  s t o p.
•  F o c us  on  b u i l d i ng  y o ur skill,  n ot  on  g e t t i ng  l a id  or  m e e t i ng  y o ur  n ew
gi r l f r i end.  T h i nk  of  it like  y ou  a re  l e a r n i ng a  n ew  v i d eo  g a m e.
•  D o n 't  o b s e ss  o v er a  p a r t i c u l ar  w o m a n.  F o r g et  a b o ut  t h at girl  y ou  h a ve
b e en  p i n i ng  o v er for  t he  p a st  t h r ee  m o n t h s.
•  D o n 't  b o t h er  g e t t i ng  g o od  at  f i x i ng  t h i n gs  in  t he  d a m a ge  z o n e.  I t 's
easier  to  a t t r a ct a  n ew  w o m an  t h an  it  is  to fix  t h i n gs  w h en  t h ey  go
w r o ng  w i th  y o ur  e x i s t i ng  t a r g e t.  ( W h en  t h i n gs  go  r ight,  a t t r a c t i on  is
c r e a t ed  in  s e c o n ds  or  m i n u t e s,  a nd sex  o c c u rs  in  f o ur  to  t en  h o u r s .)
Chapter
3
T h e  M y s t e r y  M e t h o d
37 T he  M y s t e ry  M e t h od  N e w b ie Drill
• Go  o ut  g a m i ng  f o ur nights  p er  w e ek  f or  f o ur  h o u rs each night.
•  M a ke  t h r ee  a p p r o a c h es per  h o u r.  T h is schedule allows  for  twenty mi n u t es
p er  a p p r o a c h.
That  a d ds up  to twelve  a p p r o a c h es per  n i g ht —  w h i ch  is forty-eight  p er we ek  a nd
two  h u n d r ed  p er  m o n t h. (Chapter 4  cove rs  the art of approaching.) Wi t h in a year
you will have  a p p r o a c h ed  o v er  two  t h o u s a nd  w o m e n.
H ow  m a ny  w o m en  h a ve you  a p p r o a c h ed  in  t he  p a st year?
C a l i b r a t i on  a nd  I n t e r n a l i z a t i on
After  t he first  w e ek or  t wo  in  t he field,  a p p r o a c h es start  to  b e c o me a blur.
P a t t e r ns  eme rge  o v er time.  F o rme r ly  p u z z l i ng social behavior  c o m es clearly  i n to
focus. Situations  and reactions  c an be easily pr edi c t ed before they oc cur. This
powe r ful social  intui t ion, de r ived from  t ime in  the field, is  k n o wn as calibration.
A skilled venus i an artist will anticipate,  a nd  h a ve a  p r e p a r ed  r e s p o n se for, nearly
any  c o m m on social challenge. He  h as already  e n c o u n t e r ed this particular
challenge  b e f o r e. He has  expe r iment ed  w i th a variety of different  r e s p o n s e s,  a nd
he has  c o m p a r ed  n o t es  w i th all  of his friends  on  the subject  as well. He  h as  f o u nd
an effective  answe r,  a nd he has already field-tested it  and pr a c t i c ed it to mastery.
So  w h en  t he challenge arises,  t he  answer  c omes forth — automatically delivered
i n to action by his  u n c o n s c i o us mind.  In  t he same way  that all pr a c t i c ed behaviors
b e c o me  a u t oma t i c,  so  d o es  the skill set of  the Mystery  M e t h o d.  T h is proc e ss  is
k n o wn  as  i n t e r n a l i z a t i o n.
Women are more socially savvy because they tend to be involved
in more approaches
F or a  m an  to  be  in  t he  G a m e,  he  m u st actively  a p p r o a ch  w o m e n.  If  he  s t o ps
doing  thi s,  he  h as  t aken himself  o ut  of  t he  G a m e. But  w o m en  c a n n ot  so easily
m a ke this  choi c e.  If  she  is attractive,  m en will  a p p r o a ch her anyway. She  n e e d n 't
do  anything  b ut simply  be  t h e re —  s he  c a n 't he lp it.  F or  this  r e a son,  w o m en
usually  h a ve  m o re calibration  a nd social skill  t h an  m en  d o.  T h e y ' ve  h ad  m o re
practice.
T h e  M y s t e r y  M e t h o d
38 Process over Ou t c ome
A venus i an artist goes  i n to  t he field  n i g ht after night primarily to improve his
calibration  and to internalize his skill-set.  H e 's  n ot trying to 'get this  o ne girl,'
or  to  'get laid  tonight .' Rather,  h e 's pr a c t i c ing wi th  t he  l o n g - t e rm goal of having a
powe r ful social skill-set
Y ou  c a n n ot  a l low  t he  o u t c o me  of  a ny given  a p p r o a ch  to carry  m u ch significance.
I t 's like playing a  v i d eo  g ame:  if  y o ur  m an dies, just  h it  the  b u t t on  a nd pl ay again.
If  the  o u t c o me  of any specific  a p p r o a ch  b e c omes  i m p o r t a nt  to  y o u, it'll  h a ve
subtle, insidious effects  on  y o ur  g a me  a nd cause you  to  lose  t he set.  Y ou really  do
h a ve  to not care.  J u st like fishing or golfing,  the  p r o c e ss of playing  t he  G a me itself
has  to be its  o wn  r ewa rd.
E v e r y t h i ng  c o m es full circle. After  s o me  m o n t hs of practice,  w h en your game
b e c omes tight,  y o ur skills will enable  y ou  to enjoy  w o m en  in wh a t e v er way  that
you please.  A nd  t h en  y ou really  w o n 't  c a re  a b o ut  a p p r o a ch anxiety, rejection,  or
o u t c o me - you'll just enjoy  the ride.  I r o n i c a l ly  it  is  t h is  v e ry  a t t i t u de  t h at  g e ts
r e s u l t s.
T h e re  is a certain  Z en  to  p i c k u p . . . t he  o ne  w ho releases all  a t t a c hme nt  to a
desired  o u t c o me  is ironically  the  o ne  m o st likely  to realize  that  o u t c o m e.
T h e  M y s t e r y  M e t h o d
39 T he  S e x u al Relationship
Every  long- t e rm (sexually intimate) relationship has a beginning, middle,  and
an ending:
Beginning  Middle  Ending
B e g i n n i ng
=
Cour t ship
From meeting each
other to having sex
Middle
=
S e x u al
R e l a t i o ns
From intimacy, to no
intimacy
Ending  Br e ak-up
From no intimacy, to
no further
communication
Where...
Beginning
Courtship
Middle
Sexual
R e l a t i o ns
E n d i ng
Break-up
T h e  M y s t e r y  M e t h o d
40 Courtship
F u r t h e r,  eve ry  c o u r t s h i p,  f r om  m e e t i ng  e a ch  o t h er  to  h a v i ng sex,  h as a
b e g i n n i n g,  m i d d l e,  a nd  an  e n d i ng  to it.
M y s t e ry  M e t h od  focus es  on  o n ly  t h e se  t h r ee  s t age s.  M y s t e ry  h as  n a m ed  t h e se
t h r ee  c o u r t s h ip  s t a g e s . ..
Beginning  Middle  Ending
Beginning  =
P i c k - up
Middle
=
Mid-game
E n d i ng
=
End-game
B e g i n n i ng  M i d d le  E n d i ng
P i c k - up  Mid-game  End-game
T h e  M y s t e r y  M e t h o d
41 A t t r a c t i on
T he first  focus  of  T he My s t e ry  M e t h od  is  n ot  s e d u c t i o n,  b ut  r a t h e r,  a t t r a c t i o n.
• AT TRACT:
transitive senses : to cause to approach or adhere: as a : to pull to or draw toward
oneself or itself <a magnet attracts iron> b : to draw by appeal to natural or excited
interest, emotion, or aesthetic sense: ENTICE <attract attention>
intransitive senses: to exercise attraction
Etymology: Middle English, from Latin attractus, past participle of attrahere. from
ad- + trahere to pull, draw
•  S E D U C E:
1 : to persuade to disobedience or disloyalty
2: to lead astray usually by persuasion or false promises
3 : to carry out the physical seduction of: entice to sexual intercourse
Etymology: Middle English, from Late Latin seducere, from Latin. to lead away,
from se- apart + ducere - to lead
Mystery's proteges focus on attraction first, not
seduction. Ethically, they are therefore attractors,
not seducers.
Mystery Method Statement of Ethics
A t t r a ct
T h e  M y s t e r y  M e t h o d
42 "Attraction is not a choice. "
—  D a v id  D e A n g e lo
The Secret of Attraction
T h e re  a re a  q u a n t i f i ed  n u m b er  of  f u n d a m e n t al  a t t r a c t i on switches*  t h at  a re
h a r d -wi r ed  i n to  t he sexual  s e l e c t ion  m e c h a n i sm  of  eve ry  m an  a nd  w o m an  on
Earth.
In  t he  s a me  w ay  t h at  we feel  an  a u t o m a t ic  o v e r w h e l m i ng  a t t r a c t i on  t o w a r ds
a ny  S p o r ts  I l l u s t r a t ed  swims u it  m o d el  b e c a u se  s he  t u r ns  on all  o ur  a t t r a c t i on
swi t c h e s,  it  is  p o s s i b le  to  m a ke  w o m en feel  t he  exa ct  s a me  w ay  t o w a r ds  us  if
we  c o u ld  o n ly  d e v i se a  c l ever  m e t h od for systematically  t u r n i ng  on all
a t t r a c t i on  s w i t c h e s.
L e t 's try a  s i m p le  t h o u g ht  e x p e r i m e nt  to  i l l u s t r a t e . ..
* The attraction switch metaphor is of course just that: a metaphor.
T h e  M y s t e r y  M e t h o d
43 T h o u g ht  E x p e r i m e n t: Landi  v s.  M a u de
L a n di  S w a n e p o el  B ea Ar t h ur
P a r t  A:  I m a g i ne  t h at  G u e s s?  s u p e r m o d el  L a n di  S w a n e p o el  s t e p p ed  i n to  t he
r o om  a nd  b e g an  to  i n d i c a te  h er  i n t e r e st  in  y o u,  p e r h a ps  by  s i t t ing  on  y o ur  l a p.
Vi sua l i ze it for 15  s e c o n d s.
H ow  do  y ou feel?
P a r t  B:  N o w  ima g i ne  M a u de (Bea  A r t h ur  f r om  T he  G o l d en Girls)  s t r u t t ed
in  a nd  s at  on  y o ur  l ap. Vi sua l i ze  it for  15  s e c o n d s.
H ow  do  y ou feel now?
If  y ou  a re a  typi c al  h e a l t hy ma l e,  m a ny  m o re  a t t r a c t i on  swi t c h es likely  t u r n ed
on  l o o k i ng  at  L a n di  t h an Bea.#
# No disrespect to Bea. Mystery thinks she's just marvelous.
T h e  M y s t e r y  M e t h o d
44 R e s u l ts
As  y ou  c an feel,  c e r t a in  swi t c h es  t u rn  on  in  t he  p r e s e n ce  of  l egi t ima te
r e p l i c a t i on  v a l u e.  C e r t a in  o n es  m ay  a l so  t u rn oft  in  t he  p r e s e n ce  of  i n d i c a t o rs
w h i ch  p o i nt  to a  r e p l i c a t i on va lue  in  t he nega t ive.  M a t i ng  w i th a  y o u ng fit girl
will  i m p r o ve  y o ur  g e n es  c h a n c es  of successfully  r e p l i c a t i ng  o v er  d o i ng  so  w i th
a  w o m an m  m e n o p a u s e.
O ur  swi t c h es  a re  w i r ed  to  r e s p o nd  to qualities  s u ch  as specific  h ip  to wa i st
r a t i o s,  b r e a st  s h a pe  a nd size, facial  a nd  b o dy  s ymme t r y,  a nd  o t h er  y o u th  a nd
h e a l th  i n d i c a t o r s.
If a  w o m an  p o s s e s s es  a nd  c an  d e m o n s t r a te a  c e r t a in quality  t h at  o ne  of  y o ur
sexual  s e l e c t i on  swi t c h es  is  p r o g r a m m ed  ( evolut iona r i ly  a d a p t e d)  to  r e s p o nd
t o, you' ll feel  i m m e d i a te  a t t r a c t i on  for  h e r,  w i t h o ut  t he  n e ed  to  e v en  t h i nk
a b o ut it.  In  f a c t,  y ou  w o n 't  e v en  h a v e a  c h o i ce  a b o u t  i t.
It  is  i n t e r e s t i ng  to  n o te  t h a t . ..
•  8 0%  of a  m a n 's  a t t r a c t i on  swi t c h es  a re  s et  to  r e s p o nd  to a  w o m a n 's
r e p l i c a t i on va lue.  O n ly  2 0%  r e s p o nd  to  h er survival  v a l u e.
•  O n ly  2 0%  of a  w o m a n 's  swi t c h es are  s et  to  r e s p o nd  to a  m a n 's
r e p l i c a t i on  v a l u e, whi le  8 0%  r e s p o nd  to his survival  v a l u e.
E v en  if a  w o m an has fake  b r e a s t s,  y ou will feel  g r e a t er  a t t r a c t i on for  h er  t h an
if  s he was  sma l l - b r e a s t e d.  So  m a ny  w o m en  w o u l d n 't  go  t h r o u gh  s u ch
e x t r e m es  if  it  d i d n 't  w o rk  to  t r igger  a t t r a c t i on after all.
So  then,  w h at qualities  in a  m an  a re a  w o m a n 's  a t t r a c t i on  swi t c h es set  to
r e s p o nd  t o,  a nd  h ow  do  we  sys t ema t i c a l ly  t u rn  t h em  on  in  r a p id  s u c c e s s i on
a nd  in a  p r a c t i c al  m a n n er in-field?
P r e v i o u s ly we  h a ve  d i s c u s s ed ba s ic qua l i t i es  s u ch  as  l o o ks  a nd  h e i g h t,  h e a l th
a nd  f i tne s s,  b e i ng  c o m f o r t a b le  a nd  smi l ing,  a nd  so  o n.  N o w  l e t 's  e x a m i ne  an
a t t r a c t i on  s w i t ch  t h at  is  an  o r d er  of  m a g n i t u de  g r e a t er  in  p o w e r . ..
T h e  M y s t e r y  M e t h o d
45 P r e - s e l e c t i on
T h is  a t t r a c t i on  swi t ch  exi s ts  n ot  o n ly  in  t he sexual  s e l e c t ion
m e c h a n i s ms  of  p e o p l e,  b ut  a l so  in  m a ny  a n ima l s. A ma le  g r o u se  (a
t y pe  of bi rd) will  be  h a r d - p r e s s ed  to  a t t r a ct a  f ema le  if  he  is  a l o n e.
P l a ce a stuffed female  g r o u se  b e s i de  h im  a nd  o t h er females will
s o on  e n t er his  t e r r i t o ry  a nd  m a te  w i th  h i m.
Similarly,  if a  w o m an  c o n s i d e rs a  m an  to  be sexually  a t t r a c t i ve  to  o t h er
w o m e n,  s he will  i n s t a n t ly feel  an  a t t r a c t i on  t o w a r ds  h im.  S t a nd  by your s e lf  at
t he  b ar  a nd  y ou will  n ot  a p p e ar  n e a r ly  as  a t t r a c t ive  as  y ou  w o u ld  if  y ou  h ad
t wo  w o m en  h a n g i ng  o ff  y o ur  a r m s.
D e m o n s t r a t i ng  t h at  y ou  h a ve  w o m en  i n t e r e s t ed 111  y o u,  in  t h is  d i r e ct  m a n n e r,
is  o n ly  o ne  of  m a ny wa ys  to  t r igger  t he  s a me sexual  s e l e c t i on  swi t ch.  T h e re
a re  o t h er ways.  Y ou  c an  a l so we ar  f ema le  p e r f u m e.  W h en a  w o m an  a sks  w h at
y ou  a re  w e a r i ng say,  " N o t h i n g ." Sme ll  y o ur collar  a nd  t h en  r e m e m b e r i ng say,
" A h ,"  a nd  smi le  to yourself.
A n o t h er  w ay  to flip  h er  p r e - s e l e c t i on  s w i t ch  is  to  h a ve a  l ips t i ck kiss  on  y o ur
che ek.  In  t he  s a me  w ay  y ou  f e el  g r e a t er  a t t r a c t i on for a  w o m an  if  s he has  an
a p p e a l i ng  h ip  to wa i st  r a t i o, a  w o m an will feel  t he  e x a ct  s a me  w ay  t o w a r ds
y ou  b e c a u se  of  t h at  a l l - i m p o r t a nt  l ips t i ck kiss.
T h e re  a re a  g o od  m a ny  m o re wa ys  to flip  t he  p r e - s e l e c t i on  s w i t c h,  a nd  t h e re
a re  m a ny  m o re  swi t c h es  to  be  f l ipped.  T he  s e c r et  of  a t t r a c t i o n,  w h i ch  is
ut i l i z ed  in  t he  a t t r a c t i on  s t age  of  T he My s t e ry  M e t h o d,  is  to  k n ow  w h at  t h e se
swi t ches  a r e,  a nd  t h en  e n d e a v or  to  sys t ema t i c a l ly  swi t ch all  of  t h em on!  T h e re
is  no qui cker  or  m o re  p o w e r f ul  a t t r a c t i on  t h an  t h i s.
C h a p t e rs 5  a nd 6  e x a m i ne  t he  s u b j e ct  of  a t t r a c t i on  in  d e p t h,  as well  as  t he
v a r i o us  t a c t i cs  u s ed  for  g e n e r a t i ng  a nd  u s i ng it.
T h e  M y s t e r y  M e t h o d
46 M3
P i c k - up  Mid-game  End-game
T h e  M y s t e r y  M e t h o d
47 T he  M3 Mo d el
On ly after  y ou  a t t r a ct  c an  s e d u c t i on  t ake pl a c e.  H o w e v e r,  b e f o re a  w o m an
w ho  is  a t t r a c t ed  to  y ou will  be  s e d u c e d,  t h e re  is  o ne  a d d i t i o n al crucial  s t age:
you must build comfort.  ( C h a p t e rs 7  a nd 8 of  this  b o ok  d e s c r i be  t he
c o m f o rt  a nd  s e d u c t i on  p h a s es  of  t he  M y s t e ry  M e t h o d .)
We  n ow  h a ve  t he  m a in  focus for  e a ch  s t age  in  M 3:
A t t r a ct  Bui ld
Comfort
Seduce
Pi ck-up  =
A t t r a ct
Mid-game
=
Build
Comfort
End-game
=
Seduce
Pi ck-up  Mid-game  E n d - g ame
A t t r a ct
Build
Comfort  Seduce
T h e  M y s t e r y  M e t h o d
48 Seduction is Mutual
If  d u r i ng  t he  m i d - g a me  s t age,  y ou  c an bui ld  e n o u gh  c o m f o rt  w i th a  w o m an
for  h er  to  be  a l o ne  in a  r o om  w i th  y o u,  t h en  s he will readily  a g r ee  to  h a ve sex
wi th  y ou  in  t he  e n d - g a me stage.  In  f a c t,  s he  m ay  v e ry  w e ll try  to  s e d u ce
y o u.
T h e r e f o r e,  if  y ou  o n ly  w o rk  to  s t r u c t u re a  c o n v e n i e nt oppor tuni ty  for  h er  to
s e d u ce  y o u,  t h e re will  o t h e r w i se  be  l i t t le  r e a s on  to  focus  on  s e d u c t i on directly.
N ot  So  F a st
Un f o r t u n a t e l y,  n o ne  of  this  is  p o s s i b le  w i t h o ut  a t t r a c t i o n.  S he will  c e r t a inly
n ot  be  s e e k i ng  c o m f o rt  w i th  y ou  if  t h e r e 's  no  a t t r a c t i o n.  A n d  be  w a r n e d:  if
y ou  s e ek  c o m f o rt  p r e m a t u r e l y,  it will  o n ly  m a ke  y ou  l e ss  a t t r a c t i ve  to  h e r.  Or
w o r se — you' ll  g et  s t u ck  in  t he friendship zone.
O n ce  t h e re  is  a t t r a c t i o n,  s he will  p r o b a b ly  s e ek  c o m f o rt  w i th you.  T h is
s h o u ld  be  i n t e r p r e t ed  as  t he  i n d i c a t or  of  i n t e r e st  t h at  it  i s.
A t t r a ct
Build
Comfort  =
Seduce
1  +  2  =  3
T h e  M y s t e r y  M e t h o d
49 To  r e c a p,  t he  t h r ee  m a in obj e c t ives  in  T he My s t e ry  M e t h od  a r e:
To attract a woman
To establish comfort, trust, and connection
To structure an opportunity to be seduced
T he  E l u s i ve  O b v i o us
I l l u s t r a t ed  t h us simply,  t he  l ine ar  r e l a t i o n s h ip  b e t w e en  a t t r a c t i o n,  c o m f o r t,
a nd  s e d u c t i on  s e e ms  i n t u i t i ve  a nd  s e l f - evident.  Y et  v e n u s i an  a r t i s ts  t he  w o r ld
o v er  h a ve  r e p e a t e d ly  s t ruggl ed  w i th  p r o b l e ms  t h at  a r i se  f r om  i m p r o p er  M3
s e q u e n c i n g.
T he Four M3 Sequencing Mi s t a k es
1. S E D U C T I ON  F I R ST — to start at the end.
2. C O M F O RT  F I R ST — to start in the middle.
3. ATTRACTION BUT NO COMFORT - to start at the beginning but skip the middle and go
straight to the end.
4. A T T R A C T I ON  A ND  COMFORT  O N LY — to start at the beginning but get stuck in the
middle.
P i c k - up
Mid-game
End-game
T h e  M y s t e r y  M e t h o d
50 M3 Sequencing  M i s t a ke # 1: To Start at The End
E n d i ng
The Seducer
T he  m o st  c o m m on  e r r or  t h at  b e g i n n e rs  m a ke  is  to  f o c us  on  s e d u c i ng a
w o m an first  i n s t e ad  of  a t t r a c t i ng he r.  T h is  is like  p u t t i ng  t he  c a rt  b e f o re  t he
h o r s e.  O f t e n,  to be aut i ful  w o m en  in  p a r t i c u l a r,  s e d u c t i on  f i r st  is little  m o re
t h an  t he  e q u i v a l e nt  of saying,  " Y ou  d o n 't  k n ow  me  b ut wi ll  y ou  s l e ep  w i th
m e ?"  T h e re  is a  t i me  ( a nd a pl a c e)  to  b e g in  t he  s e d u c t i on  s t a g e,  b ut it's  n ot
u n t il  y ou first  h a ve  a t t r a c t i on  a nd  c o m f o rt -  as well  as pr iva cy.
S e d u c e rs mi s t a k e n ly  b e g in  at  t he  e n d.  J u st like  a ny  typi c al guy,  t h ey  o f t en
bl a t ant ly  d i s r e g a rd a  w o m a n 's  c o m f o rt levels entirely.  E v en  if  t h e re  is a level
of  a t t r a c t i on  b a s ed  on  t he  s e d u c e r 's  a p p e a r a n ce  a l o n e,  this  is  s u p e r s e d ed  by
h er  d i s c o m f o rt  in  h a v i ng  to  d e al  w i th  aggr e s s ive  s e x u al  a d v a n c es  f r om
s o m e o ne  s he  d o e s n 't  k n ow  n or  t r u s t.  It  is  b e st  to  n ot  p r e m a t u r e ly  t e l e g r a ph
s t r o ng sexual  i n t e r e st  u n t il  e n d - g a m e.
Fool's Mate
In  t he  g a me  of  c h e s s,  it  is  p o s s i b le  to  w in  in only  f o ur  m o v e s.  T h is  g a m b it  is
called fool's mate.  W i n n i ng  w i th  s p e ed via  fool 's  m a te  d o es  n ot  h o w e v er
m a ke  y ou a  c h e ss  c h a m p i o n.  If  a n y t h i n g,  it  o n ly  d e m o n s t r a t es  y o ur
o p p o n e n t 's  i n e x p e r i e n c e.  An  e x p e r i e n c ed  c h e ss pl ayer will  n ot  e v en  a t t e m pt a
fast fool's  m a te for,  if  t he  o p p o n e nt  d o e s n 't  t a ke  t he ba i t,  he  l e aves  t he pl ayer
in a  w e ak  p o s i t i o n. Similarly, whi le  it  is  p o s s i b le  to  s e d u ce  w i th  s p e e d,  it  is
m u ch less  p r o b a b le  on a  w o m an  w ho  is socially  e x p e r i e n c e d.  In  t he  v e n u s i an
a r t s, we  r e f er  to  ' s e d u c t i on  f i r s t'  t a c t i cs  as fool's  m a te  for its  m e t a p h o r i c al
similarity.  I n s t e a d,  b o th  c h e ss  c h a m p i o ns  a nd  v e n u s i an  a r t i s ts  p r e f er  to pl ay a
solid game.
F o o l 's  m a te  c an  w o rk  in  s o me  s i t u a t i o ns  t h at  m ay  be  a c c e p t a b le  to  y o u,  s u ch
as  on  d r u nk gi r ls  a nd  t h o se  w ho  h a ve a  p r o p e n s i ty  t o w a r ds  h a v i ng  o ne  n i g ht
s t a n d s.  J u st  d o n 't let  it  be  y o ur  o n ly  ' ' w i n n i ng  m o v e ."
Seduce
T h e  M y s t e r y  M e t h o d
51 M3  S e q u e n c i ng  M i s t a ke # 2: To Start in The Middle
The Nice Guy
M a ny  m en  u n d e r s t a nd  a nd  a p p r e c i a te  t h at seduction first  m a k es  w o m en feel
u n c o m f o r t a b l e. What  they  do  i n s t e ad  is  focus  on  c o m f o rt first.
W h at  t h e se  m en  d o n 't realize  is  t h at  w o m en  of  b e a u ty  g et  b o m b a r d ed  by
t h e se  n i ce  g u ys  eve ry day,  a nd  it  c an  g r ow  q u i te  t i r e s o m e. Wh i le  n ot  as
of f ens ive  as  t he  s e d u c e r,  t he  n i ce guy  is  no less a  b o t h e r.  T h e re  a re  s imp ly  t oo
m a ny ni ce guys  a p p r o a c h i ng  t h em  in a  d ay  to  i n d u l ge  in  t he  s a me  o ld  l e n g t hy
d i a l o g ue  t ime  a f t er  t ime.  W i t h o ut  a t t r a c t i on first,  s imp ly  s aying  "Hi,  I 'm  Joe.
W h a t 's  y o ur  n a m e ?" will  s m a ck  of  e v e ry  n i ce  g uy  b e f o re  y o u.  W hy  w o u ld a
w o m an  w ho  i s n 't  a t t r a c t ed  to  y ou  c a re  w h at  y o ur  n a me  is  or  b o t h er  to  e v en
r e m e m b er it?  W hy  w o u ld  s he divulge  p e r s o n al  i n f o r m a t i on just  b e c a u se  y ou
a s k e d?
The Protection Shield Metaphor
If a  w o m an  is  n ot  a t t r a c t ed  to  y o u,  a ny  c o m f o rt  b u i l d i ng  a t t e m pt will  b o re
he r.  T r y i ng  to tell  h er  a b o ut  y o u,  g et  h er  to  t a lk  a b o ut herself,  or
c o m p l i m e n t i ng  h er  b e f o re  she  d e s e r v es  it  a re all  c o m f o rt  b u i l d i ng  a t t e m p t s.  If
y o u ' ve  e v er  b e en  t r a p p ed  in a  c o n v e r s a t i on  w i th  s o m e o ne  y ou  w e re  n ot
i n t e r e s t ed  in  t a l k i ng  t o, you' ll  u n d e r s t a nd  h ow  u n c o m f o r t a b le  it  c an  b e.
I m a g i ne  this  h a p p e n i ng  to  y ou  s eve r al  t i m es a day,  a l m o st every* day, for  m a ny
ye a r s.  W o u l d n 't  y ou  r e c o g n i ze  t he  n e ed  to  s h ut  t h e se  p e o p le  d o wn  b e f o re
t h ey  e v en  g ot started?  O v er  t i m e,  as a  w o m an  i n t e r a c ts  w i th  ever  m o re ni ce
guys,  s he  b e g i ns  to  evolve  s imple  v et effective  s t r a t egi es  for  c o u n t e r i ng  this
b a r r a ge  of  b o r e. Collectively  t h e se  s t r a t egi es  m a ke  up  w h at  is me t a p h o r i c a l ly
called  h er protection shield.
M i d d le  E n d i ng
B u i ld
Comfort  Seduce
T h e  M y s t e r y  M e t h o d
52 'Comf o rt  f i r s t'  t e l e g r a p hs  s e x u al  i n t e r e st
Simply  by  a p p r o a c h i ng  h er  a nd  b e i ng ni c e,  w o m en  of  b e a u ty  a s s u me  y ou
w a nt  s o m e t h i ng  f r om  t h e m.  If  s he  d o e s n 't  t h i nk  y ou  a re selling  s o m e t h i ng  ( or
b e g g i ng for  c h a n g e ), she'll  r e a s on  i t 's  b e c a u se  y ou  w a nt  to  w in  h er sexual
favor.  E v en  if  y ou  a r e n 't  i n t e r e s t ed  in  h er sexually, she'll  a s s u me  y ou are, just
b e c a u se  y ou  a p p r o a c h ed  h er  in  t he  s a me  m a n n er  as  t he  l a st  h a l f - a - d o z en  n i ce
g u ys  d id  t h at  n i g h t.
H i m; Nice boots
H e r; I have a boyfriend
M o st  m en  m i s t a ke  t h e se  s h o r t - t e rm  d e f e n s es for  l o n g - t e rm  p e r s o n a l i ty flaws.
T h is  q u i te  o f t en  t u r ns  m en  o ff  a nd  it  is for  this  v e ry  r e a s on  t h at  t h e se
strategies  w o r k.  F r om  t h e m,  i t 's  b e t t er  to  a l low a  b u n ch  of  m en  s he  d o e s n 't
h a ve  a t t r a c t i on  for  to  t h i nk  she  is a  b i t ch  t h an  to  h a ve  to sit  t h e re  a nd  l i s t en  to
t h em all.
H i m: What's your name?
H e r: Get lost
S o me  w o m an  m ay  t o l e r a te mildly  e n t e r t a i n i ng  n i ce  g uy  d i a l o g u e,  b ut  o n ce  t he
c o n v e r s a t i on  b e g i ns  to  g r ow  m u n d a n e, she'll  e x c u se herself.  P e r s i s t e nt ni ce
guys will  m e et  g r e a t er  r e s i s t a n ce  as  s he  b e c o m es  w e a ry  of  h is  p r o l o n g ed
p r e s e n c e.  A l t h o u gh  p l a y i ng a  b i t ch  c an  b e c o me a  f o rm  of  e n t e r t a i n m e nt  for
s o m e,  m o st  w o m en  w i th  p r o t e c t i on  s h i e l ds  u se  t h em for  g o od  r e a s on  a nd  a re
o t h e r w i se  v e ry  n i ce  p e o p l e.
H i m; Hi, how are you?
H e r: Look, I'm not going to have sex with you.
If  y ou  d o n 't  t a ke  t he  t ime  to  a t t r a ct a  w o m an first,  y ou  w o n 't  g i ve  h er a  r e a s on
for  h er  to  w a nt  to  e v en  h a ve a  c o n v e r s a t i on  w i th  y o u.  T h is will force  h er  to
r a i se  h er  s h i e l d s.  K e ep  c o m f o rt  b u i l d i ng  to  m i d - g a m e,  a nd  d o n 't  p r e m a t u r e ly
b e g in  in  t he  m i d d l e.
T h e  M y s t e r y  M e t h o d
53 M3  S e q u e n c i ng  M i s t a ke # 3: To Start at the Beginning but Skip
the Middle
E v e ry  b e g i n n i ng  a nd  e n d i ng  h as a  m i d d l e,  a nd  in  M 3,  t h at  m i d d le  is  c o m f o r t.
T h e re  is a  t i me  to  s e d u ce a girl (or  be  s e d u c e d ),  b ut  i t 's  n ot  u n t il after  y ou
h a ve built  c o m f o r t.
The Player
A  p l a y er  is a  v e n u s i an  a r t i st  w ho  b e g i ns  at  t he  b e g i n n i ng  a nd successfully
a t t r a c ts a girl  b ut fails  to  a v o id  t he  t h r ee player traps.  T he  f i r st  is a failure  to
justify his  a t t r a c t i on  for  r e a s o ns  t h at  go  b e y o nd  h er  l o o k s.  He  h as  r e v e a l ed his
g r o w i ng  a t t r a c t i on  t oo quickly.  T he  s e c o nd  is a failure  to  a p p r e c i a te  t he
i m p o r t a n ce  of  m i d - g a me  b e f o re  e n d - g a m e.  T he  t h i rd  is a failure  to  s t op
y o u r s e lf  ( and  t he  w o m a n)  f r om  g o i ng  t oo far  t oo  s o o n.
E v e ry  v e n u s i an  a r t i st  m u st  be  awa re  of  t h e se player traps.
T he  T h r ee  P l a y er  T r a p s:
1 .N OT  JUS T I FYING A MUTUAL AT T RAC T ION.
2. D I S R E G A R D I NG  C O M F O R T.
3.  B U Y E R 'S  R E M O R SE
B e g i n n i ng
A t t r a ct
E n d i ng
Seduce
T h e  M y s t e r y  M e t h o d
54 Player Trap  # 1 : Not Justifying a Mutual Attraction
Justifiably  to men, a  w o m a n 's  b e a u ty  c an  be  so  i n t o x i c a t i ng  to  us  t h at  t h is  a lone
qualifies  h er  as girlfriend ma t e r i a l.  We  c a n n ot let  h er  k n ow  we  c h o o se  h er
b a s ed  on  h er  l o o ks  b e c a u se  it  d o e s n 't  s e em  g e n u i ne  a nd  m a k es  us  a p p e ar like
o t h er typical  m e n.
A  w o m a n 's  i n d i c a t o rs  of  i n t e r e s t,  or  I O I s, notify  w h en  to  go  f r om  t he  a t t r a ct
s t age  to  t he  c o m f o rt stage,  b ut  y ou  m u st  n ot  do  so  u n t il  s he  h as  l egi t ima t e ly
e a r n ed your  I O Is  as well!  G e t t i ng  I O Is  f r om a  w o m an  is  s imp ly  n ot  e n o u gh
r e a s on  to  b e g in  r e t u r n i ng  t h e m.  If  y ou  a re  t oo  e a sy,  she wi ll  m a rk  y ou  as
a n o t h er  n o t ch  in  h er be lt  a nd  m o ve  on  in  s e a r ch  of  m o re  cha l l enging
c o n q u e s t s.
S o me  I OI  E x a m p l e s:
• She touches you. When you say, "Hands off the merchandise", she touches you
again.
• When you grab her hands and hold them, she holds back.
• She laughs at all your humorous remarks, and the ones that aren't funny.
• When you ask her to bite your neck, she does.
• She asks you for your name.
Y ou  m u st first  e n c o u r a ge  h er  to  d e m o n s t r a te qualities  t h at  c an  s u b s t a n t i a te
y o ur  a t t r a c t i o n.  If  y ou  d o n ' t,  s he  m ay  s u s p e ct  t h at  y ou  o n ly  p l a y ed  w i th  h er
e m o t i o n s,  c a l lous ly  a t t r a c t i ng  h er  in a  g a me  to  w in  a n o t h er  s c o r e. She will feel
u n c o m f o r t a b le  b e i ng  a t t r a c t ed  to  y ou  a nd  s he will  l o se  this  a t t r a c t i on for  y ou
quickly.  Y o ur  a t t r a c t i on  s t age  d i a l o g ue will  in fact  be  v i ewed  as  c o n n i v i ng  a nd
s he will  p e r c e i ve  y ou  as  emo t i o n a l ly  m a n i p u l a t i v e.  In  this  l ight, a pl ayer  is
s imp ly a  s e d u c er  w i th  g o od  o p e n i ng  g a m e.
H a v i ng successfully  n e g o t i a t ed  b e y o nd  t he first player trap,  t he  v e n u s i an  a r t i st
m o v es  o n to  c o m f o rt bui lding.
T h e  M y s t e r y  M e t h o d
55 Player  T r ap  # 2: Di s r e g a r d i ng  C o m f o rt
If  y ou  s e d u ce a  w o m an  b e f o re  b u i l d i ng  e n o u gh  c o m f o r t,  h er  a t t r a c t i on for
y ou will  t u rn off.  To  k e ep  this  f r om  h a p p e n i n g,  we  m u st bui ld  e n o u gh
c o m f o rt  so  o ur  s e d u c t i on  w o n 't  m a ke  h er feel  u n c o m f o r t a b l e.  Do  n ot  c r o ss
t he line  f rom  c o m f o rt  to  s e d u c t i on  u n t il  y ou  h a ve  e n o u gh  c o m f o r t.
W h en  do  y ou  k n ow  y ou  h a ve enough comfort  to  b e g in  s e d u c t i o n?
It usua l ly  t a k es  an  ave r age  of  four  to  t en  c umu l a t i ve  h o u rs  of  c o m f o rt
b u i l d i ng  b e f o re  she  is  r e a dy  for  s e d u c t i o n.  ( N ot  c o u n t i ng  F o o l 's Ma t e .)  T h e re
is  no  b l a c k - a n d - w h i te  rule for  d e t e r m i n i ng  w h en  t he  t i me  h as  c o me —  o n ly
y o ur  c a l i b r a t i on  c an tell  y ou  t h a t.  ( M o re  on  t he  S e v en  H o ur  R u le later.)
Comfort  Seduce
T he Seven  H o ur  R u le
A t t r a ct
B u i ld
Comfort
Seduce
7 Ho u rs
T h e  M y s t e r y  M e t h o d
56 Player  T r ap  # 3: Buyer's Remorse
Buye r 's  r e m o r se  o c c u rs  w h en a  p e r s on  b u ys  s o m e t h i ng  on  an  e m o t i o n al
w h i m,  o n ly  to  l a t er  r e g r et  t he  p u r c h a s e. Similarly,  w o m en  w h o  a re  a t t r a c t ed  to
y ou  m ay  be  p u s h ed  or  go  t oo far  t oo  s o o n. Whi le  in  t he  m o m e nt  s he  m ay
i n d u l ge  in  h er  a t t r a c t i on  or  s exual  a r o u s a l, only  to  r e g r et  h er feelings  or
a c t i o ns  l a t e r.  F or its  m e t a p h o r i c al similarity,  v e n u s i an  a r t i s ts call  t h e se
s i tua t ions buyer's remorse.
A Case Study:  J oe Meets Janine
T he Ma n 's  P o i nt  of  V i ew
Joe meets a beautiful woman named Janine and they build attraction for each other.
Joe soon finds himself making out with her that night. Unable to take her
somewhere private at that time. Joe gets her number and they agree to see each other
another night. He excitedly tells his buddies he met his next girlfriend.
Joe calls Janine the next evening, but she is cold and unresponsive on the phone. He
tries to convince her to see him as they agreed but she's now 'busy'. Leaving several
messages. Janine never returns a single call. Weeks pass and Joe and Janine never
get together again. He is left confused, frustrated, and alone. He repeats this pattern
over and over.
T h is  s c e n a r io  is typical  of  h ow  an  o t h e r w i se  g r e at guy  s u c c u m bs  to  t he
b u y e r 's  r e m o r se  t r a p.  M a ny  h a ve fallen  i n to  it again  a nd  aga in  a nd  lost  m a ny
o p p o r t u n i t i es  at  l o v e.
Wh at  w e nt wrong?
T h e  M y s t e r y  M e t h o d
57 H e r e 's  w h at  h a p p e n e d.
T he  W o m a n 's  P o i nt  of Vi ew
While Janine did enjoy making out with Joe, he did not take it upon himself to slow
down the sexual escalation and remain in the comfort building stage. She truly did
wish see him again, but only in the moment. When Joe called the next day, Janine
wasn't in the same aroused emotional state as the night before. Due to cultural
programming she felt a little guilty for doing what she did with someone she didn't
really know. She knew the only reason Joe even called was to continue what was
now making her feel uncomfortable just thinking about. If she did see him again.
she didn't know how he would behave. Would he grope her and make her feel even
more uncomfortable? She just didn't know him well enough to trust his future
actions. Being one to indulge in her emotions, she allowed her emotions to once again
make her decisions. Uncomfortable even talking to him on the phone, Janine is cold
to him and lies, saying she's too busy to talk
When the confused Joe tried to change her mind, Janine took this as an attempt to
manipulate her. She just didn't want to be pressured into having sex with someone
she didn't feel comfortable and safe with, especially when she was not even aroused.
Joe was hard-pressed to change her emotional state on the phone. For all he knew at
the time, with so many elements out of his control. Janine may have just had a fight
with her room mate or just changed the kitty litter box. Over the next week or two,
every time he left a message, her feelings of discomfort grew. She has no intention of
ever seeing this guy again.
J oe  s h o u l d n 't  b l a me  J a n i ne for  h er stringing him along Af t er all,  it was he  w ho
ul t ima t e ly  d e s i g n ed  this  s i t u a t i on  by  n ot  s t aying  in  t he  c o m f o rt  s t age for  an
a p p r o p r i a te  l e n g th  of  t ime.
As  h a nd  h o l d i ng  e s c a l a t es  to  k i s s i ng  ( m o re  on  h ow  to  p e r f o rm Mystery's kiss
tactic  l a t e r ),  y ou will qui ckly  a p p r o a ch a  p o i nt  of  no  r e t u rn  in  w h i ch  b u y e r 's
r e m o r se  is  l i k e l y.
T h e  M y s t e r y  M e t h o d
58 The  B u y e r 's Remorse Point of No Return
T h is  p o i nt  of  no return exists  w h e re ki s s ing turns  i n to  for epl ay  w i t h o ut
e n o u gh  c o m f o rt
• KISS:
To touch or caress with the lips as a mark of affection (or greeting)
Etymology: Middle English, from Old English cyssan; akin to Old High
German kussen to kiss
Date: before 12th century
• FOREPLAY:
Mutual sexual stimulation preceding intercourse
Date: 1929
N o te  h ow a  c h o i ce  y ou  m a ke  at  o ne  t ime will  d e t e r m i ne  t he  o u t c o me  of a
s i tua t ion a  d ay  or  m o re later.  B e w a r e!  O n ce  y ou  c r o ss  t he  p o i nt  of  no  r e t u r n,
u n l e ss  y ou  h a ve  e n o u gh  c o m f o rt  e s t a b l i s h ed  so  y ou  c an  g et  h er  to a nearby
p r i v a te  l o c a t i on  to  h a ve sex  w i th  h er  ( b e f o re  h er  a r o u s al  w a n e s ),  y ou will  l a t er
g et buye r 's  r e m o r s e.
B e w a r e :
Comfort
Kissing
Seduce
F o r e p l ay
T h e  M y s t e r y  M e t h o d
59 It  is  o n ly a  s e d u c er  w ho  c o n s i d e rs  t he  o p t i on  of  t a k i ng  h er  to a  n e a r by
b a t h r o om stall.  F u r t h er  c o n s i d er  t h at  if  y o ur gi r l f r i end  of  t wo  y e a rs  w o u l d n 't
feel  c o m f o r t a b le  h a v i ng sex  w i th  y ou  in a  p u b l ic  b a t h r o o m,  d o n 't  e x p e ct
s o m e o ne  y ou  m et just  twe n ty  m i n u t es  ago  t o,  no  m a t t er  h ow  a r o u s e d.  T h is  is
a foots mate fantasy  a nd  n ot solid  g a m e.  Y ou  m ay  l o se  an  o t h e r w i se  g r e at
o p p o r t u n i ty  if  y ou  p u sh for  s e d u c t i on  t oo  s o o n.  ( A l t h o u gh  on  t he  r a re
o c c a s i on  t h at  t he  t wo  of  y ou  a re wi l l ing,  enjoy yourself.)
N o n - s e x u al  i n t u n a te  k i s s i ng is a  w e l c o m ed  c o m f o rt  s t age  a c t i o n. In fact, if
you wait too long to kiss her, she will at some point become
disinterested and you will lose the opportunity to lass her in the future.
Ge n e r a l l y,  this  t y pe  of  " c o m f o rt  k i s s i n g"  l a s ts  l e ss  t h an  30  s e c o n ds  a nd  d o es
n ot  i n c l u de  t o n g u e. Ki s s i ng  e x p r e s s es  a nd bui lds a  s ense  of  c o n n e c t i o n.
F o r e p l ay  on  t he  o t h er  h a nd  b e l o n gs  in  t he  s e d u c t i on  s t a ge only. Gene r a l ly,
this  c o n s i s ts  of  F r e n c h - k i s s i ng  w h i ch  l e a ds  to  s exual  t o u c h i n g.  It sexually
a r o u s es  e a ch  o t h er  in  p r e p a r a t i on  f or sex.  As ki s s ing  p r e m a t u r e ly  t u r ns  to
foreplay,  i t 's  t i me  to  p u sh  h er  o ff  of  y o u.
I ts  b e st  n ot  to  b e g in foreplay  u n t il  y ou  h a ve  t he  c o m f o rt  a nd  p r i v a cy
n e c e s s a ry  to  t r a n s i t i on na tur a l ly  to sex.  W h en  p u s h i ng  h er  o ff  y o u, let  h er
k n ow  t h at  i t 's  n e i t h er  t he  r ight  t ime  n or  p l a ce  to  be  g e t t i ng  t oo  h ot  a nd  h e a v y.
Ag r e e a b l y,  this  is  v e ry  t o u gh  a nd  it  is  at  t h is  p o i nt  t h at  m o st  m en fail.
To  h e lp  y ou  p a ss  this trial,  y ou  m ay  a sk  y o u r s e lf  this  v e ry  s e r i o us  q u e s t i o n:
"Do I want one night of petting,
or countless nights of sex?"
T h e  M y s t e r y  M e t h o d
60 To  k n ow  w h e t h er  y ou  a re  n e a r i ng  t he  p o i nt  of  no  r e t u r n, ask
yourself:
"Is this foreplay?"
If  t he  a n s w er  is  y e s,  s t o p!  P u sh  h er away.  B u i ld  c o m f o r t,  n ot
a rous a l.  It  t a k es a  r e al  m an  w i th  r e s e r ve  to  s ay  t h i s:
"Whoa, we better stop. Come on, let's
rejoin our friends."
N o t i ce  h ow "our  f r i e n d s"  a re really "her  f r i e n d s ."  W i th  this  w i n n i ng
m o ve  y ou  b u i ld  t r u st  by  d e m o n s t r a t i ng  y ou  w a nt  g et  to  k n ow  h er
for  m o re  t h an  h er  m e re  s exual favor. Since  y ou  n ow know  s he  is
sexually  a t t r a c t ed  to  y o u,  y ou  m ay feel  s e c u re  in  t h at fact  w h en  y ou
h a ve  e s t a b l i s h ed  e n o u gh  c o m f o rt  to  g et  h er  i n to a  p r i v a te  s e d u c t i on
l o c a t i on (like  y o ur  b e d r o o m .)  Y ou  m ay  t h en sexually  a r o u se  h er
a nd  a l low  n a t u re  to  t a ke its  c o u r se unimpeded.
Y ou  m ay  b u i ld  i n t ima cy  a nd  g et  c lose  to  t he  p o i nt  of  no  r e t u rn
s eve r al  t i m e s,  so  l o ng  as  y ou  a re  t he first  to  p u sh  h er  away  e a ch  t i me
y o u ' ve  r e a c h ed it.
T h e  M y s t e r y  M e t h o d
61 M3  S e q u e n c i ng  M i s t a ke # 4: Starting at the Beginning but Getting
Stuck in the Middle
T he  F r i e nd
The friend  is  s o m e o ne  w ho fears  e x p r e s s i ng his  r o m a n t ic  i n t e nt  to a  w o m an  he
h as  s p e nt  t ime  a t t r a c t i ng  a nd  g e t t i ng  to  k n o w.  He  b e c o m es  e n t r a p p ed  in  t he
c o m f o rt  s t age,  c i r c l ing  a r o u nd  endl e s s ly.  He fails  to seize  t he  o p p o r t u n i ty  a nd
d e v e l op  t he  r e l a t i o n s h i ps  p o t e n t i al  by  n ot  c o m p l e t i ng  t he  c o m f o rt  s t age  to
m o ve  on  to  t he  s e d u c t i on  s t age.
T he  F r i e n d s h ip  Z o ne
It  d u r i ng  t he  c o m f o rt stage  y ou  do  n ot  c o n v ey  to a  w o m an  t h at  y ou  a re a
p o t e n t i al  r o m a n t ic  i n t e r e st  to  h e r,  s he  m ay  n ot  be  intui t ive  e n o u gh  to see  t h at
y ou  a r e.  By  n ot  h o l d i ng  h er  h a n d s,  sme l l i ng  h er  n e c k,  or  k i s s i ng  h er  d u r i ng
t he  c o m f o rt  s t a ge  y ou  t r ap  y o u r s e lf  t h e r e,  u n a b le  to  p r o c e ed  fur the r. A
w o m an  m ay  g r ow  so  c o m f o r t a b le  w i th  y o ur  n o n - s e x u al  n a t u re  t h at  s he will
pr e f er  y ou stay  t h at way.  W h en  y ou finally  a t t e m pt  to  m o ve  i n to  t he  s e d u c t i on
s t age  w i th a  w o m an  a nd  y ou  h e ar  h er say,  " L e t 's just  be  f r i e n d s ,"  y ou  k n ow
y ou  h a ve fallen  i n to the friendship zone.
Y ou  c a n n ot  b e g in  s e d u c t i on  u n t il  y ou  e nd  t he  c o m f o rt  s t a g e,  b ut  y ou  c a n n ot
do  t h at  u n t il  y ou  h a ve bui lt  e n o u gh  c o m f o r t.  S he  m u st  be  c o m f o r t a b le  w i th
y o ur sexuality  t o o.  T h is  o c c u rs  w h en ki s s ing  h er  d o es  n ot  m a ke  h er feel
u n c o m f o r t a b l e.  W h en  y ou  a re  a l o ne  w i th  h er  a nd  y ou  b e g in  t he  s e d u c t i on
stage,  y ou  d o n 't  w a nt  h er  to  be  s h o c k ed  by  y o ur sudden sexual interest.
K n ow  t h at  it  is  n e i t h er  w r o n g f ul  n or a sin  to  s t r u c t u re  an  o p p o r t u n i ty for
m u t u al  s e d u c t i o n. Af t er all,  b u i l d i ng a sexual  r e l a t i o n s h ip  b e n e f i ts  h er  t o o.
Beginning
Attract
Middle
Build
Comfort
The Mystery Method
62 To  r e c a p,  t he  p r o b l e ms  a s s o c i a t ed  w i th  i m p r o p e r  M3  s e q u e n c i ng  a r e:
1.  S t a r t i ng  at  t he  e nd —fool's mate  p r o b l e ms
2.  S t a r t i ng  at  t he  m i d d le —protection shield  p r o b l e ms
3.  S t a r t i ng  at  t he  b e g i n n i ng  b ut  s k i p p i ng  t he  m i d d le = buyer's remorse
p r o b l e ms
4.  S t a r t i ng  at  t he  b e g i n n i ng  b ut  g e t t i ng  s t u ck  in  t he  m i d d le = friendship
zone  p r o b l e ms
Gaming Locat ions
A solid game  c o u r t s h ip  t h at  e n ds in sex will rarely if ever  t ake  p l a ce in its entirety in
only  o ne physical  loc a t ion.  It  is highly  i m p r o b a b le  that a  w o m an  y ou  h a ve never
m et before will  k n o ck  on  y o ur  b e d r o om  d o or  and invite he r s e lf in.  N a t u re
d ema n ds  t h at  y ou leave  y o ur  b e d r o om  and travel  to a different  loc a t ion  w h e re
me e t ing her  is  m u ch  m o re  p r o b a b l e.  T h is  is wh e re  m a ny lonely  m en fail
miserably.
T h e re  a re  in  f a ct  t h r ee  s e p a r a te  l o c a t i on  t y p es  y ou  a nd  y o ur  r o m a n t ic  i n t e r e st
will likely visit:
A t t r a ct
Build
Comfort  Seduce
ATTRACT  COMFORT  SEDUCE
Meeting
Location
Comfort Bui lding
l o c a t i o ns
Sex
Location
A  c  s
T h e  M y s t e r y  M e t h o d
63 Location Ch a n g es
T h e re  a re  t h e e  t y p es  of  l o c a t i on  c h a n g es  t h at  c o m m o n ly  o c c ur  w h i le  g ami n g.  T h ey  a re  t he
Move,  t he Bounce,  a nd  t he Time Bridge. Briefly  d e s c r i b ed  h e r e,  t h e se  l o c a t i on  c h a n g es
a re  c o v e r ed  in  g r e a t er de t a il  in  t he  s u b s e q u e nt  c h a p t e rs  of  t h is  b o o k.
- MOVE
M O V E
M o ve  t he gi rl  to a di f f e r ent area  of  t he
c u r r e nt  v e n u e.
-  B O U N CE
-  T I ME BRIDGE
B O U N C E
Y ou  a nd  t he gi rl exit  t he  c u r r e nt  v e n ue
t o g e t h e r,  a nd  go  to a di f f e r ent  v e n ue
t o g e t h e r.
T I M E  B R I D G E
S o m e t i m es  it  is  n ot  p o s s i b le  to  e s c a l a t e.
P e r h a ps  s o me  o u t s i de  f a c tor  r e q u i r es  y ou
to  e x c h a n ge  c o n t a ct  i n f o r m a t i on  a nd
c o n t i n ue  g a m i ng  t he  g i rl  at a  lat er  t i me
a nd  p l a c e.  T h is  is  c a l l ed a  T i me  B r i d g e.
T h e  M y s t e r y  M e t h o d
64 T he  N i ne  P h a s es  of  t he  M3  M o d el
T he  t h r ee  s t e ps  of  t he  M3  M o d el -  A t t r a c t,  C o m f o r t,  a nd  S e d u ce -  a re  in  t u rn
b r o k en  d o wn  i n to  t h r ee  p h a s es  e a c h.  T h o u g h  t h ey  a re  b r i e f ly  d e s c r i b ed  h e r e,  t he
n i ne  p h a s es  of  t he  M3  M o d el  a re  c o v e r ed  in  m u c h  g r e a t er  d e t a il  in  t he
s u b s e q u e nt  c h a p t e rs  of  t h is  b o o k.
Al  - O P E N  C l-- C O N V E R S A T I ON  S 1--FOREPLAY
A2  -  F E M A L E - T O - M A LE  I N T E R E ST  C2 - C O N N E C T I O N  S2 - L MR
A3  -  M A L E - T O - F E M A LE  I N T E R E ST  C3 - I N T I M A CY  S3 - S EX
ATTRACT  COMFORT  SEDUCE
A2 — FEMALE-TO-MALE INTEREST
T he  m an  d e m o n s t r a t es
h i g h er va lue, whi le
s imu l t a n e o u s ly  s h o w i ng
d i s i n t e r e st  in  t he  t a rge t.
S he  r e s p o n ds  by giving
i n d i c a t o rs  of  i n t e r e s t.
C1 — CONVERSATION
T he  c o u p le  b e g i ns a
c o n v e r s a t i on  a nd  g r o ws
f rom a  s e n se  of  c o m f o rt
and  r a p p o rt  i n to a
feeling  of  c o n n e c t i o n.
S1 — FOREPLAY
T he  c o u p le  b e g i ns  t he
phys i c al  e s c a l a t i on
t o w a r ds sex.  If tills
h a p p e ns  t oo  s o on  it  c an
c a u se  b u y e r 's  r e m o r s e.
A3 — MALE-TO-FEMALE INTEREST
T he  m an  b a i ts  t he
w o m an  to  b e c o me  m o re
i n v e s t ed  in  t he
i n t e r a c t i o n,  a nd  t h en  he
r e w a r ds  h er  e f f o r ts  w i th
i n d i c a t o rs  of  i n t e r e s t.
C3 —  I N T I M A CY
N o w  at a  s e d u c t i on
l o c a t i o n, he avy  m a k i n go ut  e n s u es  a nd  t he
c o u p le  m o v es  i n to  t he
b e d r o o m.
S 3 - S EX
Sexual  i n t e r c o u r s e.  It  is
n e c e s s a ry  to  do  t h is
several  t imes  in  o r d er  to
b e g in  t he  s e x u al
r e l a t i o n s h i p.
Al  A2  A3  C1  C2  C3  S1  S2  S3
A l - O P E N
T he  m an  a p p r o a c h es a
s e t,  r u ns  an  o p e n e r,  a nd
r e a c h es  t he Social  H o ok
Point.
C2 —  C O N N E C T I ON
B o th  p a r t i es feel a  v i be
t h at "it  is  o n . "  K i s s i ng
o c c u r s.  T h is  p h a se may
last  o v er  t he  c o u r se  of
several  d a t e s.
S 2 - L MR
L a s t - M i n u te  R e s i s t a n c e.
T h is  is  t he  p o i nt  of  no
r e t u rn  b e f o re sex  o c c u r s.
I t 's  o f t en a  f r e a k - o ut
m o m e nt for  t he  w o m a n.
T h e  M y s t e r y  M e t h o d
65 D i a g r am A
Pick-Up  E n d -Game
Mid-Game
D i a g r am B
Pick-Up  End-Game
Mid-Game
T h e  M y s t e r y  M e t h o d
66 Put t ing  It All  T o g e t h er
A l. A venusian artist wi th tight game approaches a set of people in a bar, using an indirect opener. He
doe sn't seem needy or interested in  the target, and in fact comes across as  t h o u gh he 's just leaving. He
then demonstrates higher value to  the set and crosses the Social  H o ok Point.
A2. He continues to convey his personality using stories, humor, pa t t e rns, games, routines, palm
reading, poetry, etc. Thi s, combined with his  appa r ent disinterest in  the target, raises his social value
relative to hers and intensifies her emotional state. She begins to give him indicators of interest.
A3, C1. He uses this to bait her into chasing after him to earn his affections. As she becomes mo re
invested in  the interaction, he rewards her with indicators of interest. Then he moves her to a quiet
area of the bar to begin building comfort.
C2,  C 3. With a bounce to Mel's Diner and a time bridge for sushi  the next day, he builds comfort,
connection, and trust over a cumulative seven  h o ur period. At some point early during this phase they
will begin kissing. They eventually bounce to his apartment.
S1, S2, S3. Finally, he moves her into his  b e d r o om, begins foreplay, ove r comes any last-minute
resistance, and has sex wi th her.
T h e  M y s t e r y  M e t h o d
67 C h a p t er  T h r ee  R e v i ew
• The Game is played in the Field. Get out more.
•  T he Mystery  M e t h od  N e w b ie Drill
o Go out gaming four nights per week for
four hours each night.
o Make three approaches per hour.
• Gaming is like golfing or fishing. You must
enjoy the process and release expectation from
outcome in order to get the best results in the
long term.
• Every sexual relationship has a beginning,
middle, and ending. The beginning is known as
the courtship.
• The courtship has three stages, known as the
pick-up, mid-game, and end-game.
• Mystery Method focuses on attraction first, not
seduction. Ethically, practitioners of the Mystery
Method are attractors, not seducers.
• There are certain hardwired attraction switches
in every woman's mind. Attraction is not a
conscious choice that people make. Rather, it's a
response that they feel automatically as a result
of these switches being flipped.
• One example of this is preselection This
switch gets triggered when a woman sees that
you have already been pre-approved by other
women.
• The M3 Model describes the structure of the
courtship as occurring in three steps: Attract,
Build Comfort, and Seduce. It is necessary to
build comfort before you can seduce a woman,
and it is necessary to build attraction before she
will bother to build comfort with you.
• The phenomenon where you occasionally get
sex even when you haven't built enough
comfort is known as Fool's Mate.
• There are three types of location changes: the
Mo v e, the Bounce, and the Time Bridge.
• Women have certain strategies; built-up over time,
that enable them to avoid constant approaches
from men. This is known as the protection
shield. Even though she is probably a nice
person, she can sometimes appear bitchy as a
result of this. It's not who she really is.
• While comfort building, it is important to convey
to her that you are a sexual man and a potential
romantic interest. Otherwise you can get trapped
in the friendship zone.
• The three steps of the M3 Model are broken
down into three phases each: Al —  T he
Approach. A2 — Female-to-Male Interest. A3 —
Male-to-Female  Int e r e st C1 — Conversation. C2 —
Connection. C3 — Intimacy. S1 — Foreplay. S2 —
Last-Minute Resistance. S3 — Sex.
• There are three types of locations: the Meeting
location, the Comfort-building locations, and the
Seduction location.
• The pick-up occurs at the meeting location and
covers the phases  A l, A2, A3, and C1. It usually
includes at least one move and ends with a
bounce or time bridge.
• The next stage, called mid-game, occurs in one
or several comfort-building locations and
covers the C2 phase. Various bounces and time
bridges may occur here. When this stage is over,
you will be with her in the seduction location and
you've already been somewhat intimate with her
(kissing, etc.)
• The final stage, called end-game, begins in C3
but soon shifts into S1 (foreplay.) Often lastminute resistance (S2) will come up, which is
normal, followed by sex (S3.) If you initiate
foreplay before enough comfort has been built, it
will cause buyer's remorse.
• It is necessary to have sex several times before the
sexual relationship actually begins. During and
even after this point she will continue testing you
for congruence.
T h e  M y s t e r y  M e t h o d
68 A 1:  T he Approach
Opening a set and crossing the Social Hook Point without conveying neediness
O
nce you begin talking to a set of girls,  the  imme d i a te goal is to  r e a ch
the Social Hook Point, A  m o m e nt  c omes  w h en  t he set decides  that
they enjoy talking  to you,  a nd  that they  w a nt  to  c o n t i n ue talking  to
you.  W h en this  h a p p e n s,  y ou  h a ve successfully  o p e n ed  t he set  a nd  f i n i s h ed  A l.
I t 's easy to tell  w h en  this  h a p p e ns  b e c a u se  t h e re will be indicators of interest.
T he  M e e t i ng Locat ion
A ny  l o c a t i on  in  w h i ch  t h e re  is a  h i gh  p r o b a b i l i ty  of  m e e t i ng  w o m en  is called a
meeting location. Wh i le  it  is possible  to  m e et a beautiful  w o m an vi r tua l ly
a n ywh e r e,  e v en  on  t he  s t r e e t,  it  is  m o re probable  to  m e et  h er  in a  p u b l ic
g a t h e r i n g.
M e e t i ng  l o c a t i o ns  a re  g a t h e r i n gs  in  w h i ch  p e o p le  s e l l - o r g a n i ze  i n to  sma ll
g r o u ps  of  u s u a l ly  t wo  to  f i ve friends  e a c h.
E x a m p l e s:
• Restaurants and busy cafes
• Pubs, bars and nightclubs
• Busy stores, malls and outdoor festivals
• Parties and get-togethers
T h e  M y s t e r y  M e t h o d
69
Chapter
4
Meeting
l o c a t i on The unconscious replication agenda
P e o p le often publicly  a s s emble  to dr ink, mingle,  d a n c e,  s h o p, or eat. While  s o me
k n ow  they  a re  o ut specifically  to  s e ek a  m a t e, ma ny  a re  u n awa re  that their
u n c o n s c i o us  m i nd  h as  i m p o s ed a  h i d d en replication agenda  u p on  t h em.  E v en
t h o u gh  w o m en  k n ow  the se gatherings  a re chalk-full of pe s t e r ing nice guys,  m o st
are  u n c o n s c i o us of  the fact  that  n o n e t h e l e s s, their,  emo t i o n al circuitry has a
replication  agenda  compe l l ing  t h em  to actively socialize,  such  as  w h en  w o m en  go
o ut  "just to dance.  " T h is is a pe r f e ct  example of rationalization at work.
At t ract ive women are
found in groups
Se ldom will you see  w o m en
of be auty  a lone  in  such
locations. Ma ny  h a ve  g r o wn
a c c u s t omed  to  t he  c o n s t a nt
thr e at of nice guys  that plague
the se gatherings.  T h ey learn  to
b a nd  toge ther with  t rus t ed
friends  to  h e lp  p r o t e ct  t h em
from  the se  eve ryday publ ic
nui s anc e s.
A me e t i ng  loc a t ion is said to
be target rich if it offers multiple  a p p r o a ch  o p p o r t u n i t i es wi th attractive  w o m en
in  s h o rt succession; whe r e as a  loc a t ion with few  such  o p p o r t u n i t i es is said to be
target poor.  T a r g et rich  e n v i r o nme n ts  n ot only  i m p r o ve your  c h a n c es of finding
and  a t t r a c t ing a beautiful  w o m a n, they  a l so substantially accelerate your learning
curve by  p r o v i d i ng  m o re  chanc es  to practice your social skills  in less time.
Proactively  c h o o se  to  go  to  the ve ry  b e st me e t ing  loc a t ions  a h e ad  of time.
Hired Guns
You may  thank  t he managers of many me e t ing locations for hiring attractive women
because they  h a ve performed the difficult task of finding these  w o m en for you. The se
hired guns include seating hostesses,  shoot er girls, bartenders, go-go dancers, and
promotional mode l s. Most are chosen primarily for their physical  looks.  T he Mystery
Me t h od incorporates specific attraction tactics for hired guns, including exotic
dancers. (These hired gun tactics are  n ot written in this book.)
- T he  M y s t e r y  M e t h o d -
70 Proximity
W h en you  a re  in  t he  f i e l d, a shy  w o m a n,  r e luc t ant  to  even  m a ke eye  cont a ct wi th
you,  m ay find  y ou visually  appe a l ing  a nd on a  cons c ious or  u n c o n s c i o us level
reveal  h er  i n t e r e st  t h r o u gh her proximi ty.
Typically if a girl is giving you proximi ty,  she will be  s t anding five or six feet away
and  she  w o n 't  be facing  y o ur direction.  D y n a m ic social  h ome o s t a s is brings  h er  to
the pe r ime t e r,  b ut  p r e v e n ts her  f rom  c o m i ng  t oo close.
If you open her, she will open receptively.
H a ve  y ou ever walked  i n to a night c lub  a nd  found your s e lf  s t anding  n e ar a
w o m an you  w e re  a t t r a c t ed  t o,  if only  to  be ne ar her  and  c h e ck her  o ut  m o r e?
Maybe  ins t e ad of  a p p r o a c h i ng her, you  o r d e r ed a  d r i nk  at  t he bar  r ight next  to
he r.  H a ve  y ou  ever  b e en  in a  s tore  s h o p p i ng  w h e re  it  s e emed  t h at a  w o m an you
h ad seen earlier  s t o od ne ar you several  t imes  o v er a  short  p e r i od of time?
H er  r epe a t ed  p r o x imi ty indicates a pot ent i al interest. She may be  p u t t i ng herself
ne ar  y ou on  p u r p o se  h o p i ng  that you mi g ht start  s ome t h i n g. It's also quite
possible that her replication circuitry is placing her near  y o u, even though
she is not consciously aware of what her body is doing. She will still  o p en
receptively.
T h e se  o p p o r t u n i t i es oc cur wi th  m o re frequency  t h an  y ou  m ay  h a ve previously
not i c ed,  so  p ay  a t t ent ion.
- T he  M y s t e r y  M e t h o d
71 T he  3 - S e c o nd Ru le
Y ou  w a nt  to  be  in a  s et  w i t h in  t h r ee  s e c o n ds  of  e n t e r i ng  t he  v e n u e. Just
walk right up  to  t he  f i r st set of  p e o p le  t h at  y ou see  and  o p en  t h e m. This  is called
the 3-second rule.  R e m e m b e r, you  a re  n ot only wo r k i ng  the  s e t,  b ut  the entire
r o omNo  o ne else  k n o ws wh e t h er  y ou  a re already  a cqua int ed  w i th  t h e se  p e o p l e.  It
certainly seems  as  if  y ou  k n ow  t h em —  y ou  ent e r ed  t he  v e n u e, wa lked right  up  to
t h em,  a nd  n ow  they are having a  fun  c o n v e r s a t i on wi th you.  Y ou  m u st be a social
guy  w i th lots of friends!
T h en you  m o ve  on  to  the  n e xt set,  and  t he positive  p e r c e p t i on  of  y ou  cont inues
to grow.  Y ou  a re  b e c omi ng socially proofed in this  v e n u e. Notice the magical
ease with which sets will  o p en up  to  y ou  w h en  y ou  h a ve this level of social  p r o of
F or this  r e a son,  it  is  i m p o r t a nt  n ot  to be  t oo selective  in  c h o o s i ng your sets.  I t 's
be t t er  to  be  in a set than  to  g et pi cky  a nd  e nd  up alone  w h en  y ou  should  be
wo r k i ng  the  r o o m.
A n o t h e r  i n t e r p r e t a t i on  of  t he  t h r e e - s e c o nd  rule states:  W i t h in  t h r ee  s e c o n ds
of  s p o t t i ng a  s et  t h at  y ou  w a nt  to  o p e n,  y ou  m u st  o p en  t h a t  s e t.
T h is really  adds a natural  spont ane i ty  to  the  a p p r o a c h.  T he difference  in  y o ur
state of mi nd  is noticeable. A  w o m an  c an usually tell  w h en a  m an  is wo r k i ng up
t he  cour age  to  a p p r o a ch her,  w h i ch  c an  lower  h er  p e r c e p t i on  of his value.  B ut  if
you follow  t he  t h r ee  s e cond rule,  she will  h a ve a feeling like  y ou just  p o p p ed up
o ut of  n owh e r e. A very ni ce  ene rgy  is  a d d ed  to  the  i n t e r a c t i on  w h en following
this  rul e.
T h e  M y s t e r y  M e t h o d
72 Social Proof
Some players  c an be seen wa lking  a r o u nd  t he  v e n u e, eyeballing all  t he  w o m en
and  l o o k i ng for a  g o od  o ne  to  a p p r o a c h.  T h is  b e h a v i or  l o o ks pr eda tory,  a nd  is
quite  t r a n s p a r e nt  to  t he  p e o p le  in  t he crowdSimilarly,  s o me guys may be seen  s t a n d i ng  in a  g r o u p,  p e e r i ng  a r o u nd  at  the field.
If they  d o n 't  l o ok like  they  a re having a gr e at time  toge the r,  if  t h ey  a r e n 't hanging
o ut  w i th girls,  if  they  a r e n 't  r u n n i ng a set  . . . t h en they will  s t a rt  to  lose social
status.  W h en  o ne  of  t h em finally  d o es  o p en a set,  he  m ay di s cover  that  o p e n i ng  is
m o re difficult  in  e n v i r o nme n ts  w h e re he has negative social proof.
Wh e r e as a  v e n u s i an artist, rolling  in  w i th his wing,  is  n ot  g o i ng  to be  looking
a r o u nd  at  the  p e o p le  in  t he  c rowd.  R a t h e r,  h e 's  g o i ng  to be talking  to his wing,
and it will  a p p e ar as if  they are  two high-value guys having a gr e at time together.
If he were  l o o k i ng  a r o u nd  t he  v e n u e, especially  w i th a serious  e x p r e s s i on on his
face,  it  w o u ld  t e l egr aph  that he  is  l o o k i ng for  s ome t h i ng  m o re fun  a nd of  m o re
value  than  t he  s p ot wh e re  he already  i s.  B ut  he isn't. He believes  that  t he  m o st
fun  and va luable  s p ot  in  the field  is his  o wn  s p o t, his  o wn reality -  a nd he  is
congruent wi th  tha t.
W o m en are  s e a r ching  for a  m an  w h o se reality  is  m o re fun  a nd  m o re valuable
t h an their  own.  Y ou  m u st  be congruent  w i th  t he value  that you  h a ve  to offer,  a nd
it  m u st  be  a p p a r e nt  to  t he  r o o m.  F o l l ow  t he  t h r e e - s e c o nd rule,  a nd  y ou will  be  in
set  m u ch  m o re of t en, resulting  in higher social  p r o of
I t 's  int e r e s t ing  that wh e n e v er you have  m o re social proof,  y ou will  g et noticeably
m o re  o c c u r r e n c es of proximity. Gi r ls will also give you  o t h er approach
invitations,  s u ch  as ma k i ng eve  c o n t a c t.  R e m e m b er  that  i t 's  n ot necessary  (nor  is
it necessarily desirable) to wa it  a r o u nd for AI (approach invitations,) be c ause  w i th
practice, a  v e n u s i an artist  c an  cons i s t ent ly  o p en sets  even  w i t h o ut AI.
T h e  M y s t e r y  M e t h o d
73 Tips  in  t he  V e n ue
B a rs  a nd  c l u bs  a re  p r o b a b ly  n ot  t he  v e n u es  w h e re  y ou  p l an  to  f i nd  y o ur
future wife.  N e v e r t h e l e s s,  t h e se  a re target rich  e n v i r o n m e n ts  a nd  t h us  a re
p e r f e ct for  p r a c t i c i ng  g a m e.  H e re are  s o me  t ips:
• As a  g e n e r al  r u le —  b ut  n ot a  d o g m a t ic  o ne —  d o n 't of f er  to buy
d r i n ks  for girls.  If  she  a sks  y ou  to  b uy  h er a  d r i n k, turn  h er  d o w n.
A l t h o u gh  y ou  c an  b r e ak  this  r u l e,  i t 's  p r e f e r a b le  to  g et  y o ur  g a me
so  t i g ht  t h at she wi ll  be  b u y i ng  y ou  d r i n k s.
•  Be wi l l ing  to  c r a sh  a nd  b u rn  on  eve ry set for  t he  e n t i re  n i g h t.  Do
it for fun  w i th  y o ur wi n g.
•  G i ve  y o ur  w i ng S200.  T h en  he gives  y ou $20  e v e ry  t i me  y ou
a p p r o a ch a set.  T h is  g a me  is  v e ry effective.
•  Be wi l l ing  to  go  o ut  a lone  if  y ou  h a ve  t o.
•  D o n 't  h o ld  y o ur  d r i nk  in  f r o nt  of  y o ur  c h e st  l ike a  s e cur i ty
b l a n k e t.  H o ld  it  l ow  to  y o ur  h i p.
•  D o n 't  t ry  to  l o ok 'cool'  or 'tough,'  or  y ou will just  l o ok  b o r i n g.
I n s t e a d,  be  c o m f o r t a b le  a nd friendly.
•  E n t h u s i a sm  is  c o n t a g i o u s.
• Smile  as  y ou wa lk  a r o u nd  t he  v e n u e.  G u ys  w ho  d o n 't  g et laid,
d o n 't smile.
•  O n ce  y ou  o p en a  s e t,  s t op  smi l i ng  so  m u c h.  Y ou  d o n 't  w a nt  to
a p p e ar try-hard.
•  Y ou  r an  y o ur  o p e n e r,  b ut  t he  s et  d i d n 't  h o o k?  R un  a n o t h er  o n e.
S t a ck  y o ur ma t e r i al  if  for  no  o t h er  r e a s on  t h an  to  g et  p r a c t i c e.
St a cking  r o u t i n es is a useful skill  i n - a n d - of itself.
•  It  u s u a l ly  t a k es  t h r ee warm-up approaches  to  r e a l ly  g et  in  t he
g r o o v e.
•  A v o id  n o i sy  a r e a s.  If  y ou  c a n 't talk,  y ou  c a n 't  r un  g a m e.  F i nd  t he
qui et  a r e as  of  t he  c l u b.  A nd  a v o id  t he  d a n ce  f loor —  i t 's a  t r a p.
- T he  M y s t e r y  M e t h o d
74 • Ar r i ve  e a r ly  a nd  be friendly  w i th  t he staff. At  m i d n i g h t,  b o u n ce  to
a n o t h er  c l u b.  T h is  k e e ps  t he  c r o wd  f r e sh  a nd gives  y ou
s o m e w h e re  to  t ake girls  t h at  y o u ' ve  b e en  g a m i n g.
•  D o n 't  d r i n k.  Or  at  l e a st  c ut  b a c k.  If  y ou  go  o ut  g a m i ng  w i t h o ut
a l c o h o l,  y ou will really  n o t i ce  an  i m p r o v e m e nt  in  y o ur abilities.
• Ma le  c o m p e t i t i o n.  Y es  t h e re  a re  o t h er guys —  b ut  t h ey  d o n 't
c o u n t.  T h ey  d o n 't  smi l e;  t h ey  d o n 't  s u r r o u nd  t h e m s e l v es  w i th
t a lking  a nd  l a u g h i ng  p e o p l e,  t h ey  d o n 't wa lk  a r o u nd  w i th a smile
on  t h e ir face.  I n s t e ad  t h ey  h o ld a  b e er  to  the ir  c h e st  a nd  t ry  to
look cool'  T h e se guys  a re  n ot  r e a l ly  c o m p e t i t i on  at all.
•  B e f r i e nd  t he social  g u y s,  a nd  p r a c t i ce  g a m i ng  t h e m.  O n e  of  t he
a t t r a c t i on  swi t c h es  in  w o m en  is  t he lender of men  swi t ch. When
you lead the men, the women will follow.
•  Be  t he observed.  T h e re  a re  c o n s t a n t ly little  e v e n ts  g o i ng  on  in
t he Field: A flash  g o es  o ff  as a  g r o up of  p e o p le  p o se  for a  p i c t u r e.
A  m an  t e a c h es a  w o m an a  l i t t le  d a n ce  m o v e. A  g r o up  of  p e o p le
b u st  up  l a u g h i n g. A girl  g a s ps  at  an  i m p r e s s i ve  r o u t i n e,  a nd  p e o p le
n e a r by  l o ok  o v er  to  s ee  w h at  is  g o i ng  o n.  A re  y ou  t he observer
w h en  t h e se  t h i n gs  h a p p e n,  or  t he observed?
The Protection Shield
T h e re are  m a ny shielding strategies  w o m en us e.  H e re  a re  s o me  of  t h em:
• A ring-
• Saving  she has a  b o y f r i e nd
•  S u r r o u n d i ng herself  w i th
friends.
• Sitting in a place  w h e re it
is  h a rd  to  a p p r o a ch he r.
• Be ing bitchy; us ing insults.
• Nega t ive  b o dy language.
• No eve  cont a c t.
• Disinterest.
• Be ing  b u b b ly  a nd
wa n t i ng  to  d a n c e.
•  No sense  of  h u m o r.
• Be ing defensive.
- T he  M y s t e r y  M e t h o d
75 T he  o p e n i ng  p h a se  is  t he time  that  it  t akes you  to  g et  p a st  t he shield  a nd reach
the  h o ok  p o i n t.  Y ou mi g ht try  p u s h i ng  t h r o u gh  t he shield wi th pe r s i s t enc e,
despite  t he fact  t h at  t he  w o m an  is  t r e a t ing  y ou poor ly,  b ut  this  is foolish  and
diminishes  y o ur value.
W h at  if  y ou  c an trick her  i n to  lowe r ing  h er shield?  T h is  m e a ns ma k i ng  t he
w o m an believe  y ou are  n ot  h e re  to  s t e al her eggs. She  m u st  t h i nk  that you  a r en't
even  cons ide r ing  s educ ing her.
O ne way  to  do  this  is  to say  t h i n gs  t h at  an  int e r e s t ed  m an  w o u ld never say.  T h e se
are called Negs,  and they are de s c r ibed in  the next  chapt e r.
A n o t h er way is to  ent er  h er set wi th a pawn. A  p a wn is a girl  that you  h a ve
g a m ed pr evious ly  f or  t he express  p u r p o se  of br inging  h er  i n to  y o ur next set,  so
that  it will  o p en easier.
A n o t h er way  to  g et  t h r o u gh  t he shield  is  t h r o u gh  t he  u se of disinterested body
language  a nd false time constraints.  T h e se  t e chniques are  d e s c r i b ed in detail
in this chapter.
N o t i ce  that all of  the se tactics  h a ve  o ne thing in  c o m m o n: they convey
disinterest.  In  o t h er  w o r d s,  w o m en  a r e n 't  so shielded against  m en  w ho  h a ve a
willingness to walk.  W o m en feel safe  a r o u nd  t h o se me n.
Wh a t e v er  h a p p e n s, it's crucial  that  y ou not be affected by  h er shielding
behavior,  no ma t t er  h ow una c c ept able  such behavior may be.  If  she  is able  to
shake  y o ur  i n t e r n al sense of reality, your value will  d r op in  h er eyes.  N e v er  g et
angry — just stay in a  g o od  m o od  a nd be unaffected. It's no big deal.
As you  d e m o n s t r a te va lue,  a nd  an  u t t er lack of ne edine s s, she will start  to  o p en
up  to you.  H ow will you  k n ow  that you  h a ve di s a rmed her shield?
•  W h en  s he laughs at your jokes.
•  W h en  s he  t u r ns  to face you, gives you eve  cont a c t,  a nd  is  r e spons ive
to you.
•  W h en  s he  t o u c h es you - usually a soft  g r ab of your  a rm or leg, or
your necklace or hair.
•  W h en  s he asks you  y o ur  n ame.
- T he  M y s t e r y  M e t h o d
76 C a n n ed  M a t e r i al
T he Mystery  M e t h od makes use of canned material. If a particular valuedemonstrating routine has  b e en  int e rna l i z ed,  a nd is  r e ady for  u se in set,  t h en
that  r o u t i ne is said to be in the can.
A venus i an artist  w ho  c an deliver  c a n n ed material properly will be able  to
gene r a te  cons i s t ent, powerful  r e s p o n s es while he  is  in set.  It  is a  p o t e nt tool. Of
cour s e, no single  t o ol  should  ever  b e c o me a  c r u t ch — it's also vitally  i m p o r t a nt for
the  o p e n - m i n d ed  v e n u s i an artist  to pr a c t i ce  s p o n t a n e o u s, natural  conve r s a t ions.
T h e re is  s ome t h i ng to be said for basic social skills! Ne v e r t h e l e s s, your skill set is
i n c omp l e te  w i t h o ut  the ability  to congruently deliver  c anned material.
It is  r e c o m m e n d ed  that  y ou  c r e a te a routine stack of  c a n n ed material  that you
can practice in the field.  T h at is, an  o p e n e r, a few  rout ine s, a  f ew negs,  a nd so  o n.
While pr a c t i c ing your  r o u t i ne stack,  a p p r o a c h es start  to  b e c o me a blur.  P a t t e r ns
eme rge over  t ime. Situations  and  r e a c t i o ns  b e c o me easily pr edi c t able be fore they
oc cur. Social challenges are discovered  a nd solved.  T he rest of the wo r ld is riving
by at hype r - spe ed.
O n ce  y ou  h a ve  p e r f o r m ed a particular  r o u t i ne  h u n d r e ds or  t h o u s a n ds of times,
you  d o n 't  even  h a ve  to  think  a b o ut  w h at you are saying.  Y o ur  m i nd  is free for
o t h er tasks,  s u ch  as pl anning logistics.  T he target  is consciously  cons ide r ing her
r e s p o n s e s,  b ut  y ou  h a ve already  h ad  this  conve r s a t ion a  t h o u s a nd  t imes before.
Y ou have already fully  explor ed all  t he  conve r s a t ional  thr e ads that  could pos s ibly
arise from this  p i e ce of material.  I t 's  a lmo st like seeing  the  futur e.
Creating your own mater ial
Al t h o u gh certain  s tock  r o u t i n es  a re  i n c l u d ed  in  t h is  b o ok -  a nd ma ny  m o re  a re
t r aded onl ine -  it  is  r e c o m m e n d ed  that  in  the  l o ng  t e rm  y ou  d e v e l op all of your
o wn material.  T h is will save you  t he  e m b a r r a s s m e nt of  r u n n i ng a  rout ine on a set
w ho  h as already  h e a rd  it be for e, wh i ch  is a possibility  in  this  d ay  a nd age.
Usually  t he  b e st material  is delivered  f rom  the heart.  In  the  l o ng  r un  y o ur
personality-conveying routines will be  t he  m o st congruent  if  they  c o me  f rom
your  o wn life.  ( T h at having  b e en said,  t he ability  to  congruent ly deliver  s o m e o ne
else's material is still an  i m p o r t a nt skill.)
- T he  M y s t e r y  M e t h o d -
77 Proper Del ivery of  M a t e r i al
It  is  an  u n d e r - a p p r e c i a t ed fact  that  the delivery of  c a n n ed material  is often  m o re
i m p o r t a nt  t h an  t he  c o n t e n t.  W o m en  h a ve a  f ine ly- toned  intui t ion for  t he subtle
behaviors of a  m an  w i th high S  a nd R value — his eye  c o n t a c t,  t o ne of voi c e,  b o dy
language,  a nd  so  o n.
T he  u se  of  c a n n ed material allows you  to  s omewh at  a u t o m a te  t he ve rbal aspects
of  the  int e r a c t ion,  so  t h at  y ou  h a ve  m o re  of  an  o p p o r t u n i ty  to practice  t he
delivery.  O n ce  this  i m p r o v ed delivery  h as  b e en internalized,  e v en  y o ur natural,
s p o n t a n e o us  conve r s a t ions will benefit. Your delivery itself will become a
demonstration of higher value.
E x p r e s s i v e n e ss
Ma ny beginne rs are  n ot  as expressive  as they  n e ed  to be  w i th their facial
expressions  and voc al  tona l i ty.  D ue  to  thi s,  if  they we re  to  inc r e a se their level of
expressiveness  to wh e re  it actually  n e e ds  to be,  it  w o u ld feel  as  if it's  t oo  m u c h.
T h is feeling can be de c ept ive.
I t 's  b e t t er  to be  m o re expressive  in  t he beginning,  even  w h en  it feels like  t oo
m u c h.  Y ou  c an always calibrate your energy  b a ck  d o wn later,  o v er we eks or
m o n t hs  of pr a c t i c e.
Mo re  on  E n e r gy  L e v e ls
G a m i ng wi th a higher energy level ma k es it easier to  h o ok sets. In fact, beginners
can  b e c o me  a d d i c t ed  to  the powe r ful  r e s p o n s es they  c an  g e n e r a te by  r u n n i ng
g a me  w i th emotionally expressive vocal tonality  and facial  expr e s s ions. Of  cour s e,
a we l l - rounded  v e n u s i an artist  should be capable of  h o o k i ng  s e ts  at  lower  ene rgy
levels as well.
When first opening a  s e t, it's important to come in at an energy level
slightly  h i g h er than that of the set. If you  c o me in at  l o w er energy  t h an is
already  in  t he  s e t, you  a re only  g o i ng  i n to their set  to br ing  t h em  d o w n.  T h is  is
n ot  w h at  t h ey  a re  int e r e s t ed in.
If  y o ur  ene rgy  is  t oo  low, sets will  n ot  h o o k.  If your energy  is  t oo high, sets will
easily  h o ok  b ut  c los ing will be  m o re difficult,  a nd girls will  m o re often accuse you
of be ing gay.  B ut  w h en you  o p en  w i th  t he right energy level, sets will  h o ok  a nd
lead  to solid closes  m u ch  m o re consistently. On ly time  in  t he  f i e ld will give you
the calibration  to  k n ow exactly  h ow  m u ch energy  is  appropr i a te  f or  e a ch set.
T h e  M y s t e r y  M e t h o d
78 Opinion Op e n e rs
T he ma in  p u r p o se  of  t he  o p e n er  is  to  g et her  a t t ent ion  a nd  r a i se her  int e r e st  in a
chat.  It  is  n ot a  t ime  to hit on he r.  It  is  n ot a  t ime  to  i n t r o d u ce yourself.  It  is  n ot a
time  to  c o m p l i m e nt her  or  s p e nd  m o n ey  on her.
Al t h o u gh  t h e re are ma ny different  k i n ds of effective  o p e n e r s,  t he Mystery
M e t h od  t e n ds  to focus  on  i n d i r e ct openers.
O ne  form of  indi r e ct  o p e n er  is  the opinion opener,  c r edi t ed  to Style. Pos s ibly
the  m o st  c o m m o n ly  u s ed  form of  o p e n e r;  it  is easy  a nd effective.  W i t h o ut further
a d o,  h e re  is  the  m o st  p o p u l ar  o p i n i on  o p e n er of all time:
The Jealous Girlfriend Opener
by Style
"Hey guys, we're doing a poll...Would you date someone that's still friends
with his ex-girlfriend?"
—(Girls talk for a bit, then you cut them off.)
"Ok I've only got a minute...actually this is a two-part question....My friend
Dave has been dating this girl for a couple months, but he's still friends with
his girlfriend from college. What do you guys think about that?"
—(Girls ask how close they still are, then you cut them off.)
"Well he still talks to her on the phone, and he's still got this shoebox with
letters.. .pictures.. .what do you guys think about that?"
---(Girls talk for a bit, then you cut them off.)
"Well get this, she told him that he needs to stop talking to the girl, and he
needs to burn the box.."
----(Girls talk excitedly about topic.)
"Oh my god, listen to you guys, this is just like watching The View."
—(Transition into your next routine.)
T h e  M y s t e r y  M e t h o d -
79 T he  f i r st  int e r e s t ing  t h i ng  a b o ut this  o p e n er  is  that  he  i sn't seeking  r a p p o rt  w i th
the girls  or trying  to  impr e ss  t h em.  H e 's  n ot being needy,  or  r u de  or overly nice.
H e 's completely neut r al  a nd indirect.  H e 's just taking a poll  w i th his friends. He
could  h a ve  a s k ed  anyone — it just happened to be her. He  d o e s n 't  e v en see  t he girls as
sexual beings, referring to  t h em as guys  i n s t e ad of girls or ladies.
N e x t, he  a d ds va lue  to  the  conve r s a t ion by giving  t h em a piece of juicy dr ama on
wh i ch  to opine.  T h ey find this  int e r e s t ing  a nd give  h im their  a t t e n t i on  as they
cha t t er  a b o ut  t he situation laid  o ut  in  t he  o p e n e r.  T h e ir gi r ly-gi rl  r e a c t ion gives
h im  an  o p p o r t u n i ty  to tease  t h e m.
Finally, the  o p e n er reveals a  c o m m u n i c a t i on cycle wh e re he takes control, adds
value, and then uses that value as bait to get the girls invested in the
interaction — then the cycle repeats.  T he girls' specific  i n p ut is  n ot necessary at
all  to  r un  t he  o p e n e r; wh a t 's  i m p o r t a nt  is  the illusion  tha t 's  c r e a t ed  that  they  a re
participating. He  then  cuts  the girls off  a nd re-asserts  c o n t r ol  of  t he  conve r s a t ion
so  that  he  c an  l e ad  it  to  t he  n e xt  m o r s el  of value, baiting  the girls  i n to further
illusory pa r t i c ipa t ion,  and so  t he  p r o c e ss  r epe a t s. This "lead, bait and chase
9
'
cycle is also an illustration of the entire Attract phase of the Mystery
Method.
The Cologne Opener by Style
Style: "Hey guys, I want your opinion on something. See, I have two
different colognes on my wrists, and I want to see which one you like better."
(Let them smell the cologne. Be cocky and funny, neg the target, etc.)
Style: "The reason is, I have so many colognes from my ex-girlfriends on
my shelf, and I want to give some of them away and keep the best ones."
Variation  # 1:
After she picks one, you pull out a pen and make a mark on your wrist, next
to five or ten others...
Variation #2:
Her: "So what are they?"
Style: This one is hemlock, this one is chloroform."
Variation #3:
Style: "Thanks. I have all these old colognes around the house, so I'm
having a face off. This one has won ten days in a row!"
- T he  M y s t e r y  M e t h o d
80 T o n a l i ty and  P a c i ng
T he quality of your voi ce  is extremely  imp o r t a n t.  A l t h o u gh no  p r o b l em  is
i n s u rmo u n t a b l e, certain vocal qualities  a re preferable  to  o t h e r s. Some  i m p o r t a nt
p o i n t s:
•  H a ve a  d e e p,  p owe r f ul  v o i ce  t h at  c o n i es  f r om  y o ur  d i a p h r a g m.
If you  h a ve any issues  w i th  an  a c c e nt  that  is  cons ide r ed una t t r a c t ive,
(you  k n ow  w ho you are)  g et a voi ce  coa ch  a nd  h a ve  t he  p r o b l em
fixed.
•  Be  e m o t i o n a l ly  e x p r e s s i ve  w i th  y o ur  v o i c e.  It may  be useful  to
take classes on acting  and  improvi s a t ional comedy.
•  S p e ak  s l o w ly  a nd clearly.  E l imi n a te 'uh,' 'like,'  and  'y ou know' from
your vocabulary.
• Speak.  W i th  p l e n t y. Of  p a u s i n g.  C r e a t e ..  .a certain  r h y t h m .. .to  the
wa y ..  . that you speak.  T h is will  r i v et  a t t ent ion  to  y o ur  w o r d s.
•  S p e ak  l o u d l y.  W o m en  a re  p r o g r a m m ed  to automatically  r e s p o nd  to
a  m an  w i th a  l o u d er voice.  T h is  d o e s n 't  m e an  that you  should lack
social di s c r e t ion  a nd talk loudly all the time -  b ut  r e cogni ze  that it is a
useful  t o ol at  y o ur disposal, especially in  l o u d er  v e n u e s.  T h is will
make  y ou  c o me  a c ross  as  " m o re  a l p h a ."
T h e se  a re all ve ry easy  to field-test.  O p en  t en sets wi th a  l o ud voi c e, us ing pl enty
of pausing,  a nd  t h en  o p en  t en sets  w i th a quiet voi ce  a nd  no pausing.  T he
difference in  r e s p o n se is striking. The field does not lie,
T he  P i c t u re  O p e n e r  by Mystery
" H i.  C o u ld you  do  me a  f avor ?"
—W a it for  h er  to  r e s p o n d.  T h ey  w i ll  u s u a l ly  t h i nk  y ou are  h i t t i ng  on  t h em
at  w h i ch  p o i nt  y ou pull  o ut  y o ur  d i g i t al  c a m e ra  a nd  say:
" C o u ld  y ou take a pi c ture of my friend  a nd  I ?"
—T h is  is a  g o o d,  s u b t le  n e g.  As  y ou  h a nd her  t he  c a m e r a,  g i ve her a
playful  a d d i t i o n al  n eg  by  s a y i n g:
" Y ou of  cour se do  k n ow  h ow  to  u se a  c ame ra ...  y e s ?"
- T he  M y s t e r y  M e t h o d
81 Body language
When you first run your opener,  d o n 't face the set with your body. In  o t h er
w o r d s,  y o ur  h e ad may be  t u r n ed  t o w a r ds  the set  as you address  t h e m,  b ut  the rest
of  y o ur  b o dy  s h o u ld  n ot be.
Y ou  c an tell a  l ot just by  w h e re  s o m e o n e 's feet  a re point ing.  If  o ne  c ame  a c ross  as
report-seeking  d u r i ng  t he  o p e n e r,  the set  w o u ld perceive it as a low-value behavior.
T h ey wo u ld  t h en treat  h im like a low-value guy  and  b l ow  h im  o ut of  t he set.
Field-testing has  s h o wn us  that  the  p e r c e n t a ge of sets  that  o p en successfully  is
drastically affected by this  o ne factor.
T h e re are  two  c o m m on  o p e n i ng scenarios  w o r th me n t i o n i ng  at this time.  In  t he
first, you are  s imply walking by  t he set "on your way back to your friends." As  y ou
pa ss  t he target set, you  s t o p,  turn  y o ur  h e ad  t owa r ds  t h em,  and  r un  y o ur opene r.
As  the  o p e n er  h o o k s, you can  t h en  t u rn  t he  r e st  of your  b o dy  t o w a r ds  t he set  a nd
cont inue.
In  the  s e cond  s c ena r io, you are already  in a set, adjacent  to  the  t a rget  g r o u p.  T h is
gives  y ou social  p r o of At  t he right  t ime, simply lean  b a ck  t o w a r ds  the target
g r o up  a n d,  o v er  y o ur shoulder,  r un  an opene r. As be for e,  w h en  t h ey start  to
h o o k,  y ou  c an  t u rn your  b o dy  t owa r ds  t h e m.
Calibrate!
Usually a girl will  t u rn  h er  b o dy  in  to face  y ou  as  s he  h o o ks  to your material.
W h en  she  d o es  thi s, you  should  t h en  t u rn  y o ur  b o dy  t o w a r ds her  as well.
(Reward  h er for  g o od behavior.)  If you do  this pr ema tur e ly,  y ou will  c o me  a c ross
as  n e e dy or over-eager. Feel  t he calibration  f low.
Wi t h in  t he  f i r st  thi r ty  to sixty  s e conds  of  r u n n i ng  t he  o p e n e r,  y o ur  b o dy  should
be facing  t he set —  a nd  they  should be facing you.  Y ou  c a n 't  r un  the set  o v er your
shoulde r,  b ut  y ou  should  o p en  it  that way.
Lean Back
T he  n e xt time  y ou  a re  in a social situation,  l o ok  a r o u nd  t he  r o om  a nd  t ake  s tock
of  the va r ious  conve r s a t ions  that are  o n g o i n g.  In a given  conve r s a t ion, not i ce
h ow  o ne  p e r s on may be leaning in, whi le  the  o t h er  p e r s on  is leaning back. See
h ow clearly  it  s e ems  t h at  t he  p e r s on  l e aning ba ck has  m o re  p owe r,  and  the
p e r s on  l e aning  in  h as less.
- T he  M y s t e r y  M e t h o d
82 w h en  y ou lean  in, you are  conveying  to  h er  that  she  is  m o re  i m p o r t a nt  to you
t h an  y ou are  to he r. Again, this tells  h er  that  y ou are  lower va lue  t h an  she is. A
subtlety like this is often  t he critical factor in  los ing a set.
Ma ny beginne rs engage  in pecking,  w h i ch  is  t he act of leaning  in every  t ime you
say  some thing. Do  n ot  do this!  H er  emo t i o n al circuitry will  i n f o rm her  that  y ou
are  n ot a  m an of high survival  and  r epl i c a t ion value,  a nd  she will  s t op  r e s p o n d i ng
to you.
T he 'Who Lies More'Opener by Mad Dash
il
Hey guys, quick question...Who lies more...men or women?"
---(Girls talk for a bit, then you cut them off.)
"Ok, I can only stay a sec, my friends are waiting, but who cheats more, guys
or girls?"
—(Girls talk for a bit, then you cut them off.)
"I was waiting to get a haircut a few weeks ago, reading one of those
women's magazines, and it says that girls lie more and cheat more...is that
true??"
---(Girls talk about topic. Go into your next routine.)
Incongruence
H a ve you  ever  t r i ed  to use  a n o t h er  p e r s o n 's personality-conveying  rout ine, only
to  h a ve  it  c o me  o ut  of  y o ur  m o u th like a bad  s c r i p t ? W h en  w h at you say  a nd
h ow  y ou say  it  d o n 't  m a t ch  up  in a na tur al ma n n e r, you  h a ve  w h at we call
incongruence.
To  g et a  w o m an  int e r e s t ed  in you,  y ou  m u st  be interesting.  T h at  is  w hy venus i an
artists share  s tor i es  and  rout ine s. What one man can do, another man can do.  S o me
h a ve suggested  t h at you  should "just be yourself"  a nd  n ot use interesting, fieldt e s t ed  and  p r o v en material.  B ut this material creates  t he  o p p o r t u n i ty  to  g et
valuable pr a c t i ce in  t he field, building calibration, while  h a v i ng  s ome t h i ng
int e r e s t ing  to say.
- T he  M y s t e r y  M e t h o d -
83 Like a  c ome d i a n, a pi ckup artist is also a pe r forming artist. A  p i c k up artist's task is
to captivate a small  g r o up of  p e o p le  l o ng  e n o u gh  to  convey specific personality
characteristics  w h i ch ultimately  m a ke  h im  int e r e s t ing  to  t he  o ne  w o m an  in  the
g r o up  that  he  h as his eye  o n.
T he material he  r u ns  is like a vehicle  t h at he us es  to  convey his pe r sona l i ty  to  the
g r o up —  a nd obliquely, to he r.  W h en a  c o m e d i an tells a joke,  p e o p le say,  " T h a t 's a
g o od  j o k e ."  B ut  w h en  he strings several  g o od jokes  toge the r,  p e o p le say  " h e 's
hi l a r ious ."  It  is  no  l o n g er  t he ma t e n al  t h at takes  t he acclaim,  b ut  the  c ome d i an
himself.
Pi c ture  thi s. An  ama t e ur  c ome d i an  is  h a n g i ng  o ut  w i th friends  a nd accidentally
tells a  f u n ny joke  d u r i ng  conve r s a t ion,  g e n e r a t i ng a gr e at  r e s p o n s e. He  thinks  to
himself,  " M a n,  t h at was funny;  I 'm  g o i ng  to  p ut  that  in my  c o m e dy  a c t ."  So a
few days later, he  d o es - only  the  c o m e dy  rout ine falls flat. He  thinks  to himself,
" W h en I said  it  to my friends,  they really  c r a cked  u p.  It  m u st  be  the  a u d i e n c e ."
So  the next we ek he  t h r ows  t he joke  i n to his act again,  a nd again  it tails  to make
the  audi ence  l augh. He  thinks,  " H m m,  w hy  d i d n 't this work?  Is  it  t he material,  or
the  audi ence  tha t 's  to  b l a m e ?"
He decides  to try  the material  o ut  o ne  m o re time  t he following we ek  and again,
the  r o u t i ne tails  to  m a ke  p e o p le laugh.  H e 's  h ad  e n o u gh —  he  d r o ps  the  r o u t i ne
entirely.
N ow let's  l o ok  at  w h at a prof e s s ional  c ome d i an doe s.  Y ou see,  it  is  t he
professional  w ho  k n ows  t h at reciting a joke only  t h r ee  t imes  in  f ront of  an
audience  is simply  n ot  e n o u g h. He  k n o ws he  m u st practice telling  the joke again
and again  in  f ront of a live  audi ence  to systematically build ba ck  t he na tur al
timing  that  t he  j o ke  h ad  the first time he  told  it  to his friends.
T he  b ad  n ews  is  that every  n ew  r o u t i ne  that  y ou  l e a rn  m u st  go  t h r o u gh this
naturalization phase.  It may take a  g o od  t wo  d o z en  t imes unt il  t he scripted  rout ine
c omes  o ut  c o n g r u e n t l y.  T he  g o od  n e ws is,  w h en  y o u ' re  d o i ng a  d o z en
a p p r o a c h es a night, you'll  h a ve a totally natural  r o u t i ne in the can in only  two
night s.
If you  add a  n ew  r o u t i ne  to  y o ur  g a me  on a weekly basis,  y o u ' ll  s o on  h a ve a
whole list of  r o u t i n es in the can  w h en  y ou really  n e ed  t h em.  T h e re will  c o me a  t ime
in your ne ar future  that you will be given  an  o p p o r t u n i ty  to  a t t r a ct a  w o m an of
particular quality. Are  y ou ready for  the challenge? Do you  h a ve  e n o u gh material
naturalized  a nd  r e ady  to  g o,  so you can  a t t r a ct her wi th  c o n g r u e n c e?
T h e  M y s t e r y  M e t h o d
84 The Problem  w i th  t he 'Who Lies More' Opener
by Style
Whenever I'm winging workshops, and I go around the room and ask guys what
opener they use, half of them say, "Who lies more, men or women?" And then I
see them go out and use it that night, and half the women usually respond by
either by asking, "Why are you asking us this?" or "Are you taking a survey or
something." Or by just giving them bad body language and trying to end the
conversation as soon as possible, then laughing at them behind their back.
I remember the opener suddenly appearing in the community like a year and a
half ago, and can't remember who made it up, though I think it was a workshop
student. And it is a great opener to learn, because it's so short.
The problem is, it's imperfect and incomplete. There's a subtlety to any opinion
opener: There must be a reason why you're asking it
In other words, you can't just walk up to a group and ask a random question for
no purpose. It's weird. You need to root it in the time and place. For example,
when I use the jealous girlfriend opener, I mention that I'm asking because I just
got a phone call from my brother about it or "we were trying to give my friend
over there advice." When I do the spells routine, I say it's about "my friend Will,
who isn't out with us tonight because he's with this girl." You must roof your
opener to make it a valid reason to approach a group.
Maybe some people who use Who Lies More actually give it a context, but no
one I've heard. So if you are going to continue to use this opener, you must
modify it, or find a new one. Examples of roots for the Who Lies More opener
include:
"I was reading Esquire today and they did this study, and guess what the results
were? My friends and I have been debating about it all day. We disagree." OR,
"My friend over there just broke up with his girlfriend because she kept lying to
him about little things. And we thought it was funny, because guys are the ones
who have the reputation for lying. But now he thinks women are worse. So
we're trying to save him from being bitter about women for the rest of his life.
Only you can help save him from ending up a lonely, miserable old man, eating
dog food in a studio apartment downtown."
These are just random roots I've put into the opener, off the top of my head. I'll
field test them and, in the meantime, if anyone field tests a rooted version of
Who Lies More and it works as solidly as everything else, please let me know.
Let's complete this opener so that everyone can start using it correctly and
effectively.
- T he  M y s t e r y  M e t h o d -
85 F a l se  T i me  C o n s t r a i n ts
W h en you first  o p en a set, you  h a v e n 't yet  h ad  m u ch time  to build value,  a nd
t h us you are nearly indistinguishable  f rom every  o t h er loser guy. A girl mi g ht
think, Oh great, how long is this guy going to be here? Am I going to have to go dance, or go to
the bathroom, or go buy a drink, so that I can get rid of this guy?
T h is  is  n ot a useful frame of  m i nd for  h er  to be in.  B ut  it  is pos s ible  to inoculate
h er  m i nd against  such  t h o u g h t s.  Y ou  c an  c r e a te  the illusion  in  h er  m i nd  t h at  y ou
are fust leaving anyway. She  should always  h a ve this feeling like  y ou are  a b o ut to
leave.
O ne way of  c r e a t ing this  impr e s s ion  is  to  u se false  t ime constraints.  T h is
t e chnique was first popul a r i z ed by Style. A few  exampl e s:
After you deliver  t he first few  w o r ds of your  o p e n e r,  u se a false time constraint.
T h en  o n ce you  r e a ch  t he  H o ok  P o i n t,  t ry delivering another false time constraint.
Why? Be c ause  the set has  n ow de c ided  that  they wa nt you  to stay. A false time
cons t r a int at  this  m o m e nt will create a fear of loss.  T h us begins  t he cycle of
baiting  t he  t a rget  to chase.
B o dy  R o c k i ng
Body  r o c k i ng  is  the use of physical  m o v e m e nt  to create  the  imp r e s s i on  that  y ou
are just leaving.  In  o t h er  w o r d s, it's a  n o n - v e r b al false time  cons t r a int.
T h is  is  o ne of  t h o se tilings  that  c an be difficult  to describe  in text,  b ut easy  to
t e a ch in seminar. Suffice to say  that if  t he set continually feels like you are  a b o ut
to leave, ba s ed pur e ly on  y o ur  b o dy language,  t h en you are  p r o b a b ly  d o i ng  it
right
*  "You  k n ow wha t . . . if I  d i d n 't  h a ve  to go  r ight now—whi ch I
do. . .I  w o u l d . . ."
*  "I  c an  o n ly  s t ay a  s e c,  I 'm  h e re  w i th  f r i ends,  so  c h e ck  t h is
o u t . . ."
*  " I ' ve  o n ly  g ot a  m i n u t e,  so  I ' ve  g ot  to tell  y ou  a b o u t . . ."
T h e  M y s t e r y  M e t h o d
86 I t 's  n ot  g o od  to  h a ve a  l ot of extra  m o t i on while you are  in set.  S o me beginne rs
h a ve a  p r o b l em with  b o u n c i ng  a r o u nd or  f idge t ing while  in set. Bewa r e: usually
this  sort  of  m o t i on  is  u n c o n s c i o u s,  a nd  is  an expression  of  n e r v o us energy.
W i t h o ut a faithful  w i ng  to  p o i nt this  o u t, you  m ay  n ot  e v en realize you  a re  d o i ng
it.  M o v e m e nt like this can wr e ck  an  o t h e rwi se perfectly  g o od set.
T he  p e r s on  w h o mo v es  t he least (i.e.  t he  p e r s on  w ho  r e a c ts  t he least) will of t en
be pe r c e ived  as  the  o ne wi th  m o re social status.  If  y ou  a re  n ot  m o v i ng  for a
calculated  r e a s o n,  such  as  for  p e r f o rmi ng  b o dy rocking,  t h en  it  is be t t er  to stay  in
o ne  spot wi th  comfor t able  b o dy language. Avoid fidgeting at all costs.
H ow  to Op en  S e a t ed  S e ts
U p on  f i r st  o p e n i ng a seated set,  eve rything seems  f ine.  T he  v e n u s i an artist stands
ne ar  t he set  r u n n i ng material  that  is  appa r ent ly well-received.  B ut  as  t ime pa s s e s,
he begins  to  l o se their  a t t ent ion.  W h e re  d id  he  go wr o n g?
In standing, while  t he rest of  t he set  is seated, he has less physical  c o m f o rt  than
they  d o.  T h is betrays a  subt ext  that  t he  s et  is  m o re  i m p o r t a nt  to  h im  t h an he  is  to
t h em.  T h u s,  as time pa s s es  they will pe r c e ive  h im  as  h a v i ng  lower  a nd  l ower
value. A high-va lue male  d o e s n 't  p ut hims e lf  in  u n c omf o r t a b le situations  so  that
he  c an seek  r a p p o rt  w i th  o t h e r s.
T he  p r o b l em  i s, you  c a n n ot simply  a p p r o a ch a seated set  a nd  join  t h em  at their
table. To do  so  w o u ld be try-hard. So  w h at  is a  f i e ld- t e s t ed  m e t h od  for  o p e n i ng a
seated set?
1)  O p en  t he set with an opinion opener (as you  w o u ld for a  s t anding set.)
2)  P a rt of the way  i n to  t he  o p e n e r, use a false time constraint
3)  C o n t i n ue  the  o p e n er  as  y ou  g r ab a chair  a nd sit  d o wn wi th  t he set.
It's important to be talking at the same time that you sit down.
4)  R un  a n o t h er false  t ime  c o n s t r a i nt  a nd  t h en  go  i n to  a n o t h er  r o u t i n e.
5)  C o n t i n ue  t he set as  n o rma l.
K e ep  in  m i nd  t h at simply  k n owi ng  t he  s t eps  is  n ot  enough.  It takes repetitive
practice in  t he field to tighten up your calibration. Often it isn't the techniques
themselves, but the natural manner in which they are executed that gets
the results.
T h e  M y s t e r y  M e t h o d
87 Al t e r n a te  w o r d i ng for  t he  ' J ealous Girlfriend
9
  O p e n e r:
Style: Hey guys, let me get your opinion on something. I'm trying to give my
friend over there advice, but we're just a bunch of guys and not qualified to
comment on these matters.
Girls: What?
Style: Okay, I've only got a sec. See Wing over there? Well, he has been dating
a girl for three months. And she just moved in with him. Now, this is a two part
question. So, imagine you've been dating someone for three months. And he is
still friends with his old girlfriend from college. How do you feel about that?
Girls: blah blah blah are they just friends blah blah blah
Style: Yes, they're just friends. There's nothing else going on. They talk like
once a week at most.
Girls: I think its fine /I don't think they should be talking /whatever
(At  this point, Style has been body rocking out of the set. Now he rocks
back in to continue the opener.)
Style: Okay, now let's say that he has a drawer in his apartment. And in that
drawer he keeps all of his old photographs and letters. Now, some of those
letters happen to be from ex's and some of the photographs happen to be with
ex's.
Girls: blah blah blah concerned comment blah blah question
Style: It's not like he ever looks at them. They are just there, like old souvenirs
and memories of his past.
Girls: I think its fine / I think he should put them away in a closet / He should
destroy them / whatever
Style: Okay, the reason I'm asking is because Wing's girlfriend says she
doesn't want him to talk to his ex from college at all. She wants him to cut it off
completely. And she wants him to destroy all of his old photos and letters from
ex's. She says it's just holding onto the past, and he should let go of it now.
Personally, I thought it was extreme and a bit insecure. But what do I know. I'm
a guy. And, as we all know, guys think differently from girls...
T h e  M y s t e r y  M e t h o d -
88 T he 'Two Girls Fighting Outside' Op e n er
Mys t e ry: Oh my  g od did you guys see  t h at  g i rl fight outside?
Girls: (whatever - Cut  t h em off after  t h ey talk for a bi t)
Mys t e ry:  T h ey we re totally  f ight ing  o v er this funny guy.  H a ve you guys ever
fought  o v er a  g u y ?"
Girls: (whatever - Cut  t h em off)
Mys t e ry:  It was a  s h o rt little guy  n a m ed Ge o r g e. Sort of white  t r a sh,  in a wife
b e a t e r ..  . T h e se girls we re pulling  e a ch  o t h e rs  h a i r ..  .one was  p o u n d i ng  t he othe rs
h e ad  i n to  t he  g r o u n d ..  . O ne  of her  b o o bs  p o p p ed  o ut No rma l ly  I 'm all  f or
seeing  b o o b s,  b ut this was a  g r o s s, white-trash boob."
( M a ke a  g r o s s e d - o ut  fac ial  e x p r e s s i on  a nd  t rans i t ion  to  y o ur  n e xt  r o u t i n e .)
H ow  to Op en Moving  S e ts
Some girls  a re wa lking  t h r o u gh  t he  v e n u e.  Is  y o ur game  s t r o ng  e n o u gh  to  s t op
t h em  w i th  y o ur  o p e n e r?
It  is extremely difficult  to consistently  o p en mo v i ng sets.  T he  m o st  i m p o r t a nt
principle  to  r e m e m b er  is  that  the girls  s h o u ld never perceive  t h at  y ou are  cha s ing
after  t h em.  If  they  d o,  t h en you will  c o me  a c ross  as having  l ower value,  and  they
will leave.  O ne way  to avoid this  is  to  r ema in  f i rmly  r o o t ed  to  the  g r o u nd  w h en
opening.
Alternately,  cons ider  that an object in motion tends to remain in motion.  H e re is  the
Mystery  M e t h od  t e chnique for  o p e n i ng  m o v i ng sets:
1)  Y ou  m u st be walking along  t he same trajectory as  t he  s e t, slightly in
front of them.
2)  T u rn  y o ur  h e ad  b a ck  t owa r ds  the set  a nd  r un  an  o p e n e r.
3)  C o n t i n ue walking beside  t he set,  a nd  c o n t i n ue  g ami ng  t he set  as
n o rma l.
T h e  M y s t e r y  M e t h o d
89 W h at  m o st people  do  w r o ng  w h en approaching
by Style
When I went out the first night on Mystery's workshop, I tried an experiment.
I approached a set, opened, and then DHV'd. [Demonstration of higher
value.] And not a single set stuck. I didn't reach the hook point. Everything
seemed sort of flat, until I finally just excused myself.
This happened because I had dropped two important pieces out of my
game. If you know what they are already, then you are obviously already
successful in the field.
The next day, I did the exact same thing, except I added Negs and Time
Constraints to the approach. Everything flew open. I was pulling girls off of
guys left and right.
So, if you are approaching, but not having success getting in with the set, go
out tonight and add negs and time constraints to the first three minutes of
your approach. It makes a huge difference.
For those who don't have this material, here's an example:
T IME CONSTRAINT: I can only stay for a minute, because I have to rejoin my
friends over there.
N E G: Oh my God, is she always like that? How do you roll with her?
And, a third point, which I've made often. In order for an approach to work in
a bar or club, you must enter the set with an energy/fun level equal to or
slightly greater than its current energy level. If you walk in not smiling,
talking softly, and with bad body language, you're going to get blown out, no
matter what you say right.
Hope this helps some people...
Style
T h e  M y s t e r y  M e t h o d -
90 Ch a p t er Four  R e v i ew
• Al begins when you  r un an opener.
• Al is complete when you reach the Social Hook
Point. This is the moment when the set ceases to
wonder when you will leave, and instead hopes
that you will stay.
• The meeting location is a target rich
environment where  the venusian artist visits in
order to practice his game. This is also known as a
field.
• Women will often use proximity to signal their
receptiveness to an approach. They may not be
consciously aware mat they are doing this.
• Although proximity and other approach
invitations are opportunities to be capitalized on,
a skilled pickup-artist can consistently open sets
without waiting for these signals.
• The 3-Se cond Rule states that upon entering the
field, you must open a set within three seconds.
Also, if you are later not in a set, and you see one,
men you must open it within three seconds.
Following this rule will give you more Social
Proof, which affects  h ow people respond to you.
• You can create  n e g a t i ve social proof with certain
behaviors. Such as: standing against the wall with
your drink against your chest, standing in a group
of guys, circling the venue in a predatory fashion,
looking around the venue with a serious
expression on your face, etc.
• Do n 't try to look 'cool' or "tough/ It's better to be
comfortable and friendly.
• Do n 't drink.
• It's normal to need two or three warm-up
approaches at the beginning of the night.
• Try to approach sets that have men, and practice
gaming them as well. Women have a  ' l eader of
men' attraction switch.
• Women have various Protection Shield
Strategies, which they use to screen out men.
But a venusian artist can coax a woman  into
lowering her shield by conveying disinterest
while demonstrating value.
• The Mystery Me thod makes use of canned
material, which can generate consistent
responses. You should create a routine stack in
order to practice this skill.
• The natural delivery of the material, including
body language, facial expressions, and vocal
tonality, is more important than the content
itself.
• The Mystery Method makes use of indirect
openers because they do not telegraph interest,
and are proven in  the field to open consistently.
Other types of openers can also be quite
effective, such as direct openers. Experiment
and field-test your ideas.
• The use of new material in the field can feel
clumsy and incongruent. Only through a
couple days of in-field practice can the new
material become naturalized.
• An opener must have a root, which is anything
that gives it situational relevance.
• A false time constraint allows the venusian
artist to create the illusion that he is just leaving.
This is a powerful  tool for opening consistently.
• Body rocking is the use of body language to
deliver a false time constraint.
• When opening a seated set, it is important to sit
with them soon after starting the opener. Use a
false-time constraint and then continue
talking as you sit down.
• When opening a moving set, it is important that
they not perceive you as chasing after them in
any way.
T h e  M y s t e r y  M e t h o d
91 A 2:  F ema l e - t o -Ma le  I n t e r e st
Demonstrating value, Indicators of interest, and Group Theory
N
ow  t h at  t he set  is  o p e n, it's  t i me  to  c r e a te  a t t r a c t ion. First,  y ou  m u st
pick a target from  the set.  M a y be  t h e re are several  p r e t ty girls  and your
de c i s ion  is  s o m e w h at arbitrary,  b ut you still mu st  c h o o se  o ne  so  t h at
y ou  c an neg her.
As  y ou demonstrate higher value (DHV) to the set,  a nd neg  the target,
attraction is  c r e a t ed. She will  r e s p o nd  w i th indicators of interest (IOIs), which
will he lp  y ou  to gauge  y o ur  p r o g r e s s.  T h is  is  t he  e s s ence  of  the A2  p h a s e.
Indicators of Interest  ( I0Is)
W h en a girl  b e c o m es  a t t r a c t ed to  s o m e o n e,  she will begin to give indicators of
interest.  T h e se  c an be fairly easy to  s p o t,  and  a re useful as a gauge of her  int e rnal
state. Al t h o u gh  s ome t imes  the gi rl  is deliberately trying  to give  y ou a hint, ma ny
t imes  w h en  she gives  I O I s,  she  is  n ot  even consciously  awa re of  w h at  she  is
doing.
It  is useful  to  n o te  that we often give  I O Is uncons c ious ly  as well.  B ut wi th
practice, we  b e c o me desensitized  to  t he  p r e s e n ce  of beautiful  w o m e n,  a nd  avoid
this  p r o b l em.
Chapter
5
T h e  M y s t e r y  M e t h o d
93 H e re  a re  s o me  I O I's.  N o t i ce  t h at  s o me  of  t h e se  r e q u i re  m o r e  a t t r a c t i on  t h an  o t h e r s.  F o r
e x a m p l e,  s he  m i g ht  be  a t t r a c t ed  e n o u gh  to  a sk  y ou  y o ur  n a m e,  b ut  n o t  e n o u gh  to  l e a ve  t he
v e n ue  w i th  y ou  a nd  b o u n c e.
• She reinitiates  c o n v e r s a t i on  w h en  y ou  s top
talking
• She giggles
• She  t o u c h es  y ou
• She  l o o ks ba ck  a nd glances  at  y ou
repeatedly every mi n u te or  so
• She tosses  h er hair  ( to see if  y ou will look)
• If eye  c o n t a ct  h a p p e ns from a distance,  she
h o l ds it for a  s e c o nd
• She smiles at  y ou
• She stands ne a rby (proximity)
• She  int e r rupts  y o ur  conve r s a t ion  f rom
nearby, or laughs at  s ome t h i ng  y ou said
• Whi le walking by,  she  t u r ns  h er  b o dy
t owa r ds  y ou  or  b r u s h es against  y ou
• She says  s ome t h i ng  to  h er friend  t h en  they
both giggle
• She asks  y ou for a light, or  t he time, or in
any way initiates a  c o n v e r s a t i on
• While  y o u ' re talking to her  g r o u p,  she is
particularly talkative  ( to get your attention)
• She asks  y ou for  y o ur  n a me
• She asks  y ou  y o ur  age [make  h er guess]
• She  c omp l ime n ts  y ou
• She is playful  a nd tries to challenge  y ou
• She's disagreeing but  l aughing
• She's  p u n c h i ng  y o ur  a rm  b ut laughing
• She uses ni cknames for  y ou
• She plays wi th  h er  h a ir while talking to  y ou
•  W h en sitting  n e xt  to  y ou her leg  touches
y o u rs
• She  r epe a t edly  t o u c h es  y ou in any way
• She asks if  y ou  h a ve a girlfriend
• She me n t i o ns  y o ur girlfriend  w i t h o ut
k n owi ng  if  y ou actually have  o ne
•  W h en she has  to  go  to  t he  b a t h r o o m,  she
c omes ba ck
• She holds eye  c o n t a ct  w h en she speaks wi th
y ou for longer  p e r i o ds  of time
• She avoids  m e n t i o n i ng her boyfriend
•  If  it  c omes up  that  y ou like  s ome t h i n g,  she
me n t i o ns  t h at  s he likes  it  t oo  or  n e e ds
s o m e o ne  to  s h ow  h er  h ow
•  W h en  she says or  d o es  s ome t h i n g,  she
l o o ks  at  y ou  to see your  r e a c t ion
• She  looks at  y ou  f r om the side, to hide  the
fact that she's  l o o k i ng
• She  int roduc es  y ou  to friends
• She buys  y ou a  d r i nk
• She calls  y ou a player or a heartbreaker
• On her way  o u t,  s he  r e - approa ches  to tell
y ou that  she is  l e aving [get her  n umb e r]
• On your way out,  s he asks  y ou  w h e re  y ou
are  g o i ng [invite he r]
• She  r e t u r ns your calls
• She  invents  r e a s o ns  to be  n e ar you, interact
wi th you, or have isolation wi th  y ou
T h e  M y s t e r y  M e t h o d
94 T he  m o st  i m p o r t a nt  I O Is are:
• She laughs while talking to you
• She reinitiates conversation when you stop talking
• She touches you
• She tries to get rapport and build comfort with you
Some t imes  an  I OI  i s n 't  w h en  she does  s ome t h i n g,  b ut  r a t h er  w h en  she doesn't do
some thing.  T h e se  a re called Passive IOIs. Passive  I O Is  a re ve ry  i m p o r t a nt
because often  t h ey  a re  t he only  I O Is  y ou will get.  H e re are a few examples:
•  H er friend  g o es  to  t he  b a t h r o o m,  b ut  she stays
•  H er friends go  to  t he bar, or  t he  d a n ce floor —  b ut  she stays
• She wa i ts for  y ou  if  y ou  go  to  t he  b a t h r o om
• She  d o e s n 't flinch or pull ba ck  if you  h a p p en  to  m o ve  t oo  c lose
• She  d o e s n 't  r e s i st  w h en you escalate physically (or she gives  t o k en resistance
to  avoid feeling like a slut.)
Fake IOIs
Be wa r n ed  that girls will occasionally  u se  I O Is  to 'lie'  to you.  F or example, a girl
mi g ht give you  I O Is while  she  is asking you  to buy her a drink. She 's  n ot  a t t r a c t ed
to  y o u,  b ut me r e ly manipul a t ing you.  A nd of  c o u r s e,  if you are easily manipul a t ed,
she will find you less attractive. She  m i g ht give you  I O Is just to  k e ep you  a r o u nd
as free  ent e r t a inment.
A girl mi g ht give you  I O Is  w h en  she  is di t ching you.  F or  e x amp l e,  w h en  she says
" We  h a ve  to  go  to  the  b a t h r o om  n o w ,"  s o me tiny  p a rt  of her  k n ows  that  she  is
really di t ching  y o u,  so  she mi g ht  t o u ch  y ou on  the  a rm  as  she says  g o o d - b y e,  to
give you  s o me validation.
A girl will also give  I O Is  some t imes just  to see  it  she  c an  g et  y ou  to  r e t u rn  t h e m.
If  y ou  r e t u rn  h er  I O Is  t oo easily,  w i t h o ut ma k i ng her  w o rk  for it, you  h a ve just
b e c o me  a n o t h er  n o t ch  on  h er belt.  D o n 't  j u mp  on  h er  and start  h u m p i ng  h er leg
like a  h o r ny little  p u p py dog.
T h e  M y s t e r y  M e t h o d
95 I n d i c a t o rs  of  D i s i n t e r e st  ( lODs)
Similarly,  t h e re  a re Indicators  o i D i s i n t e r e s t, also  k n o wn as IODs.  H e re are a
f ew  exampl es  of  the s e:
• Avoidance- She avoids eve contact.
She avoids your calls. She avoids
you in general.
• If she can pr e t end that she  d i d n 't
hear what you just said, she will.
• She  w o n 't contribute to  t he
conversation.
• She gets impatient easily.
She walks away or looks away.
She leans away,  turns her back.
or talks to  someone else.
She is non- r e spons ive, or she
repetitively says  " u h - h u h" instead
of giving you a real response.
She  w o n 't  m o ve wi th you, even
two feet away. She  w o n 't invest.
Practicing A1 mid A2 will give you the skill set to turn those IODs into
IOIs.  T he  a n swer  is  n ot  to tell  h er  that she  is  h o t, or offer  to buy  h er a drink, or
be really pe r s i s t ent, or ask her lots of que s t ions.  Ins t e ad, practice Al — be ing
indi r e ct  a nd  n o t - n e e d y,  and practice A2 — negging  and  d emo n s t r a t i ng higher
value.  V o i l a!  I O I s.
F or  t h o se  w ho  h a ve  s e en  the movie The Tao of Steve, Al  a nd A2  h a p p en  to
c o r r e s p o nd to  t he first  two rules in  t he mo v i e: be desire/ess,  a nd be excellent.  A nd
speaking of  b e i ng excellent,  h e re  is  an excellent  D H V:
N a me  M n e m o n i cs
By Style
Girl: What's your name?
Style: I'm Style.
Girl: I'm Janet. This is Donna. And that's Tony.
Style: Okay...Janet, Donna, Tony. You know, I used to be really bad with names.
Girls: Omigod, I'm so bad with names.
Style: But you don't have to be anymore. Here, I'll show you in two seconds. All I
do when I'm introduced to you is make a picture in my head. So if you're Janet, I
picture you with the head of Janet from Three's Company. No offense. And for
Donna, I just picture like the dawn, and the sun rising over your head. And for Tony,
I see you on the front of a box of Frosted Flakes. Now I'll never forget your names.
T h e  M y s t e r y  M e t h o d
96 Neg  T h e o ry
[ F r om My s t e r y 's  L o u n ge — My s t e r y 's  c l a s s ic  N e g  T h e o ry article.]
A hot girl is there, surrounded by her friends. She has
put on this bitch act. But is she really a bitch?
Unlikely. All my girlfriends were wonderful human
beings. Beautiful people have it easier because they are
beautiful and often times have better upbringings
because of it.
But - she needs to have a standard when all these loser
guys approach her. So her values are very honed and
understood. When a man walks up and says, "Can I buy you
a beer" this will annoy her. While the guy thinks he's
doing something nice for her, she gets this constantly
and is desensitized to it. You are the eighth guy today!
So she is very good at brushing all these guys off. She
has to be... she isn't going to sleep with all of them!
So she may say 'no,' act annoyed, or use some other
shielding mechanism, and then the poor guy thinks she's
a bitch and he walks off angry and feeling like a
failure. And that seems to work. Sometimes when the girl
is particularly feeling powerful (like when she's in a
club) she will accept the beer and then flake the guy
off. Hey, the guys are stupid enough to buy her one; she
might as well take it.
When she accepts a beer from you, the girl is really
saying, "I don't know you and I don't care about you.
You are just another one of those typical guys and since
I don't respect you, I'll take the beer from you before
I snub you."
Since hot girls are so good at snubbing your approach,
snubbing them is important. You cannot insult them,
because they are accustomed to all the hurt guys
insulting them ("You are nothing but a bitch!") so this
rolls off their back like water off a muskrats ass.
How do you snub them without insulting them? Well,
let's say she has long nails, which are most likely
T h e  M y s t e r y  M e t h o d
97 fake. Now why do women dress so fine if they don't want
the attention? Sometimes they love the feeling of
control. They are in a club with friends and they want
to be the leader of their social circle and get all the
attention. The guys come and buy drinks for them and she
gets a kick out of knocking the guys down. It's all in a
days play. So, she is wearing fake nails to look even
better! Most guys will say, "Wow you are so beautiful!"
Boring, typical and in her mind by now, true (after
years of this.)
Imagine now, a guy comes along and says "Nice nails. Are
they real?" She will have to concede, "No, acrylic."
And he says (like he didn't notice it was a put  d o w n ),
"Oh. (pause) well I guess they still look good." Then he
turns his back to her.
What does this do to her? Well, he didn't treat her
like shit and insult her. Instead, he complimented her,
but the result was to target her insecurity. She thinks,
"I'm hot I'm beautiful" - (especially in her current
emotional state of control) - "but I didn't win this guy
over. I'm so good at this... I'll just fix that little
smear on my image that he has of  m e ."
Then you continue to show disinterest in her looks as
you give her a neutral topic like the Elvis bit. During
this time, her intention is to get you to become like
all the other guys so she can feel in control and snub
you. Then you give her another Neg like this: "Is that
a hair piece? Well, it's neat... what do you call this
hairstyle? The waffle?" Smile and look at her to show
her you are sincerely being funny and not insulting. You
are pleasant but disinterested in her beauty. This will
intrigue her because she knows guys. And this isn't
normal. You must have really high taste, or be used to
girls, or be married or something. These questions make
her curious. So this keeps happening and is known as
flirting. She gives you little negs and these tests are
qualifiers. You pass them by negging her back. After
all, you aren't like the others showing interest. But...
why not?
T h e  M y s t e r y  M e t h o d
98 To get control again, she says, "Will you buy me a
drink?" Notice how she is trying to get you now! But,
she only wants to sucker you in enough so she can snub
you. That is all she is about - this strategy is all she
knows and it's not working on you so she is trying to do
damage control on the situation. But at the same time
she doesn't quite understand why you don't think she's
"all that." After all, her nails are fake.
You say, "Ah, that's so funny ... your nose wiggles when
you speak " - (pointing and being cute) - "look
there it goes again . . . it's so. . . quaint . . . hheeeee
look." She'll say, "Ann, stoppp!" :) *blush*. Now she
is self-conscious and this is where you want her. You
have, with three negs, successfully created interest
(curiosity) and removed her from her pedestal (removed
her protection shield.) You were humorous, you had a
smile, you dress well, you are confident and everything
she would want in a man.
You didn't take her shit. Oh... and when she asked you for
a beer, you said, "No. I don't buy girls drinks. But you
can buy me one." You are qualifying her now. If she
buys you a beer, this is symbolic of her respect for
you.
If not, you say, "Pleasure meeting you" [not
sarcastically] and turn your back to her again. Don't
walk away, just turn your back. You are negging her
again just when she thought she was negging you. You are
teasing each other. It's flirting - this is all textbook
psychology.
A neg is a qualifier. The girl is failing to meet your
high expectations. It's not an insult, just a judgment
call on your part. You're not even trying to make her
feel bad (so it seems.) It's the same as if you pulled
out a tissue and blew your nose. There's nothing
insulting about blowing your nose. You haven't
explicitly rejected her. But at the same time, she will
sincerely believe that you aren't trying to impress her.
This creates curiosity and makes you a challenge.
T h e  M y s t e r y  M e t h o d
99 The better looking the girl, the more aggressive you
must be with using negs. A 10 can get three negs up
front, while an 8 gets only one or two over a longer
time. You can go overboard if she thinks you are better
than her (which happens more often that you'd think.)
You can drop the self-esteem right out from under her,
just like most 10s do to guys, and this isn't good. You
have to get as close to the breaking point as you can
without crossing the line. Once you have gotten her
right there, you can start appreciating things about her
(not her looks.) There is a mutual respect now -
something most guys never get from the girl.
This is how you remove a protection shield. Three negs
ought to do it within two of three minutes of neutral
chat. Once it is removed, you can, from a place of
mutual respect, seduce her.
Sample Negs
•  Y O U:  "I  d o n 't  think we  should  g et  to  k n ow  e a ch  o t h e r ."
H E R:  "Why  n o t ?"
Y O U: "I  t h i nk you are just  t oo  m u ch of a nice girl for  m e ."
• If  y o ur target says  s ome t h i ng even slightly  r u de you say,  "You  d o n 't get  o ut
m u ch  do  y o u ?"
•  If a girl  i sn't  i n to  anything active, use  that  as  an  o p p o r t u n i ty  to  n eg  h er by
saying,  " G et  w i th  the progr am. I'm  i n to living life.  D o n 't you care  a b o ut staying
fit?  j u st cause you are thin  d o e s n 't  m e an you are  t o n ed you  k n o w.  Y ou  h a ve  to
consciously plan activities.  T h a t 's  i t . ..  I 'm your success  c o a ch ...  and we are
g o i ng  rol l e r -bl ading (or  r o ck climbing) this we ek."
•  If  y o ur target  int e r rupts  y o u, say,  "He l l o,  I 'm talking, geez"  o r,  "Excuse me . ..
may I finish my  s e n t e n ce first?"  Y ou  t h en say  to  o t h e rs  in  t he  g r o u p, "Is  she
always like  t h a t ?"
•  If you are  a sking a  q u e s t i on  to  two  w o m en  and  the  t a rget  answe rs you say,  "I
didn't ask  y o u. silly."
T h e  M y s t e r y  M e t h o d
100 If you pull out your  p h o t os for the photo routine,
first show  them to  the obstacle. When  the target tries
to see  them, say, "Excuse me!  I 'm showing her the
pictures not you. Wait your  turn geez."
If a girl kisses you on  the cheek and goes to kiss your
other cheek, tell he r,  "Only one ... don't be greedy."
If she says, "Yes, but  I 'm Fr ench", you reply, "Are all
Fr ench girls as greedy as you?"
"That's a nice hairstyle ... it that your real hair?"
Smile and look at her to  show her you are sincerely
being funny and  n ot insulting.
HER:  "Oh, I'm a model."
YOU: "What, like a hand model or something?"
"Ewww, your palms are sweaty ... ewwww!!!!! Wh e re
haye your hands been?  N o. don't tell me, I do not
want to know!"
"You've got something in your ear."
YOU:  " O o h, check this  o u t . . .. watch this. He r e, pull
my finger. This is good."
[Your target pulls your finger.]
YOU: [Make a fart sound wi th your lips.] "Oh man!!!
You actually pulled my finger! haaa!  N o, no jus'
kidding, here, really, pull on my ringer. No hone st
this is good  t rust  m e ." [She pulls it - Fart sound
again.]  " Oh man!!! Tha t 's TWICE!!! I can't believe
you! My niece is six and doe sn't fall for that anymore!
man haaa!"
You may decide to say,  " I 'm just kidding. He re really.
I'll show you some magic.  L o ok at this. My hand is
empty right? Ok, really pull my finger. No really, I
promise I won't fart again. Serious. I swear to you.
Magician's honour!  N o, swear. I promise I won' t ."
She pulls your finger. [Fart Sound.]  "Oh my  G od
you can get talked  into anything!"
"I like that dress. I  r emember seeing you at a
club before and you were wearing the same
d r e s s . lt is nice though." :-)
"My you come on strong. That isn't 'til later in
the relationship."
"You need to wash  t h at dress already!"
"Very good.  T h at is a little test I do to see if you
have any free thought of your own or just believe
everything you hear."
"Wow. You really wrecked a moment! Your  p a st
boyfriends must have really hated that  about
you."
HER: "I'm a model."
YOU:  "Do a lot of people ask you if you are a
model?"
HER: "Yes, all  the time."
YOU: "I think they were just being polite."
"I just not i c ed.. .your nose moves when you
speak... haaaa, it's so  cut e ." (Pointing and being
cute.)  " L o ok there it goes again ... it's so ...
qua int . .. heee looky"
YOU take a gum out  a nd offer it to the target.
HER:  "No  thanks.  I 'm drinking beer."
YOU: "I know. Take  t he gum."
If She's Older
If your target says, "You are so young", this is an
I O I.  D o n 't excuse yourself for being young like
chumps do — only  someone trying to get the girl
would do that. Simply reply cynically, "Yeah I
noticed ...  p o or you." Remember to convey your
playful teasing attitude.
"Take a quiet  m o m e nt to get over this age thing.
I'll wait."
T h e  M y s t e r y  M e t h o d
101 T y p es  of Ne gs
T he  f i r st sort of  n eg  is  the shotgun neg, wh i ch  is  an  i n n o c u o us  s t a t eme nt  that
w o u ld only be  u t t e r ed by a sincerely di s int e r e s t ed  p e r s o n.  I t 's an indicator of
disinterest. Of  c o u r s e, it's  n ot  that  y ou dislike her;  n ot  at all.  I t 's just  that  y ou
h a d n 't  c o n s i d e r ed  h er a pot ent i al  r oma n t ic  or sexual  p a r t n e r.  T h is  I O D
diminishes  h er sexual  p o w er  a nd di s a rms her pe er  g r o u p.  T he  p o w er  of  t he
s h o t g un  n eg is in its  a p p a r e nt sincerity. She'll hone s t ly believe  that you  a r e n 't
trying to  imp r e ss he r. Then she wonders why...
T he simplest  e x amp le of this  is pulling  o ut a tissue  a nd  b l owi ng  y o ur  n o s e. She'll
sincerely believe  that you  a r e n 't trying  to  impr e ss he r; (otherwise you  w o u ld never
b l ow your  n o se  in front of her.)  It  w o n 't  even  o c c ur  to  h er  t h at  i t 's really just a
rus e.  S h o t g un  n e gs are useful for  conveying a not-needy  a t t i tude — wh i ch is a
d emo n s t r a t i on  of higher value.  T h us  in  o ne stroke  y ou indicate disinterest, di s a rm
obstacles,  a nd  c r e a te  a t t r a c t ion. "Nice nails, are they real?"
C o n t r a st this  w i th the tease neg.  T e a s i ng conveys a cocky, playful attitude.  I t 's
n ot perceived  as  i n a d v e r t e n t,  b ut  r a ther  as deliberate  f l i r t ing  (but  d o ne properly.)
E x a m p l es of  this are "pull my finger," "You can dress her up, but you can't take her
anywhere,"
'
Don't make me come down there," etc.
W h en  y ou call  h er a dork,  y o ur cocky, playful, fun attitude  s h ows confidence,
takes  cha rge,  a nd makes  t i l ings fun.  T e a s i ng stimulates her  e m o t i o ns  and  is useful
as a  D H V  d u r i ng  A 2. She  m ay non-respond (IOD) to this tactic if  she is trying
to freeze you  o u t.
A n o t h er  form of  n eg  is  t he sniper neg. An  example of this  is  h i n t i ng  to  h er  that
she has a  b o o g e r, eye crusties, a sweat}" pa lm, or  that  she just spit on you.  T he
idea is to make  h er hone s t ly believe  t h at  she  h as  p e r f o rmed a demonstration of
lower value (DLV).  T h is ma k es her self-conscious  a nd creates a situation  w h e re
she  is  t he  o ne  w o n d e r i ng  w h e t h er or  n ot you  h a ve a  g o od  i m p r e s s i on of her.
Y ou  c an follow this up by  l o o k i ng away, or  d r o p p i ng  the  c o n v e r s a t i on for a
m o m e n t, or  s o me  o t h er  I O D. Why? Her embarrassment makes her vulnerable. By
indicating  even a slight disinterest us ing subtleties in  y o ur  b o dy language, you  c an
create  in  h er a powe r ful desire  to  w in  approval  and validation. After us ing a
sniper neg, try a compliance test  s u ch as a kiss or  s o me  o t h er escalation,  a nd
not i ce  h ow  m u ch easier  it  is  to get  compl i anc e.
T h e  M y s t e r y  M e t h o d -
1 02 - Is that a wig? Oh...well it looks nice anyway.
- I think your hair would look better [up / down].
-- What do you call that hairstyle, the waffle? *smile'
- You have eye
crusties.
- You blink a lot.
- How cute! Your
nose wiggles when
you talk!
You kinda have man hands.
When negging, it's important that
you come off sincere - she
shouldn't perceive that you are
reaction-seeking or that you are
trying to make her feel bad in any
way.
Many negs resemble
compliments. It seems like you
are trying to be nice but It has the
result of making her more
self-conscious.
We want her to believe that she
hasn't yet won us over...but we
don't want her to catch on that it
is deliberate. It must seem
inadvertent.
- You talk a lot.
-- [Motion to her nose as if you are
surreptitiously warning her that a
booger is dangling from it.]
-- Eww, you spit on
me!
Nice nails...are they real?
Oh...well they look nice
anyway.
--I like that skirt. Those are really popular
these days.
--I like that skirt. I just saw a girl wearing
rt a few minutes ago.
Those shoes look really comfortable.
--Hello, I'm talking, geez.
-- Hello, it's private, geez.
-- Excuse me I'm showing
HER the pictures not YOU
geez.
-- Excuse me, may I finish
my sentence?
-- Eww your palms are
sweaty.
-- You have some lint on
your shirt.
- U h , it's TOO EARLY in
our relationship for you to
be (whatever she's doing.)
- Is that your natural color?
(yes) Huh...well it's not bad.
(no) So you changed it to
that?
- You remind me of my
Aunt Minnie.
- You remind me of that
movie star....Woody Allen
-- You sort of remind me of
that TV star.. Tori Spelling.
--I like your look. Beauty is
common, but you seem like
you have more character.
-- Is she always like this?
- How do you guys hang with this girl?
- Geez, you must have driven your parents
crazy.
-- Solipsistic ego queen!
- Where's your off button?
-- I can already  tel l, you and I are NOT
gonna get along.
--1 know you like I know a hole in the wall.
Here's you. Here's a hole in the wall.
Same thing.
- I'm not boyfriend material You need a
guy who will buy you flowers and be really
nice to you. That guy over there looks
perfect for you.
-- (Loudly) Lady, I'm not going to make out
with you!
T h e  M y s t e r y  M e t h o d
1 03 Demo n s t r a t i on of Higher  V a l ue  (DHV)
Anything you  c an do  that  conveys  h i g h er survival  a nd  r epl i c a t ion value  is a
DHV.  F or  exampl e,  if you  o p en a set  a nd you  a l r e ady have  t wo girls wi th you,
you  h a ve  d e m o n s t r a t ed pre-selection,  w h i ch is a  D H V. When girls see that other
gi r ls have pr e - s e l e c t ed you,  they feel  m o re  a t t r a c t ed  to you  as a result.
If a  w o m an di s cove rs  that you  h a ve a  l ot of mo n e y,  it  is a  D H V. She will  f ind you
m o re attractive, all  o t h er factors be ing  t he same.  B ut  if  she pe r c e ives  that you  a re
trying to impress her wi th  y o ur mo n e y,  s he will  t h en lose  a t t r a c t ion.  T h is is be c ause
only  lowe r -va lue  p e o p le try to  i m p r e ss —  such behavior is  k n o wn as a
demonstration of LOWER value, or DLV. If you are trying to  imp r e s s,  y ou
mu st  be  of  l ower status  a nd  t h us una t t r a c t ive.
If a  w o m an sees  that you  h a ve a  l ot of social proof from  g ami ng  t he  r o o m, she wi ll
feel more attracted to you, be c ause social  p r o of is a  D H V. If,  h owe v e r,  she sees  that
you are socially  u n awa re  and inept,  t h en  it  is a DLV.  W h en  y ou  D L V,  it lowers
h er  p e r c e p t i on of  y o ur S  and R va lue, wh i ch ma k es  h er feel emotionally less
attracted.
Telling stories  t h at  a re fun, interesting,  and emotionally relevant,  d emo n s t r a t es
social skill,  w h i ch is a  D H V. A story  c an also be  s t ruc tur ed to  convey specific
characteristics in the subtext, allowing  y ou to surreptitiously flip  a t t r a c t ion
switches.
Ne g g i ng is also a  D H V, be c ause only a  h i gh value guy  w o u ld talk to her like that,
and  s e em sincere.  Y ou  m u st already  h a ve gi r ls  if you talk  in  s u ch a way.
Some  D H V s:
o Pr e - s e l e c t ion  f rom  o t h er  w o m en
o  L e a d er  of  m en
o Suppor t er  a nd  p r o t e c t or of
t h o se  c lose  to  y ou
o Being  n o t - n e e dy
o Being unaffected
o Social intelligence
o Ne g g i ng  h er (This  I OD  is a
D H V a l s o .)
o Ha v i ng a  s t r o ng frame
o  B e i ng  int e r e s t ing  a nd fun
o  H u m or  a nd  o t h er  emot ional
stimulation.
o  B e i ng socially  " in  d e m a n d" —  o t h er
people  a re seeking  y o ur  a t t ent ion
or validation; (alternately they  a re
paying  a t t ent ion  to  w h at you  a re
saying.)
o  C o n n e c t i ng conversationally
T h e  M y s t e r y  M e t h o d -
104 Group  T h e o ry
W o m en of quality  t e nd  to be  found  in  g r o u p s; they are rarely  if ever alone.  W h en
gi r ls  g et  toge the r, they engage  in a group- think mentality.  T h is  g r o u p t h i nk  is  d ue  to
the  s ame psychological  m e c h a n i sm  t h at causes pre —  s e l e c t ion — gi r ls  l o ok  to  e a ch
o t h er  to validate their choices  a nd feelings.  T h ey will  t o u ch  e a ch  o t h e r,  h o ld
h a n d s, wh i s p er tilings,  m o ve  a r o u nd  t he  v e n ue  toge the r,  go  to  t he  b a t h r o om
toge the r,  r e s cue  e a ch other  f rom aggressive guys or nice guy  los e r s,  and generally
take care of  e a ch  o t h e r.
Of t en  the nice guy waits for  the gi rl  to leave her  g r o up  so  t h at he  c an  c a t ch her
alone  a nd hit  on he r.  B ut  in  t he Mystery  M e t h o d, we  a p p r o a ch  t he  g r o up itself.
W o m en  t e nd  to  be  a t t r a c t ed  to  t he highe st value  m an  in  the ir social  cont ext.
Could it be possible to  t a k e over her group and become the highest-value
man in it?
O n ce  the set  is  o p e n,  y ou di s a rm  t he friends  w i th stories,  h u m or  and  o t h er
D H V s.  Y o u ' re interesting, fun,  and  emot iona l ly relevant.  In fact you  even steal
the spotlight  away  f rom the hot t ie  (who is  t he target.)
Y ou further  d i s a rm  the friends by negging  t he target. All  t h o se  o t h er  p r e d a t o ry
guys tried  to  o p en by giving her  I O Is  a nd offering  to buy  h er a dr ink — they  a re
so  t r anspa r ent.  B ut  y ou negged her,  t u r n ed your back,  a nd  c o n t i n u ed telling your
story.  T he friends  d o n 't perceive  a ny  thr e at —  they' re disarmed. But
u n b e k n o w n st  to  t h em,  t he negs  h a ve  m t r o d u c ed a sexual  t e n s i on  b e twe en  y ou
and the target.
T h e  M y s t e r y  M e t h o d
1 05 B e c a u se  h er  f r i e n ds  l o ve  y o u,  h er  g r o up  t h i nk  m e n t a l i ty  n ow  w o r ks  in  y o ur  f a v o r.
Y o u  h a ve  t he  s o c i al  p r o of  of  h er  p e er  g r o u p.  H e r  s e l f - e s t e em  is a  l i t t le  l o w e r ed
f r om  t he  n e g s,  a n d  s he  w a n ts  s o me  m o r e  a t t e n t i on  f r om  y o u,  t he life  of  t he  p a r ty
—  t he  g ay  w h o  s o r t - of  p u s h ed  h er  o u t  of  t he  s p o t l i g ht  of  h er  o wn  c i r c le  of
f r i e n d s.  S he  b e g i ns  to give  y ou  I O I s,  a n d  s he  b e g i ns  to  w o r k  f or  y o ur  a p p r o v al
a nd  v a l i d a t i o n.  If  y ou  c an  c o n s i s t e n t ly  c r e a te  r e a c t i o ns  l i ke  t h i s,  y ou  h a ve
m a s t e r ed  A 2.
B a s ic  g r o up  t h e o ry  o p e r a t es  on a  c o m b i n a t i on  of  t wo  D H V s:
1)  T h e  S o c i al  P r o of  t h at  is  g e n e r a t ed  by  t a k i ng  o v er  t he  g r o u p.
P e r s o n a l i ty  t r a i ts  a re  a l so  d e m o n s t r a t ed  to  t he  g r o u p,  a nd  t h us
o b l i q u e ly  to  t he  t a r g e t.
2)  T h e ability  of  t he  n eg  n o t  o n ly  to  c o n v ey  h i g h er  v a l u e,  b ut  a l so  to
s i m u l t a n e o u s ly  d i s a rm  t he  o b s t a c l e s,  r e m o ve  t he  t a r g e t 's  s e x u al  p o w e r,
a nd  m o t i v a te  h er  to  c h a se  a f t er  y ou  to  g et  it  b a c k.
What are some interesting things to  t a lk about in set?
• Talk  a b o ut  E SP  a nd its impossibility
• Talk  a b o ut  h ow  y ou  m et a  b e ar while
hiking
• Talk  a b o ut  h ow  y ou we re scared
shitless  r o ck  c l imbing  w h en  y o ur
r o pe  s n a p p ed
• Or  the time  y ou  a c compani ed  y o ur
friend to visit a girl  a nd  y o ur  b u d dy
was  a lmost  b e a t en  to death  w h en  t he
girl he visited  h ad a boyfriend  w ho
came  o ut  a nd  the re was a  twenty
•
mi n u te car  cha se  t h r o u gh lights  a nd
y ou we re  l o o k i ng for  t he  c o ps  b ut
lost the  c r a z ed boyfriend before  y ou
found  c o ps
• Or  t he  t ime  y ou  w e re  in  t he hospi t al
a nd  it  c h a n g ed  the way food tastes
•  T he way birds  s o u nd clearer  n ow
• Or  the  t ime  y ou  h a c k ed  i n to a  b a nk
b ut  chi ckened  o ut  a nd  p ut  t he  m o n ey
into a charity
•  T he  t ime  y ou lived with four girls  a nd
w h en  they all  h ad PMS  the re was a
giant food fight
• Or talk  a b o ut  t he  f amo us  p e r s on  y ou
m et
•  D o es  she believe  in ghos t s? Wh y?
•  Y ou like candles  a nd  inc ens e.  w h at
d o es she like?
•  T he  ant farm  y ou  b o u g ht for  y o ur
ni e ce  a nd  w h at  y ou  l e a rned from  t he
experience
•  T a lk  a b o ut  t he  t ime  y ou we re  on
stage.
• Talk  a b o ut  the  t i me  y ou bl aded  d o wn
a  s t e ep hill  a nd  survived
T h e  M y s t e r y  M e t h o d
106 Mul t iple Conversat ional  T h r e a ds
D u r i ng a  conve r s a t ion, especially  b e twe en  p e o p le  w ho are already  a cqua int ed
wi th  o ne  a n o t h e r, various  conve r s a t ional  thr e ads will  c o me  u p. We  m i g ht talk
a b o ut  the we a t h e r,  o ur families,  w h at we  d id last night, va r ious phi losophi c al
topi cs or  c u r r e nt  event s,  e t c .. .as  the  c o n v e r s a t i on progr e s s e s,  c e r t a in  thr e ads  m ay
be revisited  or  c o me  up periodically.
B ut  p e o p le  w ho are  n ot  as we l l - a cqua int ed often find  c omf o rt  in a  t h r e ad  that has
situational  r e l evanc e,  and  e nd  up  s tuck  on  that  o ne  t h r e ad  u n t il  it eventually
pe t e rs out.  Ima g i ne a guy  is walking his  d og  in  the park,  and he me e ts a  w o m an
w ho  is doing  t he  s ame.  T h ey strike up a  conve r s a t ion:
Ma n:  " Oh hello,  is  t h at a  cocker  spani e l ?"
W o m a n:  " No actually,  h e 's a mu t t. I  g ot  h im  f rom  the  p o u nd a few years  ago.
H ow  a b o ut  y o u r s ?"
Ma n:  " S h e 's a bl a ck lab. I  s u p p o se  t h ey are ge t t ing on  r a t h er well  t h e n,  a r e n 't
t h e y ?"
Woma n:  "Ye s, yes  they are,  d o gs are  funny.
Ma n:  " So  h a ve  y ou  h ad  h im for long.-'"
W o m a n:  " Oh I  d o n 't  k n ow,  a b o ut  t h r ee ye a r s ."
Ma n:  " S o .. .so  w h at sort  of  d og  f o od  do you feed  h i m ?"
N o t i ce  h ow  the  m an  is gr a sping for straws  n ow? He was successfully  int e r a c t ing
wi th  t he  w o m an  on this  d og  t h r e a d,  b ut  he  c o u l d n 't  t h i nk  of  a n o t h er  t h r e ad wi th
situational relevance  in  o r d er  to  c o n t i n ue  t he  conve r s a t ion.  So  he  w e nt ba ck  to
t he  d og  t h r e ad again  a nd  it  s t a r t ed  to  b e c o me  r a ther  o b v i o us  that  t he
conve r s a t ion  w i th  t he  w o m an  is  i m p o r t a nt  to  h im —  he  " d o e s n 't wa nt  to screw
this  u p ."  T h is  is especially  t e l egr aphed by his  o v e r - u se of que s t ions  d i n i ng
conve r s a t ion.
T h e  M y s t e r y  M e t h o d
107 By betraying  t he  w o m a n 's  i m p o r t a n ce  to  h im,  t he  m an  l owe rs his value  in  h er
eyes. She will  f i nd  h im less attractive  a nd will behave accordingly.  If he ge ts a  l ot
of girls, he  w o n 't care  it tilings  w o rk  o ut  w i th he r.  B ut he  c a r es —  the r e fore he
mu st  n ot  g et  m a ny girls. The r e fore  he  m u st  be a low-value guy.  H is  D LV has
s u nk  the set.
P e o p le  w ho  a re well-acquainted  w i th  o ne  a n o t h er  t e nd  to use multiple
conversational  t h r e a ds while talking, whe r e as  p e o p le  w ho  a r e n 't  as wellacquainted  c an  g et  s tuck on a single  t h r e a d, followed by a pol i te  e nd  to  t he
conve r s a t ion.
By introducing multiple conversational threads into your set, you can
create a strong feeling of familiarity in the set, as if you are already all old
friends.
In  the early  p a rt of a set,  w h en you  h a v e n 't yet  d emo n s t r a t ed  m u ch value, girls
w o n 't  be eager  to  c o n t r i b u te  m u ch effort  to  c o n t i n ue  t he set.  Y ou mu st  be able  to
cont r ibute  n i n e ty  p e r c e nt of  the  c o n v e r s a t i on or  it will  the.
O v er time  as  a t t r a c t ion  is created,  y ou  c an  t h en  u se this  a t t r a c t ion  to bait  the gi rl
i n to  m o re pa r t i c ipa t ion  and  i n v e s tme n t. But  even  t h en  y ou  m u st  be leading  the
int e r a c t ion  and  k e e p i ng  h er stimulated.  T h us  i t 's extremely  i m p o r t a nt  that  y ou  be
able  to talk talk talk.  L e a rn  to always  h a ve  s ome t h i ng  to talk  about.  G et  i n to a
talkative  m o od  a nd practice talking  to everyone,  n ot just  h ot girls.  I n t r o d u ce
several different  rout ines  and  j ump  b a ck  a nd  for th  b e twe en  them  ins t e ad of
r u n n i ng them linearly.
N o t i ce  h ow logistical  p r o b l e ms  s e em  to disappear  w h en you  k e ep  the target's
cons c ious  m i nd oc cupi ed wi th  y o ur  conve r s a t ional  thr e ads.  Y o u ' ve always  g ot a
t h r e ad  to  go  b a ck  t o. Wh e r e as  y o ur set  c an  sour quickly  w h en  t h e re  a re  t oo ma ny
u n c omf o r t a b le  p a u s e s, or  if  it suddenly appears like  y ou are gr a sping  at straws  to
k e ep the  i n t e r a c t i on alive.
T he Elvis Bit
"Oh, oh, get this! Did you know ... that Elvis Presley died his hair black? Guess what
his real hair color was? Really, guess. No!!!!! It was dirty blond!  I sn't that weird?"
T h e  M y s t e r y  M e t h o d
108 Cutting Threads
Some t imes a  t h r e ad is  n ot useful. A girl may start talking  a b o ut  s ome t h i ng  that
makes her feel  b o r e d, or feel sad, or  t h i nk  a b o ut  h er boyfriend, etc.  F or wh a t e v er
r e a s o n,  it  is  m o re useful  to you  to  c ut  the  t h r e ad  t h an  it  w o u ld  be  to  c o n t i n ue
talking  a b o ut it.  W h en this  h a p p e n s, simply CUT the thread.
Her:  "Ye ah  so every time I  h e ar  a b o ut  that  t e am be ing  in  t he playoffs,  it makes
me  think  of  h i m ."
Yo u:  "Let me  s ee your  h a n d s ." [Begin the Kino Test]
Just  compl e t e ly  c ut her  t h r e ad  a nd  r epl a ce  it wi th a  n ew  t h r e ad  of your  own. Of
cour se this  d o e s n 't me an  that you  n e ed  to  b e c o me Mister  I n t e r r u p t i ng  G uy  w ho
is  cons t ant ly  i n t e r r u p t i ng or refusing  to  addr e ss  t he issue.  J u st  r e cogni ze  that
w h en  it  is useful  to  y o u, you  c an  c ut a  thr e ad,  i n t r o d u ce a  n ew  thr e ad  to replace it,
and this tactic will work. In fact,  n ot only will it wo r k,  b ut  she will find you  m o re
attractive as a result, since it  d emo n s t r a t es  that you  h a ve a strong frame.
Some t imes  it  c an  h a p p en  that  o ne of  y o ur own  thr e ads  is  n ot useful  anymor e.  F or
example,  if  o ne of her friends has |ust  joined  the set  in  the middle of your  thr e ad,
this can be  awkwa rd.  If  y ou finish  the story,  t he friend will be  b o r ed be c ause  she
has no idea what you' re talking  about.  B ut  if you start oyer  f rom  the beginning,
n ow  the target  is  b o r ed because  she has already  h e a rd this be for e;  and by  the time
you get  to  t he  e nd  it  h as  b e c o me anticlimactic.
Just cut your  o wn  t h r e ad  a nd  i n t r o d u ce a  n ew  o n e:
Yo u:  " . . . So  I 'm halfway  b a ck  to  t he  h o u s e,  a nd  the r e 's only  t h r ee mi n u t es left,
and I not i ce  t he  c an  is starting  to leak  .. . "
[Her friend arrives and the girls immediately face each other and start signaling each other.]
Yo u:  ' I n t r o d u ce me  to  y o ur friend; it's  t he pol i te  t h i ng  to  d o ."
[Introductions occur. As you shake her hand, neg the target]
Yo u: [new thread addressed to the friend]  " So tell  m e, do you believe in spells?  G et
this, [spells routine]"
O h,  and  d o n 't  t ry  to  go ba ck  to  y o ur original  t h r e ad later.  I t 's try-hard.
T h e  M y s t e r y  M e t h o d
109 Of t en  if you  do  n ot lead  t he  c o n v e r s a t i on  by actively  c u t t i ng bad  thr e ads  a nd
int roduc ing  g o od  thr e ads,  a nd  if you  ins t e ad delegate  this responsibility  to  the girl,
t h en  she will allow  the  conve r s a t ion  to get  b o r i ng  a nd  t h en  s he will bl ame  y ou
and  think of  y ou  as a  b o r i ng guy. So do  it right  a nd  m a ke  it  h a p p e n, be c ause she
won't.
"So how do you all know  each other?"
T he line  " So  h ow do  y ou all  k n ow  e a ch  o t h e r ?"  is a  r a t h er crucial  o n e. (If  the set
is a  b o y / g i rl  two- s e t, try asking  " So how  l o ng  h a ve you guys  b e en together?")
Be c ause this  q u e s t i on is a piece  that  m u st  o c c ur in every set, it is said to be a
waypoint in the  g ame.
I t 's a ha rml e s s,  r e a sonabl e, sociable que s t ion. It gene r a t es  conve r s a t ion and
p r o v i d es  the venus i an artist wi th  o o d l es of useful  i n f o rma t i o n.  F or  exampl e,  if
t he set consists  of  two girls,  a nd you ask,  " So  h ow  do you guys  k n ow each
o t h e r ?"  I t 's pos s ible  t h at  o ne  of  t h em will say,  " O h,  she 's my boyfriend's sister."
T he  i m p o r t a nt  i n f o rma t i on  i s n 't  the existence of a boyfriend.  If  y o ur  g a me  is
tight, girls will  che at on their boyfriends at  the  d r op of a hat. Rather, the
i m p o r t a nt  i n f o rma t i on  is  t h at  she  is  p r o b a b ly  n ot going  to  c h e at  on  h er boyfriend
in front of his sister,  w ho  is  s t anding  r i g ht he r e.
"So how do you all know each other?" mi g ht also reveal that  the  g r o up consists of  c owo r k e r s, or  that  t he guy  y ou  t h o u g ht was a  thr e at was actually  y o ur target's
brothe r. (Lucky  y ou we re  d o i ng Mystery  M e t h od  a nd befriended  h im  in  the first
place.)
Throw negs like pebbles
As  y ou  w e a ve  t he mu l t i p le  t h r e a ds  of  y o ur  c o n v e r s a t i o n,  o c c a s i o n a l ly  t he  t ime
will  c o me  to  p o p  o ut a  n e g.  W h en  this  h a p p e n s,  i t 's  i m p o r t a nt  t h at  y o ur  t a r g et
d o e s n 't  s ee  y ou  w a t c h i ng for  h er  r e a c t i o n.  If  y ou  a re  t rying  to  g et a  r e a c t i on
o ut of  h e r, she won't perceive the neg as genuine and inadvertant, and thus it won't work.
F u r t h e r m o r e,  r e a c t i o n - s e e k i ng  b e h a v i or  is a  D L V.  A nd  w hy  w o u ld  y ou  w a nt
to  do  t h a t?
So  t o ss  y o ur  n eg like a  p e b b l e.  B e f o re  it  r e a c h es its  d e s t i n a t i o n,  y ou  h a ve
a l r e ady  t u r n ed  y o ur  h e ad  a nd  c o n t i n u ed  t he  c o n v e r s a t i o n. As far  as  she  c an
tell,  i t 's  n ot  s o m e t h i ng  t h at  y o u ' re still  t h i n k i ng  a b o u t,  or  g a ve  m u ch  t h o u g ht
to  in  t he first  p l a c e.
T h e  M y s t e r y  M e t h o d
110 T he  S p e l ls  R o u t i ne
By Style
Hey guys, I want to get your opinion on something.
Do you think spells work?
I know, it's a strange question. But I have a reason for asking.
Let me just get your opinions then I'll tell you.
Our friend, he's not out with us tonight, because he's with this
girl...
We met her at a party last weekend, and she said she's a
witch. So...they ended up going home together, and made
out, but nothing more happened and he passed out on the
couch. He said she wasn't really his type after all.
When he woke up, he found this tiny scroll of parchment tied
with a leather string with a feather stuck in it. There were
weird markings inside.
So we happened to be down at this esoteric shop the next
day, cause I like to get candles, and we asked the proprietor
what he thinks of this little scroll. You know, this is one of
those guys with tattoos all over his face and stuff.
Anyway, he says, "Oh that's a love spell."
So the strangest thing is, ever since then, I never see my
friend anymore. He's always hanging out with this girl, twentyfour seven. He says he's in love with her. So do you think its
magic or just psychology?
T h e  M y s t e r y  M e t h o d
111 Winging
The Wing Rules
1)  He  w h o  o p e ns  t he  s e t, OWNS  t he  s e t.  He ge ts first  c h o i ce  of  t a r g e t.
2)  T he  p r i m a ry  p u r p o se  of  t he  w i ng  is  to  h e lp  t he  p l a y er  g et  h is
t a r g e t.  If  t he  w i ng  c an  a l so  g a me  up his  o wn  t a r g et  f r om  t he  g r o u p,
f i n e.  B ut  t h at  is  n ot his first  p r i o r i t y.
3)  D o n 't  e v er  s t e al  t he  t a r g e t.  S o m e t i m es  t he  p l a y er  is  i g n o r i ng  or
n e g g i ng his  t a r g et whi le  w o r k i ng  t he  g r o u p.  It  w o u ld  be really easy  to
go  i n to  h is set  at  this  p o i nt  a nd give  a t t e n t i on  to  t he  t a r g et —  d o n 't  do it!
4)  T he  w i ng  s h o u ld  o c c u py  t he  o b s t a c l es  so  t h at  t he  p l a y er  g e ts  m o re
t i me  o n e - o n - o ne  w i th his  t a r g e t.
5)  A l w a ys  a g r ee  w i th  y o ur  w i n g.  N e v er  t ake  t he girls' side  o v er  h i m.  He
is always  r i g h t.
6)  Y o ur  w i n g  is a  g r e at  g u y, a  c o ol  g u y.  T h at  is  w hy  y ou  h a ng  o ut  w i th
h im. Af t er all,  y ou  h a ve  h i gh  s t a n d a r d s.
7)  Y o ur  w i n g 's  f e e l i n gs are  i m p o r t a nt  to  y o u,  e v en  m o re  i m p o r t a nt
t h an  t he  g i r l 's  f e e l i n g s.  If  he  a p p r o a c h es  y o ur  s e t,  y ou will  t u rn  to
face  h i m.  (Gi r ls  do  t he  s a me  w i th  the ir friends.)  If  y ou  d i s r e s p e ct  y o ur
w i n g,  it will  l o w er your  v a l ue  to  t he girls!  N e v er  l e a ve  h im  s t a n d i ng
a r o u nd  w i t h o ut  a c k n o w l e d g i ng  a n d / or  i n t r o d u c i ng  h i m.
Entering a Set as a Wing - Style's Method
The "Were you guys just talking  a b o u t . .. " method
•  T he  P l a y er  h as  o p e n ed a  s et  a nd  h as  h ad  e n o u gh  t ime  to  p a ss  t he social
h o ok  p o i n t.  T he  W i ng  a p p r o a c h es  t he Player.
•  P l a y er faces  W i ng  a nd  g r e e ts  h i m.
•  P l a y er  t h en says,  " H ey guys,  t h is  is my friend  W i n g ."
•  W i ng  s ays,  " O h,  w e re  y ou  g u ys just  t a l k i ng  a b o u t . . . "
•  P l a y er  s ays,  " . .  .Ye ah  w h en  t h at gi rl  c a st a spell  on  A a r o n . . . "
Conversation continues from this point. Wing is now in the set.
T h e  M y s t e r y  M e t h o d
1 12 Conversation continues from this point. Wing is now in the set.
Entering a Set as a Wing - Standard Method by  T o e c u t t er
The "Have you seen Michelle?" method
•  T he  P l a y er  h as  o p e n ed a  s et  a nd  h as  h ad  e n o u gh  t i me  to  p a ss  t he
social  h o ok  p o i n t.  T he  W i ng  a p p r o a c h es  t he Pl aye r.
•  P l a y er faces  W i ng  a nd  g r e e ts  h i m.
•  W i ng says,  " H ey  m a n,  h a ve  y ou  s e en Mi che l l e ?"
•  P l a y er  s ays,  " N o p e, sorry*  m a n ."
•  W i ng says,  " I 'm  g o i ng  to  go  f ind  h e r ."
•  W i ng  t u r ns  to leave  a nd  s t a r ts  w a l k i ng away.
•  P l a y er  i n t e r r u p t s,  g r a bs  W i n g 's  a rm  a nd  p u l ls  h im  b a ck  i n to set.
Notice that at this point, the player has the option NOT to pull the
wing back into the set. It's the player's choice what happens here.
•  P l a y er  s ays,  " H ey wa it  m a n,  y ou  s h o u ld  m e et  t h e se gi r l s.  T h e se
girls  a re  p r e t ty  c o o l ."
•  W i ng says,  " C o o l,  h ow  do  y ou  g u ys  k n ow  P l a y e r ?'
• Gi r ls say,  " We just  m et  h i m,  j u st  n o w ."
•  W i ng says,  " C o o l.  G et  t h i s.  L a st  w e e k e n d ," [Wing goes into routine]
At some point soon the player is talking to one girl while the wing is
talking to the other girl. Now they have split the set and can go into
A3.
Entering a Set as a Wing - Mystery's  T a ke
The Accomplishment Intro
•  T he  P l a y er  h as  o p e n ed a  s et  a nd  h as  h ad  e n o u gh  t ime  to  p a ss  t he
social  h o ok  p o i n t.  T he  W i ng  a p p r o a c h es  t he Pl aye r.
• Pl ayer faces  W i ng  a nd  g r e e ts  h i m.
•  P l a y er  t h en says,  " H ey guys,  t h is  is my friend  W i n g,  h e ' s . . . "
o "...a good friend of mine,"
o "...a local musician here in town, the band is really good,"
o ".. .one of the smartest guys I know."
•  W i ng says,  " N i ce  to  m e et  y ou  g u y s ."
T h e  M y s t e r y  M e t h o d
1 13 T HE  A C C O M P L I S H M E NT  I N T RO
"He 's  t he  g uy  w ho <fill  in  b l a n k > ."
G et  y o ur  w i ng  to  i n t r o d u ce you  by  n a me and accomplishment
EG: Style says,  " T h is  is Mystery,  E r ik  v on Markovik,  the guy  w ho levitated over
Ni aga ra Falls. He was  on  t he  R o s e a n ne  S h ow."
And if I have my autograph book with me, this is who I am.
E G: Mystery says,  " I 'd like  to  i n t r o d u ce  y ou  to  A n a n d o. He 's  t he guy  they wr o te
a b o ut  w ho  h a c k ed  i n to  the powe r -gr id  a nd  t u r n ed California  o ff for 6  h o u r s.
E G: Mad  D a sh says,  "This  is Chr is  P owl e s.  H e 's  t he  g uy  w ho  sucked off six
h u n d r ed  m en  in  o ne  h o u r. I was  o ne  of  ' em."
T h is is  the Accomplishment Introduction.  W h a t 's  f u n ny  i s, if you talk  a b o ut
vourself, its  t o o t i ng  y o ur  o wn  h o r n. But if your wing  d o es it,  the girls believe it. All
y ou  n e ed  is  s o me  m i n or proof. An article  p h o t o c o p i ed  to sign for  t h em, a  c o mp
card with your  p i c t u re on  it  to leave  w i th  t h em.
Y ou  d o n 't  h a ve  to be what you do.  Y ou just  h a ve  to  convey  an accomplishment.
Make  it bigger  t h an life.  A nd  if you  d o n 't  w a nt  to lie, make  it true.
"This  is Chuck.  H e 's a broke r ." Bor ing.
"This  is  B e n d e r.  H e 's  t he lead singer of this  awe s ome  b a nd called Ra z o r.  T h ey
just  g ot  on  t he  c h a r t s ." Respect.
W h at  is  y o ur  g r e at  a c c o m p l i s h m e n t? (Real  or imagined.)  Y on  c an  h a ve  m o re
t h an  o ne  and enjoy flipping from  o ne  to  anothe r. Aga in, you  c a n 't  t o ot  y o ur  o wn
h o rn  b ut  y o ur wing can. Write  y o ur accomplishment  i n t ro for your wing  to us e.
It only makes him  appe ar  c o ol  t oo  to be hanging with a  m an of said
a c c omp l i s hme n t.
W h at wo u ld  y ou  do wi th your life  if  y ou had  no  chance  of failure?  W h at  is  y o ur
dr e am?  W h at  do you hone s t ly  w a nt  to  b e c o m e?  T h i nk big  be big.
It's a powerful dynamic when you and your wing can run stories about
each other.
T h e  M y s t e r y  M e t h o d
114 T he  G a n d hi  B it
D id  y ou  k n ow  G a n d hi was a lawyer?
D id  y ou  k n ow  he was from  E n g l a n d?
D id  y ou  k n ow  he was  h u ng like a
hor s e?
A hint for telling stones:
The shorter it is, the
earlier you can use it
S t o r y t e l l i ng
W h en you tell a story, it  d o e s n 't have to be explicitly  impr e s s ive. In fact,  i t 's be t t er
if it's  n ot  s o me  ama z ing story;  y ou  d o n 't  w a nt  t he target  to  t h i nk  y o u ' re trying  to
impr e ss he r. As  l o ng  as  t he  s tory  is fun, interesting,  a nd  m o st importantly
captures  the  a t t e n t i on of her  g r o u p,  t h en  it  is fine.  T h e se sorts of stories are  m o st
c o n g r u e nt  if  t h ey  a re  s omewh at  t rue  a nd ba s ed  on  events  f rom  y o ur  o wn life.
W h en  it  is  p o s s i b le  to  convey traits  t h at will flip  a t t r a c t ion switches, wi t h o ut
ma k i ng  it  o b v i o us  t h at  y ou are  d o i ng  so deliberately,  it  is a  D H V  and generates
attraction.  F or  e x amp l e, in a story, it is pos s ible to flip the leader of men  a t t r a c t ion
switch by  c o n g r u e n t ly  adding  s ome t h i ng like:  " . . . so I told  h im I  h a ve no choice,
it's my little sister. So he  jumps  in  the  c a r, cause you  k n ow my friends are  the re
for me  o n e - h u n d r ed pe r c ent,  a nd  I 'm  t he same way  f or  t h em,  t h a t 's just  h ow we
a r e . . . " Similarly, the preselection switch  and  o t h er switches can be flipped in this
m a n n er also.
De s c r i be  in  t e r ms  of  s e n s a t i on  a nd  e m o t i on
W h en telling stories,  m en  t e nd  to  focus  on  t he facts  at  h a n d, wh e r e as  w o m en
l o ok for  t he  s ens a t ion  and  e m o t i on  c aus ed by  t he  expe r i enc e. Structure your
language  to take this  i n to  a c count.  E x a m p l e:
B a d:  T h is guy  g r a b b ed my  a s s, can you believe  tha t? I  l o o k ed like  an idiot.
G o o d:  T h en I felt a  s t r o ng  h a nd caress my ass  and gr ip  it  t ight ly. I  t u r n ed
a r o u n d,  a nd  t h e re was this  m an with a  h a n d l e b ar mu s t a c he smiling suggestively  at
m e. All  the girls started laughing. I  h a ve  n e v e r .. .felt so  s u r p r i s e d ..  . a nd
emb a r r a s s e d ..  . in my entire life!
N o t i ce  h ow  t he  a b o ve  s tory  s egment conveys  the  e m o t i o ns  of surprise  a nd
emb a r r a s sme nt —  b o th of which are useful dur ing a story.  T h r ee or four story
s egments like  this  p ut  toge ther  c an  l e ad  the listener  t h r o u gh a little  emo t i o n al
journey. Wi th skilled delivery, this is a  D H V,  even if it  d o e s n 't reveal  some valueraising factoid  a b o ut  y o ur lire.
T h e  M y s t e r y  M e t h o d
1 15 Story Theory
by Wi l d er  of  P i c k - Up 101
Telling stories to a group of people is  o ne of the best ways to generate attraction in
pick-up when  d o ne correctly.
Wh at follows  a re several tilings to consider wh en  choos ing  and crafting stones for
use in  the field during attraction phases. They're mo re guidelines  than ha rd and fast
rules, as YOU can break most of  them wh en you  k n ow what you're doing.
1. Story material. This is close to a no-brainer. Choose stories  that are interesting,
run and girl relevant! Usually these stories are funny. Use stories you tell often to
friends and  n ew people that get big laughs. Avoid stories  about distasteful
subjects such as death, car accidents, bad breakups, etc.
2. Be  s u c c i n c t. Write your  s tory  o ut  w o rd for wo rd and  then gut it.  G et rid of
everything  the listener doe sn't ne ed to  k n ow and doe sn't care  about. It's essential
that you're ruthless he r e. Better to  c ut  t oo  m u ch  than  too little. State the boring
but necessary details as succinctly as possible.
3.  L e ad  i n. This is  h ow you start the story.  T he lead in should be congruent with
the story to follow. Communicate — using words, tonality  a nd energy — the type
of story to follow. Some examples are,  " Oh my  G o d,  the funniest /craziest / weirdest
thing happened to me  the other day!" or "Did you guys ever notice whatever?" or
"You'll never believe this, check it out."
4. Initial hook. An initial  h o ok is  some thing that makes peoples' ears pe rk up. It
should be as close to the beginning of the story as possible  and should be
specifically  c h o s en to make people lean in  and pay attention. If your story is
about  some thing that happened to you at an S & M party,  p ut  that part up front!
Bad: My friend called me the other day  a nd left me a message to call him back. So I
called him and he went on and on  about his Mother's operation before finally telling
me  about this pa r ty he wanted to go to.  T u r ns out, it's an S & M party!
Good: So the oilier day I went to this S & M party!
5.  U n a n s w e r ed  q u e s t i o n s. Craft your story so  that there will be unanswered
questions in  the listener's mind. You want  t h em to ask you questions that give
you the opportunity to further increase your value.
T h e  M y s t e r y  M e t h o d
116 Example: So I was picking up my new car the other day and the salesman wouldn't
s top asking me  a b o ut my watch.  T he girl I was with finally told  h im we had to go so
she could pick up her instrument for a  conc e rt she was doing that night.
Unanswe r ed questions:
- What kind of car did you just buy?
- What kind of watch were you wearing?
-Are you rich?
- Who was the girl you were with?
- What kind of performance did she have to get to ?
6. Al l u d e,  d o n 't  s t a te di r e c t ly. In the examples above you're alluding. You're
alluding to  the fact that you have money, as you just bought a  n ew car  and have a
cool watch. You' re alluding to the fact that you hang  o ut wi th cool girls. Stated
directly, any of this information would  sound like bragging, so you allude to it.
Make them ask you  about it: don't volunteer it.
7.  C o n v ey  j s e r s o n a l i ty  t r a i t s. In telling a story, you're telling  s ome o ne a great deal
a b o ut yourself.  K n ow what personality traits you want to convey. Craft your
stones to subtly tell  someone that you're adventurous, rich, famous, creative,
courageous, etc. It shouldn't be discernable that you are conveying these traits
deliberately.
8. De l i v e r y. Tills is ha rd to  p ut in print,  b ut vary your tonality as widely as possible.
Talk slow,  then fast,  then low, then high  and then higher!  T he same story can be
told playfully, seductively or in a way that generates intrigue. Make transitions
smoothly  a nd tell  the story in a way that sucks your listener right in. Along with
this, act  o ut pa r ts of the story with your hands or your whole body. This doe sn't
me an get really excited and try-hard. It means use the expressiveness in your
delivery to create an experience for the listener.
9.  H a ve a  p u n ch  l i n e. A  p u n ch line is a line that sums up your story in a powerful
way. It's a way of letting the listener  k n ow that the story is over. It doesn't have
to be funny,  t h o u gh in many stories us ed in the field it will be.
Examples:
"That's  the last time I take  T H AT  d og to the beach!"
" F r om  n ow on I'm asking  to see girls'  IDs !"
"That was  the day I learned the true me aning of courage."
T h e  M y s t e r y  M e t h o d
1 17 Burning Man Story
T he Girls at Burning Alan are flacking crazy! So I met this girl at dinner  and we really
hit it off. We  spent the whole evening  toge ther  and she was great,  b ut something
seemed a little off. Anyway, she finally takes me back to her  t ent and it's really
romantic  and everything,  then afterwards we fall asleep in each othe r s' arms. In the
morning I kissed her on her forehead,  b ut she didn't wake up, So I left  and we nt to
my own tent, wh i ch was like twenty yards away, figuring I'd see  h er at breakfast.
But she's  n ot at breakfast.  A nd she's  n ot at lunch.  A nd she's  n ot at dinner. Finally
after dinner, I see her across  the space  a nd she comes right oyer to me with this
weird  look on her face. She puts her  h a nd on my chest, looks de ep  into my eyes and
says,  " Oh my  G o d. you're so hot, I have to me et you."
I  looked at her  and said, "Sarah, it's me."
T h en she gets this really weird look on  h er face  and says,  " H ow did you  k n ow my
name?!"
T h e  M y s t e r y  M e t h o d
1 18
i. Story  m a t e r i al —  B u r n i ng  M a n,
R o m a n c e, Sex
2.  Be  s u c c i n c t.
3.  L e ad in:  " T he Gi r ls  at  B u r n i ng
M an  a re  t u c k i ng crazy!"  I 'd say
this  a n i m a t ed  a nd playfully,  to
c o n v ey  t h at  t h e r e 's a  s t o ry
c o m i ng
4.  Ini t i al  h o o k: Crazy girls  at
B u r n i ng Man
5.  U n a n s w e r ed  q u e s t i o n s:
- What is Burning Man?
- Whafs Burning Man like?
- Are chicks always so attracted to you?
- What's wrong with this girl?
- What happened next with this girl?
6. Al l u d e,  d o n 't  s t a te directly.
T h is  s t o ry  a s s u m es  t h at I  am
p r e - s e l e c t ed  by girls  w i t h o ut
b r a g g i ng  a b o ut  i t,  w h i ch  is
m u ch  m o re  e f f e c t ive than
saying  "He y,  c h i c ks dig  m e . "
7.  C o n v ey  p e r s o n a l i ty  t r a i t s:
-I'm sexually open
- I'm adventurous
-I take things in stride
- I'm cool with weird and unusual
people and situations
8.  D e l i v e ry is key.
9.  P u n ch line:  " H ow  d id  y ou
k n ow my name?" Us i ng a  l o c k - in  p r op
Some t imes while  r u n n i ng  t he set, you  a re  in  t he middle of negging  and  ignor ing
the target —  and  s he just leaves. To  p r e v e nt  thi s,  lock her  in  u s i ng a  p r o p.  P ut your
feather boa  on  h e r,  or your hat. Or  h a nd her  y o ur  p h o t os  ( f or  y o ur photo routine)
and ask her  to  h o ld  t h em  f or a second.  N ow you  h a ve her locked in. At  s o me
p o i nt  in  the future you'll be able  to  c o n t i n ue wi th her,  even  if  she temporarily
wa n d e rs off.
T h is also  c r e a t es  t rus t.
By  s h owi ng  t h at  y ou
t rust  h er with  y o ur  p r o p,
which  she  c o u ld steal,
you also build  h er  t rust
in  y o u.
If  she starts  to  g et
restless, dangle  s o me
bait. Say  s o m e t h i ng like,
"I have  s o m e t h i ng really
c o ol I need  to  s h ow  y ou
in just a  s e c . . . "
Locking-ln
Ima g i ne a  two- s et is at  the bar.  T h e y ' re charting, surveying the  r o om  and sipping
on their drinks.  ( I t 's  n ot wise  to  o p en a  s et while  they are wa i t i ng  to  o r d er a drink,
tha t 's a recipe  for a  c o n s t a nt  s t r e am  or  int e r rupts  in Al  a nd  A 2. Wa it unt il  the
drinks are pa id  for  a nd are be ing  c o n s u m e d .)
W h en YOU  o p en this set,  the girls will  h a ve their backs to  t he ba r.  T h ey will see
the  ent i re  r o om behind you, over  y o ur shoulder. But  y ou will  s ee  n o t h i ng  exc ept
the bar behind  t h e m.  T h e re  is a slight  p o w er differential  in  y o ur pos i t ions. As
l o ng  as  they are  comfor t able  in their  s p ot on  t he bar,  a nd  y ou are  s l ight ly less
comfor t able  s t anding be fore them, giving them a superior line of sight,  t h en there
will be a leak of social  p o w er from YOU to  t he set.
Y ou  w a nt  to  t a ke  t h e ir  s p ot  at  t he  b a r.
T h e  M y s t e r y  M e t h o d
1 19 T h e  S p in  M a n e u v e r,  a d a p t ed  to  s t e al  h er  s p ot
1)  Y ou tell  o ne  of  t he girls,  " Go like  t h i s ."  A nd  h o ld your  h a nd  o ut  at  c h e st level
wi th the wr i st bent. This is a compliance test.
2)  If  s he defies  the test  a nd refuses  to  c o o p e r a t e, you  d i d n 't have  e n o u gh
attraction.  Do  an  I O D,  t h en a  D H V,  t h en give her  a n o t h er  compl i ance test.
As  y ou gain her compliance  t h r o u gh this proc e ss  y ou  c an eventually  c o me
ba ck  to this  l o ck  i n' ma n e u v er  a nd  c o n t i n ue  f rom  s t ep  3:
3)  If  she  compl i e s,  she will  h o ld her  h a nd  o ut  to  m a t ch your s.  T a ke her  h a nd
and say,  " N ow do a little  spin." This is another compliance test.
4)  If  she  c omp l i e s, spin  h er  a r o u nd  a nd  d u r i ng this proc e s s,  m o ve her  b o dy away
f rom  t he bar,  s t epping  i n to her  f o rmer  s p ot  N ow you  a re  l e aning against  t he
bar  in  t he  p o w er pos i t ion  ins t e ad  of  h e r,  a nd  she  is facing  y ou  w i th her ba ck
to  t he  r o o m.
5) With a  cocky  and playful  a t t i tude say,  " O h !" like  y ou just tricked her  and  she
totally fell  for it.  If you do  it right, she'll be laughing  a nd  s h e ll  p u n ch  y o ur  a rm
a nd call  y ou a jerk. Both girls will  a l so find you  m o re attractive.  R un  a n o t h er
r o u t i ne  to  k e ep their logical mi n ds oc cupi ed  a nd  c o n t i n ue stimulating  them
(A2.)
O n ce you  h a ve  l o c k ed yourself  i n to  t he set,  t he  p e r c e p t i on  in  t he  r o om shifts
180°.  N ow  the girls  s e em  to be all up on you,  ins t e ad of  the  o t h er way  a round.
I n s t e ad of me r e ly talking  to  the girls,  it  l o o ks like you own  t h e m.  T h is psychology
trick also affects the girls themselves.  S o on  y ou are leaning  b a ck against  t he bar
comfor t ably  a nd  y o ur target  is  s t anding  b e t w e en  y o ur legs while you  r un  the  k i no
test  or  r e ad  h er  p a lm.
Sometime during A2 you should he locked into your set
You want to he leaning hack against something while the
girls face you, with their hacks to the room. The whole room
should see you as the comfortable focal point of your group.
T h e  M y s t e r y  M e t h o d
120 R o l e - P l a y i ng
Playful role-plaving builds attraction.  Just  i n v e nt  s o me  c r a zy  s c ena r io  in  y o ur  h e ad
and de s c r ibe  it  to he r. Make  sure it's fun  a nd playful,  n ot heavy.
Mys t e ry:  ' Y ou  k n ow  w h at I wa n na  do  w i th you? ...  Y ou  a nd I are  g o n na  go  to
Gr e e ce ...  a nd  I ' ll dr e ss you up  in a toga  a nd we'll sell  h o t d o gs  at  t he  b e a c h ."
Some t imes  l i t t le bits of material like  this  a re preferable  to  l o n g er stories. Practice
h a v i ng  n o r m al  c o n v e r s a t i o n s,  b ut  t h en  p e p p e r i ng  in little  D H Vs such  as  t h e s e.
N ot only  is this useful  as  an  a t t r a c t ion  tool,  b ut  i t 's also useful  in  t he  c omf o rt
p h a s e,  w h e re it's useful  to create a feeling of  sha r ed conspiracy.
Styl e:  ' Y ou  k n ow  w h at I wa n na  do  w i th you? I wa nt  us  to  go  to  t he  b e a ch
toge ther ...  a nd you' ll we ar a  n un outfit  a nd  I ' ll we ar a priest  o u t f i t . ..  a nd we ' ll  h o ld
h a n ds  and  m a ke  o ut  in front  of  eve rybody."
False  D i s q u a l i f i es
Using false disqualifiers such as these has a disarming effect and also
demonstrates value. In fact, they are identical to negs in this regard. These lines
demonstrate confidence, fun, a lack of neediness, and a discriminating attitude
that  s ays I'm the one controlling the frame, I'm the one who is the prize,
and I'm the one who is screening; you to determine whether or not you
qualify for my attention.
With practice, these  I O Ds can be deadly.
•  " It  w o u ld  n e v er  w o rk  o ut  b e t w e en  u s ."
• "I can already tell, you  and I  a re not  g o i ng to get  a l o n g ."
•  " Y o u ' re fired."
•  " Y o u ' re  t oo  m u ch of a nice girl for  m e ."
•  " Y o u ' re a dancer?  O MG I  c a n 't  even talk  to  y o u ,"
•  " I 'm totally  n ot boyfriend material. Hey,  that guy  o v er  t h e re  looks
perfect for  y o u ."
•  " We  a re  so  b r o k en  u p. I  w a nt my  C D 's  b a c k ."
•  " Y o ur  f i r st  imp r e s s i on  s u c k e d . . ."
T h e  M y s t e r y  M e t h o d -
121 The Peg  S y s t em
T he  P eg Sys t em  is a  r o u t i ne  that  enabl es  y ou  to  d e m o n s t r a te a photographic
memo r y.  Y ou  c an also teach this  r o u t i ne  to  t he girl —  the act of  t e a ching  it  is a
r o u t i ne  in  a nd  of itself.
Fi r s t, you mu st  m e m o r i ze  t he pegs.  T h ey are:
One-Bun, Two-Shoe, Three-Tree, Four-Door, Five-Hive, Six-Sticks,
Seven-Heaven, Eight-Gate, Nine-Line, Ten-Hen
O n ce  y ou  h a ve  t h e se memo r i z e d,  y ou  a re ready  to  p e r f o rm this  r o u t i n e.
T he effect:
Pull  o ut  y o ur trusty  n o t e p ad  a nd  p e n,  a nd wr i te  the  n u m b e rs 1 through 10 on  the
pape r.  A sk  h er  to pi ck a  r a n d om  w o rd  to wr i te  d o wn  n e xt  to  e a ch  n umb e r.  F or
example, let's say  she  c h o se  t he wo r d s: 1.  D o g, 2. Car, 3.  W a t e r, 4. Da n c i n g, 5.
Coc a ine, 6.  O u t er Space, 7. Ugly, 8. Airplane, 9. Strait jacket,  a nd 10.
Backscratcher.
After briefly  s tudying  the  p a p e r, you claim  to  h a ve all  t he  w o r ds  m e m o r i z ed  a nd
in  o r d e r.  Y ou  c an list  t h em forwards or ba ckwa rds.  If  she calls  o ut a  n u m b e r,  y ou
can instantly  a n swer with  t he  w o rd associated with  that  n u m b e r. Appa r ent ly you
h a ve a  p h o t o g r a p h ic memo r y.
T he  s e c r e t:
Y ou  m e m o r i ze  t he  w o r ds simply by hanging them on the pegs in your memory.
R e m e m b er  t he pegs:  O n e - B u n,  T w o - S h o e,  T h r e e - T r e e,  F o u r - D o o r, Five-Hive,
Six-Sticks,  S e v e n -He a v e n,  E i g h t -Ga t e, Ni n e - L i n e,  a nd  T e n - H e n.
W o rd 1  is  D o g ."  T he first  p eg  is  " B u n ." Make a strange  p i c t u re  in  y o ur mi n d,
of a furry  d og on a  b u n, like a  h o t - d og  b un only with a live  d o g.  T h is is a we i rd
picture  that you  w o n 't easily forget. So  w h en  she calls  o ut  t he  n u m b er  o n e, it's
easy  to  m a ke  t he  c o n n e c t i on  in  y o ur mi n d:  o n e - b u n - h ot  d og  b un wi th furry  d og
—  the  w o rd  is  D o g!
A n o t h er  exampl e.  T he fourth  w o rd  she  chose was  " D a n c i n g ."  T he  f o u r th  p eg  is
" D o o r ." So  p i c t u re a  b a l l r o om full of  d a n c i ng  d o o r s. La t er  w h en you are trying
to  r e m e m b er  t he  four th  w o rd  she  c h o s e, you'll  r e m e m b er  F o u r - D o o r - D a n c i ng
D o o rs —  t he  w o rd  is Danc ing!
T h e  M y s t e r y  M e t h o d
1 22 T h e  M y s t e r y  M e t h o d
1 23
Us i ng this  s ame trick  it  is possible  to go  to  twenty or thirty  as well.  F or example,
let's say  she  c h o o s es  t en  m o re  w o r d s,  for a  tot al of  twenty:
T he  P e gs  ( S e c r e t)
O n e - B un
Two - S h oe
T h r e e - T r ee
F o u r - D o or
Five -Hive
Six-Sticks
Seven-He aven
Eight-Gate
Ni n e - L i ne
T e n - H en
C h o s en  W o r ds
l . D o g
2. Car
3.  W a t er
4.  D a n c i ng
5. Coc a ine
6.  O u t er Spa ce
7. Ugly
8. Ai rpl ane
9. Straitjacket
10. Ba cks c r a t cher
A d d i t i o n al Wo r ds
11.  W i nd
12. Sailboat
1 3.  C o m p u t er
14.  C a s i no
15. Gu i t ar
16.  B o o ks
17.  H o r ny
18. Came ra
19.  J o g g i ng
20.  P a p er Clip
F or  o n e,  y ou  p i c t u r ed a  f o r ty  d og  on a  h o t - d og  b u n.  F or eleven, pi c ture  t he same
thing,  exc ept  n ow  it  is blowing  a r o u nd  in  t he wi n d. A furry  d og on a  b u n,
blowing  in  t he wi n d.  N ow  y ou  c an  r e m e m b er  t h at  w o rd  o ne  is dog,  and  w o rd
eleven is wind.
F or  w o rd  four,  p i c t u re a ba l l room full of  d a n c i ng  d o o r s.  F or  four t e en, picture  the
same  thing,  e x c e pt  add  m a ny casino  t abl es  such  as blackjack  a nd  roul e t t e.
In  this  m a n n e r,  y ou  c an  c o n t i n ue  to  a dd  n u m b e rs ad-infinitum,  in  g r o u ps  of  t en.
By simply  m e m o r i z i ng  the pegs  o n c e, you are  n ow  p r e p a r ed  to  p e r f o rm  t h is
r o u t i ne on-the-fly with  a ny  n ew set  of  r a n d omly  c h o s en  w o r d s,  d emo n s t r a t i ng
that  y ou  a p p a r e n t ly  h a ve a  p h o t o g r a p h ic memo r y.
P a rt  t wo  of  t h is  r o u t i ne  is  to  t e a ch  it  to  t he  g i r l. Various Group Scenarios
"Lead the men and the women will follow."
M a ny  g r o up  s c e n a r i os  o c c ur  on a  r egul ar  b a s i s,  so  l e t 's  g et  a c q u a i n t ed  w i th
t h e m.
Single Set
If the target alone?
T h e se are  s impl e st  b ut  h a ve a  d a n g er of  t u r n i ng  i n to  a n o t h er scenario  type
instantly if  h er friends  c o me to her side. In fact, all pos s ible  s c ena r io types may
change  abrupt ly  at any time.  T h is  p h e n o m e n on  is  k n o wn  as  an interrupt.  Y ou
mu st  be  d y n amic  e n o u gh  to alter your  a p p r o a ch  w h en  t h is  h a p p e n s.
A single scenario has no obstacles.
Y ou  a p p r o a ch  h er straight out.  T h e re  s he is.  D o n 't wait for  eye  cont a ct —  t oo
ne edy. Just  a p p r o a ch her  and  w h en  she  l o o ks up  at YOU,  l o ok  h er  in  the eve  a nd
smile.
If  y ou see  t he girl  f rom a distance  and  y o u ' ve assessed  t he  s c ena r io  to be a single,
t h en  y ou  c an wa it  the re for her  to  n o t i ce  y ou  a nd  t h en immediately  go over  or  y ou
can just go right over  w i t h o ut waiting. BUT: Do  n ot get eve  c o n t a ct  a nd  t h en fail
to  a p p r o a c h,  a nd  think  y ou  c an use  t h at eye  cont a ct later  to  a p p r o a ch he r.  If  y ou
didn't  a p p r o a ch  h er right away (the 3  S e c o nd Rule)  t h en you blew it  and while it's
possible  to still  g et her,  y o u ' re  n ow  in  d a m a ge  c o n t r ol  m o d e.
N o t h i ng  is pe r f e ct really,  b ut  y ou  w a nt  to minimi ze  t he time  b e t w e en  w h en  the
girl not i c es  y ou  a nd  w h en you  a p p r o a c h. Smile  a nd  ent e r,  and  u se any  o p e n er  y ou
please.  A nd  r e m e m b e r,  t h o u gh you  a re  o p e n i ng her directly,  i t 's from a  s c r e ening
frame,  n ot a begging frame.  Y ou are  c u r i o us  a b o ut  h er  and  i n t e r e s t ed  to find  o ut
m o r e.  T he  o p e n i ng  s t a t ement  c an be a  r ema rk  to  that effect followed by a
convent ional  o p e n er  and false time  cons t r a int.
- T he  M y s t e r y  M e t h o d
124 Two - S e ts
Is the target with another girl?
Ma rk  the friend as your obstacle.
D o n 't go straight for  the target  if  she  is  n ot alone.  T he  r e a s on  is  that  y ou will
alienate  h er less attractive friend  w ho will  then act as a di sgrunt l ed gua rdi an of  the
target  and pull  h er away.
Y ou mu st win  t he obstacle  o v er first.  Y ou can use this  o p p o r t u n i ty  to not make eye
cont a ct wi th  t he target.  W h en  the  t a rget begins  to talk, you  c an immediately  n eg
h e r,  t h en go  b a ck  to  the obstacle.  D o i ng this will make  the obs t a c le laugh.  It will
also make  the  t a rget feel a little self-conscious.
Lock- in  t he target us ing a Lock-In Prop.  C o n t i n ue talking to the obstacle
(allowing  t he  t a rget  to listen) unt il  the  t a rget begins  to  a t t e m pt  to  f ix her  image
wi th  y ou  f rom  t he negs.  T h en  she will  be chasing  y o u.  N eg her again.  T h en finally
take time  o ut  to  p ay  a t t ent ion  to he r.  A sk  t he obs t a c le  if  i t 's  ok  to talk  to her
friend. Because  the obstacle likes you  n o w,  she will say yes.  ( Or  "I guess.")
D o n 't  s p e nd  t oo  m u ch time  on  t he obstacle. Five  to eight  m i n u t es  is usually
enough.  If you  s p e nd  t oo  m u ch  t ime  on her,  the target will believe  t he obs t a c le
really likes  y ou  a nd will disappear  or  t ry  to  g et you  t wo  t o g e t h e r.  Y ou  h a ve  to
make  it clear  o n ce  y ou  s ee  t h at  the  o b s t a c le likes  y ou  that you switch your
a t t ent ion  o v er  to  the target. On ly  t ime  in  the  f i e ld will give you  the calibration  to
do this prope r ly.
Finally, you will  s h ow  the target a sign  that  y ou like  s o m e t h i ng  a b o ut  h er by
c omp l ime n t i ng  h er — on her personality,  n ot  h er  ana tomy. A  g o od  o ne  is  "I  c an
tell you are a leader. I  b et you're  t he  l e ader of your friends. I like that."
It  c an be difficult  to get a gi rl  i n to  i sol a t ion  for  comfor t -bui lding  w h en she  is  in a
two-set.  T he  r e a s on is  that she will feel bad at  t he  t h o u g ht of leaving her friend
alone.  T h is  is  w hy it's useful  to have a wing who  c an oc cupy  the obstacle.  In  the
ideal scenario,  b o th girls will be pot ent i al targets.  Y ou  and  y o ur wing  then split
the set, pull  the girls  and nail  t h em  b o t h.
T h e  M y s t e r y  M e t h o d
1 25 T h r e e - S e ts
If the target with two or more girls?
T h is  is  the  s ame  as  t he  two- s et  b ut you  m u st di s a rm  b o th obs t a c l es first. Again,
you get  the  a c c ept ance of  t h e se obs t a c l es  w h en  y ou  n eg their friend (the target.)
After  y ou win  the obstacles over  and begin  a c c ept ing  the  t a rge t 's  a t t ent ion,  y ou
can ask  the obs t a c l es  if  i t 's all  r ight  to  s p e nd  s o me time wi th  t he target.  T h ey will
say yes because  they like you.  In fact,  they  m ay  e v en leave  y ou  t wo alone.
•  " L e t 's  s ee  w h at  a d v e n t u re awaits  us  in  that  r o o m ."  (Put  h er  on your
a rm, promenade - s tyl e .)
•  " H ey guvs,  I 'm going  to  b o r r ow your friend for a sec, we'll be right
the re  on  t he  c o u c h ."
•  " H ey guys,  I 've  b e en  ignor ing  y o ur friend, I  n e ed  to  m a ke  it  up  to her.
We'll  be  r i g ht  b a c k"
•  " Y o ur friend  a nd I like  e a ch  o t h e r, are you  c o ol with  t h a t ?"  ( "Uh, I
g u e s s . . . ')
•  " Is it ok if I  b o r r ow  y o ur friend for a  s e c o n d ?"  ( "Uh I  g u e s s, if it's ok
wi th  h e r . . . ")
•  "I like  y o ur friend.  Is  it alright  if I talk  to her  for a  m i n u t e /'
J
•  " We kinda like  e a ch othe r,  is  t h at ok with  y o u ?"
•  "I  w o u ld  v e ry  m u ch like  to see your friend again,  is  t h at alright  w i th
y o u ?"
->  " G r e at  t h en we'll  be  r ight  b a c k"
->  " G o od  t h en  c an you give  us just a  m i n u te because  I ' ve  g ot  to get
g o i n g"
T h e  M y s t e r y  M e t h o d
126 Mi x ed  T w o - S e ts
Is the target with a boyfriend?
As s ume  that  if a girl  is  w i th a boy  t h at  they are just friends. Go  in  a nd  a p p r o a ch
the ma n. Befriend him.  O n ce  y ou  h a ve  d i s a rmed  h im,  t h en you  c an ask  " H ow  do
you  k n ow  e a ch  o t h e r ?" He will tell you.  If  h e 's  t he boyfriend,  y ou just  m a de a
n ew  b ud  a nd  d i d n 't  even  i n t r o d u ce your s e lf  to  t he girl  so  y ou  c a n 't  g et  in trouble.
If  h e 's  n ot  t he boyfriend,  t h en  she  is  n ow fair game.
R e m e m b er  to  n eg her politely  in front  of him.  W h en  she starts  g e t t i ng agitated  or
w h en  she begins  to try  to get your  a t t ent ion, you can  do a  couple  m o re negs  a nd
t h en  f ina l ly pay  a t t e n t i on  to he r.  T he  g uy will get  o ut of  t he  w ay  a nd will wa t ch
you actually  w o rk  the  g i r l.  Y ou  m ay  be surprised  h ow ma ny  t imes  t he guy just
disappears  a l toge ther  a nd  is never  h e a rd  f rom or  m e n t i o n ed again.
Mi x ed  S e ts
Is the target with two or more guys?
Same  as  a b o v e,  b ut  y ou  h a ve  to  d i s a rm all  the males  a nd  f i nd  w h at  the
relationships  a re before  y ou pay  a ny  a t t e n t i on  to he r.
Pawning
F or a  w o m an of particular quality,  it  is necessary  to  d e m o n s t r a te pre-selection  in
o r d er  to game he r. Before you  o p en  the set with  the nine, YOU  m u st first  o p en a
set  w i th a  s even  a nd attract  h e r,  a nd  p ut her on your  a rm. She  is  n ow your pawn.
Wi th this  d e m o n s t r a t i on of pr e - s e l e c t ion  f i rmly  in place,  o p en  the set with  the
n i n e.  It  should  o p en easily  d ue  to your value.
At  s o me  p o i nt  w h en  y ou are  in A3  w i th  t he nine,  w h en  s he  is  e a rning your
affections, you will  be able  to  " c h o o s e" her over  the seven,  w ho  t h en di s appe a r s,
n e v er  to be  h e a rd from or  m e n t i o n ed again.
- T he  M y s t e r y  M e t h o d
1 27 A  p awn can be  p a r a d ed  a r o u nd  the field  to build social proof. She can be  u s ed  to
o p en sets —  w h i ch will  f ly  o p en with  e a s e. She can be us ed  to  c r e a te  d r ama or
jealousy in later stages of  t he set.
P awns  a re of t en unwi t t ing participants  in your  g ame,  a l though  s ome t imes  they
are willing.  F or  exampl e:
P i v o ts
A  p i v ot is a female friend  that you br ing to  the field in  o r d er to bui ld social proof,
o p en sets,  c r e a te jealousy,  a nd distract obs t a c l e s.  In  r e t u rn for  h er services, you
s h ow  h er a  g o od time  a nd he lp her  to me et guys. At times, a well-trained  p i v ot
can be  m o re useful  t h an a  g o od wing.
F o r w a rd  a nd  B a c k w a rd Me r g i ng
As time passes  in  t he field, practice me rging sets. Be  t h at social guy  w ho
i n t r o d u c es  p e o p le  a r o u n d.  T h e re are  t wo principal types  of me rging: forward  a nd
backward.
To merge forward  m e a n s,  to  o p en a  n ew set  and me rge your existing set  i n to
the  n ew set.  P a w n i ng  is often  an  e x amp le of forward me rging.
To merge backward me a ns  to  r e - o p en a pr evious set  and  m e r ge your existing
set ba ck  i n to  the pr evious set.
T h is  c an be useful.  F or example, if  y ou target is in a two-set,  y ou will have  t rouble
isolating her  b e c a u se  h er friend wo u ld be stuck alone.  B ut by me r g i ng  t h em  i n to
a n o t h er set,  c r e a t ing a larger set, you  c an now
7
 isolate  y o ur target. ("We re going to
sit  r ight over  the re  a nd  r e ad her  p a l m .. .")
R e m e m b e r,  y ou  a r e n 't just  g ami ng  the set,  b ut  t he entire  r o o m.  Is  a n y o ne else
me rging sets  in this  r o o m?  N o?  T h en you  m u st  be  the  m o st sociable guy  in
h e r e.
- T h e  M y s t e r y  M e t h o d
1 28 How to pract ice your game
• Do the Mystery Method newbie drill for at least a  m o n th or  two.
O p en  t h r ee sets per  h o u r,  f o ur  h o u rs  p er night,  f o ur nights  p er week.
F o l l ow  t he 3-Second Rule.
•  H a ve an opener memo r i z e d, as well as a false time constraint.
• Practice  y o ur delivery,  inc luding  b o dy language,  b o dy  r o c k i n g, voice
t o n e,  comfor t able attitude,  a nd  s t r o ng frame.  W o rk  on naturalizing
your delivery.
• Release all expectation of outcome  a nd just enjoy  the  p r o c e ss like a
n ew  h o b b y.
•  D o n 't be pi cky  a b o ut your sets —  i t 's all just practice.  O p en mi x ed sets.
• Practice  g e t t i ng locked-in to  y o ur set as early as pos s ibl e.
• Practice multiple conversational threads  and thread cutting.
• Every other night, add a new routine to  y o ur  r o u t i ne stack. Make
sure  t h e re are  at least  o ne or  two  g o od stories  to start  o ut wi th,  as well
as an  a c c omp l i s hme nt  i n t ro for  y o ur wing.
•  E v e ry  c o u p le of night s,  a dd a  n ew neg, false disqualifier,  s o me  rol eplaying, or  s o me  o t h er  c a n n ed material  to your  r o u t i ne stack. Play
a r o u nd  w i th it.
•  P u sh  e a ch set as far as you  c an just for  t he practice. Use kino
escalation  and compliance testing as  m u ch as pos s ibl e. (Chapter 6.
Feel free  to go for  p h o ne  n u m b e rs just for  the practice. (They  w o n 't
a m o u nt  to  anything — early on  in your practice  the  n u m b e rs are all
flakes. Call  t h em anyway just for  t he practice.)
T h e  M y s t e r y  M e t h o d
1 29 Chapter Five Re v i ew
• In the A2 phase, you demonstrate higher
value to the set while simultaneously negging
the target. She will respond with indicators of
interest which can he used to gauge your
progress.
• Some  IOIs don't happen without a minimum
amount of attraction. A girl may be attracted
enough to sit down with you, but not to leave
the venue together.
• The most important  IOIs are: She laughs, she
re-initiates conversation, she touches, and she
tries to get rapport.
• Passive IOIs are sometimes the only  IOIs
that she will give. This is why it's important to
use compliance tests while gaming.
• Girls will occasionally give fake IOIs when it
suits their purposes, although most of the time
people are not consciously aware of the  IOIs
they are giving off.
• There are also indicators of disinterest, or
IODs, When a person gives an  I O D, she
conveys disinterest and an unwillingness to
invest in the interaction.
• A Neg is an innocuous statement that only a
disinterested party would say. Negs are actually
a  f o rm  of  I O D.
• There are three types of Negs. The shotgun
neg, which conveys disinterest and disarms the
group, the tease neg which is cocky and
playful and used for flirting, and the sniper
neg, which causes the target to believe that she
has done a DLV, when in fact she has not.
This creates embarrassment.
• Anything you can do that conveys higher
survival and replication value is a DHV, or
demonstration of higher value.
• Correspondingly there is also a DLV, or
demonstration of lower value.
• Using a combination of DHVs and Negs, the
venusian artist disarms and befriends the
obstacles. This enables him to harness the social
proof of the target's peer group. At the same
time, the negs cause her to crave validation from
him. She responds by giving IOIs. This is A2.
• "So, how do you all know each other?" is a
question that usually arises in every set, and it
tends to yield very useful information.
• People who are well-acquainted with one
another tend to use multiple conversational
threads while talking, whereas people who are
newly-acquainted tend to go from one complete
thread to another in a more linear fashion. By
using multiple conversational threads, you can
create the feeling like you and the target are
already old friends.
• When a certain thread is not useful to you, feel
free to cut it and introduce a new thread to
replace it. Sometimes this is necessary even when
it is your own thread being cut.
• Stories should convey positive traits and
personality) and lead the listener through a fun
series of interesting thoughts or emotional
waypoints. The story doesn't have to be amazing
or overly impressive, just engaging and
enjoyable. Shorter is better.
• Sometime during A2 you should be locked-in
to your set. You want to be leaning back against
something while the girls face you, with their
backs to the room.
• While you are ignoring the target, lock her in
using a lock-in prop to ensure she won't leave if
she gets bored or distracted in the meantime.
• A pawn is a girl that you have gamed and put on
your arm solely to exploit for social proof, to
open sets, and to create jealousy with your real
target.
T he  M y s t e ry  M e t h o d
130 A 3: Male-to-Female  Interest
She must be baited to invest herself in this interaction
As a result, she feels that she now represents a unique value
O
n ce  int e r e st has  b e en  g e n e r a t e d,  t he  g a me  is  n ot  o v e r.  If only  it we re
that easy.  In fact,  it  is  n ot  a t t r a c t ion  that ge ts  t he girl.  S he  m u st  b e c o me
invested  in this interaction,  a nd  t h en  c omf o rt  m u st  be built.  T he
a t t r a c t ion  is useful —  to bait  h er  i n to  inve s t ing.  O t h er  t h an  tha t,  a t t r a c t ion  is  b ut a
vapor. She mi g ht  be ma k i ng  o ut  w i th  y ou  tonight  b ut  that  d o e s n 't  m e an she'll
r e t u rn your calls  t o m o r r o w.
It  could be said that attraction is only a tool. In A3  y ou will  u se her interest,
c omb i n ed wi th takeaways  a nd screening,  to bait  the target  i n to  d emo n s t r a t i ng
value  of  h er  o w n.  W h en  she  d emo n s t r a t es value  in  an  a t t empt  to win  y ou over,
r ewa rd  h er wi th  I O I s,  t h en bait her again  as  the  p r o c e ss  r epe a t s.  In this way,  h er
r ewa rd  is tied  to  h er  inve s tment. As  she  d emo n s t r a t es value,  s he  is  r ewa r d ed vet
baited  to  d e m o n s t r a te  m o re value.
T h is all  c omes ba ck  to pa ir  b o n d i n g. A  w o m an takes a  m u ch larger risk
evolutionarily  ( and  the r e fore emotionally)  w h en  she  h as sex.  I t 's  n ot  e n o u gh  t h at
she  is  a t t r a c t ed  to you —  t he pair  b o nd  m u st be  t h e re  as well. She  m u st  h a ve  s o me
6
Chapter
T h e  M y s t e r y  M e t h o d
131 a s sur ance  that  w h en  she  is  p r e g n a nt  b a ck  in  t he cave,  y ou will stick  a r o u nd  to
bring her your fresh kills  f rom  the  h u n t. Ot h e rwi se you  could  impr egna te her,
m o ve on  to  y o ur  n e xt dalliance,  a nd she's screwed.
Of  c o u r s e, we  a re  spe aking only of  e m o t i o n s.  Is  it really  t rue  t h at  the pair  b o nd
" m u s t" be  the r e? Ob v i o u s ly  n o t,  o n e - n i g ht  s t ands  h a p p en  eve ry day. What  is  t he
me a n i ng  t h e n?
T he me a n i ng is  t h at she still has this  emo t i o n al circuitry  and it is a factor in  h er
behavior.  H er  e m o t i o ns prefer a  m an of high value — high  e n o u gh  that  it requires
effort  and  i n v e s tme nt  in  o r d er  to win  h im over.  A nd  h er  e m o t i o ns  do wa nt  to  w in
h im  o v er —  she  w a n ts  to feel  that he  is pa ir  b o n d i ng  to her.
In  o t h er  w o r d s,  she  w a n ts  to feel  that she  is  i m p o r t a nt  to  h im  n ot just  as  an
attractive  w o m a n,  b ut  as a specific  w o m a n. She  n e e ds  to feel  t h at  it wa s n 't easy,
she  h ad  to  inve st  and  t h e re was  some fear of loss,  b ut  n ow he  is "falling" for  h er
a nd  she  r e p r e s e n ts a  u n i q ue value  to  h im.  T h is  is all instinctive.
When you can bait a woman into working for your affections, and you can
convey your resulting "growing pair bond" effectively, you have mastered
A3 and are ready to move into comfort and trust.
F r a me Cont rol
T he frame  is  t he unde r lying me aning.  I t 's  t he  cont ext,  t he  impl i c a t ion —  t he
u n s p o k en  a s s ump t i on  in everything  y ou say.
If  s o m e o ne asks you,  " A re  the fish bi t ing  today?"  t h en he  is  implying  that  y ou
h a ve be en  o ut  f i shing. He  h a s n 't said  s o,  b ut  t he listener will  a s s u me  it  is  t rue —
it's just  p a rt of  the frame.
T he frame supplies me aning  to  t he  c o n t e n t.  F or example,  if  s o m e o ne says  "Ye ah
that guy  g ot off,"  w h at  is  the me a n i ng of  that  s t a t eme n t?  D e p e n d i ng on  t he
c o n t e x t,  it  could  m e an  that  the  'guy' just  g ot off of wo r k.  It  c o u ld also me an  that
he be at a  r ap  at  t he  c o u r t h o u se  a nd  w as set free.  It  c o u ld also  m e an  he had  an
orga sm.  T h e se  a re pr e t ty different me a n i n g s. Wh i c h e v er  m e a n i ng  b e c omes  t he
a c c ept ed  o ne is  d e t e rmi n ed by  t he frame. He who controls the frame controls
the communication itself.
T h e  M y s t e r y  M e t h o d
1 32 F or this  r e a son,  w h en  int e r a c t ing wi th  o t h er  p e o p l e,  t h e re are little frame games
going  on constantly.  T h r o u gh their behavior al  cues  a nd subtleties  in  w h at  t h ey
say,  p e o p le  convey their  a s sumpt ions.  It this  conveyance  is  d o ne  congruent ly
e n o u g h, othe rs will  a c c ept  t he frame  as reality  w i t h o ut  even  thinking  a b o ut it.
If your frame is strong enough, you can get away with anything.  T h is is  t he
caveat for every  p i e ce of advice  in this  b o o k.  If  y ou  h a ve  t he  l i g ht frame,  and  it  is
s t r o ng  e n o u g h,  y ou  c an br e ak every  rule  and anything will  w o r k.  Y o ur  a p p r o a ch
m ay be technically  w r o n g,  b ut  she still  r e s p o n d s.  F or a newbi e, buying drinks for
gi r ls  is a bad  m o v e,  b ut  eve ryone has a  s tory  w h e re  s o m e o ne bought drinks  and
t h en  g ot laid. So,  w h i ch is  t he  r ight way?
The field will give you the answers that you seek. Go, and be in
the field, and listen to your intuition there. Over time you will
calibrate.
W o m en will definitely test for  c o n g r u e n c e.  It  she  c an easily  i m p o se  h er frame
o v er  y o u r s, this  is a serious  d e m o n s t r a t i on of  lower value on  y o ur pa r t.  In fact,
this  D LV will  m o st likely wreck any sexual  chanc es you  h ad  w i th he r.  H ow  c an
she rely  on  y ou  to  s t and  up  to  the big,  b ad wo r ld  on her behalf,  a nd  on behalf  of
her offspring,  if  y ou  c a n n ot  even  s t and up  to he r?  T he security  she feels from
being with a  s t r o ng  m an is a pr ima ry factor in  h er  u n c o n s c i o us sexual selection
strategy.
B ewa r e ..  . s ome  m en in  t he field will  a l so play frame games on you. If a guy  c an
t o ol you  in front of  y o ur set,  t h en he  c an take your girls. She will  a lmost always
c h o o se  the  m an  w i th tighter  g a me  a nd a  s t ronger frame,  a nd  s he will  do  it  w i th
l i t t le  r ega rd or  loya l ty  to  t he fun little  c o n n e c t i on  that  she was previously enjoying
wi th you.  T h is  is of t en  t rue  even  if  y ou  a re  h er boyfriend.
T he only factor  t h at  count e r a c ts  this  is  h er level of  i n v e s tme nt  in  y ou —  it will be
psychologically  m u ch  m o re difficult for her  to jump  to  t he  n e xt  m an  if  she has
already  inve s t ed a  l ot of time  a nd effort  i n to you.
T h e  M y s t e r y  M e t h o d -
1 33 Hoop  T h e o ry
O ne frame  g a me  that  p e o p le play is  t h ey will offer hoops, to  s ee if they  c an  g et
YOU  to  j u mp  i n to their  h o o p.  F or  e x amp l e, a girl mi g ht try  to get YOU  to do
s ome t h i ng  such  as  h o ld her  p u r se  or  b uy her a drink.  O r . ..
• She gives you a fake  I OI  to see  if you • She gives a fake  I O D  to see  if
will start chasing he r. you  g et wo r r i ed  and react.
• She makes a  c o m m e nt  to bait you • She asks  s ome t h i ng  to bait you
i n to  showing  o ff  to her.  i n to explaining yourself  to her
or apologizing  to her.
T h e se are all  exampl es of  h o o ps that girls will  u se to assert  the ir feminine powe r.
If you are  d o i ng things for her, chasing after her,  showing off  to  h e r,  r e a c t ing  to
h e r, apologizing  to her  and explaining yourself  to her,  t h o se  a re all  I O Is  that  she
can me a s u re  a nd exploit.
If you  j u mp  i n to her  h o o p s,  two  things will  h a p p e n.  O n e,  she will feel really  g o od
a b o ut herself —  s o me  p a rt of  h er will be  r e a s sur ed on a pr imal level.  A nd  t w o,  she
will  lose  a t t r a c t ion.  J u st because  she likes  s ome t h i ng  d o e s n 't  m e an  that  it will  g et
you any closer  to having sex  w i t h he r.
Be careful.  On  o ne  h a n d,  y ou  d o n 't  w a nt  to  be  t he  c h u mp  w ho ge ts  tool ed.  On
the  o t h er  h a n d,  y ou also  d o n 't  w a nt  to be  the social  r o b ot  t h at  is always playing
p o w er games  w h en he  should be relaxing  a nd confidently enjoying his
int e r a c t ions wi th  w o m e n.  P e o p le  a r e n 't always trying  to fuck  w i th you.
- T he  M y s t e r y  M e t h o d
134 W h e n a  h o o p  d o es  c o me  a l o n g,  t he  c h u mp  is eager  to  j u mp  i n to  h er  h o o p.  He
t h i n ks  it  s h o ws  h er  h o w  m u ch  he  c a r e s.  He  t h i n ks  it  is  r o m a n t ic  a nd wi ll  w in  h er
o v e r.  He  t h i n ks  a ny  g uy  w h o  d o es  o t h e r w i se  is a  j e r k.  B ut  y ou  d o n 't  h a ve  to  j u mp
i n to  h er  h o o p.  Y o u  c an  t u rn  it  b a ck  on  h e r.  Or  y ou  c an  c r e a te a  n ew  h o o p  j u st
f or  h e r.  Or  y ou  c an  i g n o re  it  e n t i r e ly —  s i l e n ce  is  o f t en  t he  b e st  r e p l y.
S o me  e x a m p l e s:
P u t  u p a  n e w  h o o p :  I g n o r e  h e r  c o m m e n t :  G r a b  h e r  h o o p :
E v e ry  c o n v e r s a t i on  h as  s o me  g i v e - a n d - t a k e.  If  s he  g i v es  y ou a  h o o p ,  it  is  a c tua l ly
ok  to  | u mp  i n to it,  p r o v i d ed  t h at  y ou first get her  to jump into one of your
own.
S o me  e x a m p l es  of  t h i s:
E x a m p l e 1:
Gi r l:  H ow old  a re you?
Y o u: Gu e ss
Gi r l:  H m m . . .twenty-six?
Y o u: Close,  I 'm actually
twenty-eight.
In  t he  f i r st  e x a m p l e,
s he  a s ks  y o ur  a g e.  B ut
i n s t e ad  of  a n s w e r i ng
s t r a i g ht  a w a y,  y ou  m a ke
h er  g u e ss  f i r s t.
In  t he  s e c o nd  e x a m p l e,
s he  t r i es  t he  s a me  t r i ck
b a ck  on  y ou —  b ut  y o ur
f r ame  is  t o o  s t r o n g!
E x a m p l e  2:
Y o u:  H ow old are you?
Gi r l:  G u e ss
Y o u:  Do  y ou wa nt  me  to
guess  l o w, or gue ss high?
Gi r l:  G u e ss low!
Y o u:  Ok  t h e n . ..  I 'd say
y ou  l o ok  a b o ut  twentyt w o.
Gi r l:  W hy  a re  y ou talking
to me?
Y o u:  Do  y ou always we ar
your lipstick like  tha t?
- O R -
Y o u: [to  h er  f r i ends]  is
she always like  thi s :'  G et
t h i s, <Start a routine>
Gi r l:  W h at  is wi th  y o ur
shirt?
You:
- - O RY o u:  H ey  g u y s,  g et  thi s.
L a st  w e e k e n d,  my  f r i end
a nd I <Start a routine>
Gi r l: Will  y ou buy me a
drink?
Y o u:  B uy me a  d r i nk  a nd
we wi ll  s ee
T he  M y s t e ry  M e t h od
135 An  int e r e s t ing thing  a b o ut  h o o p s: the more obvious it is that it's a hoop, the
less likely it becomes that someone will jump into it.
F or  exampl e,  l e t 's say  t h at  s o m e o ne  a sked you,  " H ey  m a n,  c an you  g r ab me a
glass of wa t er whi le you' re up?"  T h a t 's a pr e t ty  r e a sonable  h o op  a nd  m o st
p e o p le  w o u ld  h a ve  no  p r o b l em wi th  s u ch a  r eque s t.
B ut wh at  if  ins t e ad  he said  t h i s:  " H ey  m a n,  w hy  d o n 't you  g et  u p,  go  in  t he
ki t chen,  and  g et me  some Ricking wa t er like  t he little bi t ch  that  y ou  a r e ."
F ew  i n d e ed are  the  p e o p le  w ho  w o u ld  j ump  i n to  that  h o op —  it wo u ld  be
t a n t a m o u nt  to  a c c ept ing  t he frame  that they are your bitch.  S o .. .what you wa nt
to do  is start small. Bait  the target  i n to small,  i n n o c u o us  h o o p s.  O v er  t ime,  as  she
falls  i n to your  f r ame,  t h o se  h o o ps  c an  b e c o me larger  a nd  m o re frequent.  T h is
p r o c e ss is  k n o wn as compliance momentum.  S o on she'll be  r u b b i ng your ba ck
and  cooking  y o ur dinne r,  b ut for  n ow  s t a rt small  by ma k i ng  h er guess  y o ur age.
R o l e - R e v e r s al
In  t he pr evious  c h a p t er we discussed  h ow  a t t r a c t ion  c an  be  c r e a t ed  t h r o u gh  rol eplaving. A great  role  to play —  p r o b a b ly  t he be st  o ne —  is  o ne  w h e re  y ou have
m o re social va lue  t h an  the target. In fact,  this  should be your reality, since  she will
othe rwi se find  y ou less attractive.
Subtle cues  in  y o ur behavior will betray your  a s s ump t i o n s.  I t 's  i m p o r t a nt  that  the
frame you  c o n v ey  in  t h o se  a s s ump t i o ns  is  o ne  w h e re  she  w a n ts  y o u,  she  is
chasing after  y o u,  y ou are  the  o ne wi th  h i g h er value, you are  t he  o ne  w ho decides
if you  w a nt  c o n t i n ue  w i th her,  and  y ou are screening her  to  m a ke  sure she
qualifies for you.
N o t i ce  that this  is exactly  w h at a  w o m an will  d o.  T h r o u gh little tilings  t h at  she
says,  she sets a  f r ame  that  she  is  the pr i z e.  Y ou  d o n 't wa nt  to  g et  sucked  i n to  that
frame.  Ins t e ad,  y ou  w a nt  to  g r ab this  h o op  and  u se  it your s e lf
F or example, a few minut es  i n to  the  p i c k u p,  w h en you  h a ve  s o me light kino
(physical  cont a c t)  y ou  c an say,  " Y ou  k n o w, you' re really  g o od  at  thi s ."
W i t h o ut fail,  she replies,  " G o od  at  w h a t ?"  or  " W h at exactly  do  y ou  m e a n ?"
T h e  M y s t e r y  M e t h o d
136 Y ou reply,  "We ll you've  b e en talking  to me  f or just a  s h o rt whi l e,  a nd  y o u ' ve
already  g ot my  h a nd  on your waist.  I ' ve  g o t ta wa t ch  o ut  f or  y o u.  I 'm  n ot easy you
k n ow. '"
N o t i ce  the  u n s p o k en  a s s ump t i on  that  y ou are  t he pr i z e,  t h at you are  the  o ne
be ing chased,  a nd  that you are  the  o ne  w h o decides  w h e t h er  or  n ot this will  go  to
the  n e xt level.  If you will  t ake any girl  y ou  c an get, you  m u st be a loser. But  it you
are picky, you  m u st be a wi n n e r,  a nd her  emot ional circuitry  is designed  to
r e s p o nd  to wi n n e r s.
S o me  exampl es  of role-reversal lines:
T he  above lines  a re examples  of  w h at  s o m e o ne  w i th  t he right  a t t i tude mi g ht say.
I t 's  n ot  the lines  thems e lves  that are  i m p o r t a n t,  b ut  t he  int e rnal  s t r e n g th of frame.
W h en you  h a ve  s t r o ng inner game,  t he right tilings will  c o me  o ut of  y o ur  m o u th
automatically.
Al so  n o te  that  w h en  y ou accuse her  of  b e i ng forward,  or trying  to  g et you  i n to
bed, this  d o e s n 't  m e an  it  is  t rue.  I t 's  n ot — you are deliberately mi s int e rpr e t ing  the
situation.  B ut  if  y o ur frame  is  s t r o ng  e n o u g h,  she will  g et  sucked  in  and  r e s p o nd
as  t h o u gh  it  is  t r u e.  R e m e m b e r,  she 's  p r o g r a m m ed  to  r e s p o nd  to high-value guys.
•  " D o n 't  think you're
going to get something
just because you're
buying me this drink."
• "Geez are  y ou always
this forward?"
• "I don't want to rush
things."
• "I  d o n 't want to get hurt.
I ne ed lots of comfort
and trust first."
• "I want to get to know
you better first."
• "I  d o n 't do  t h at on a
first date."
• "Hey, hands off the
merchandise, this isn't
free you know."
• "I'll be the judge of
that."
• "You just want me for
my body."
• Take her hand,  then as
she reciprocates, pull
back and say  " N ot so
fast."
• "Are you always this
fast?"
•  ".. .yeah if you're lucky."
•  " I 'm  n ot ready to be in a
relationship right now."
• "I wore my old briefs
tonight to make sure
nothing happens."
• "I swear, all you girls
do is think  about one
thing."
•  " O MG are you
groping me??"
• "You're a really nice
girl."
•  "That guy oyer there
looks perfect for you."
•  "I  d o n 't even know
you."
• "Let's just be friends."
T h e  M y s t e r y  M e t h o d
1 37 Having Standards
H e re  is  w h at  it  m e a ns  if  y ou  h a ve  no  s t a n d a r ds  w h e n  it  c o m e s  to  w o m e n:
1) I will take "whatever I can get  (whi ch is  n ot much.)
2)  T h e re is  n o t h i ng special or  u n i q ue  a b o ut you, I settled for  y o u, be c ause I have
no sexual  choi c e.  I 'm grateful just  to find  s ome o ne  w ho  is willing  to fuck a  los er
like  m e;  appa r ent ly  t h at  s ome o ne  is  y o u.
3) Being  w i th me ma k es  y ou feel  c o m m on  a nd us ed.
I n s t e a d,  if  y ou  d e m o n s t r a te  to a  w o m a n  t h at  y ou  h a ve  s t a n d a r d s,  it  c o n v e ys  t h i s:
1) I have a  l ot of choice  w h en  it  c o m es  to  w o m e n. I  am  a c c u s t omed  to success
wi th  w o m e n.
2) If I do  t ake a liking to you, it is  m o re  t h an just for  y o ur  l o o k s. It is be c ause  y ou
a re a special  a nd  u n i q ue  p e r s on  w ho lives  up  to my high  expe c t a t ions.
3) I will only be wi th a quality  w o m an  a nd  t h a t 's wh at  y ou are.
R e m e m b e r,  w o m e n  h a ve  a n t e n na  for  t h is  s o rt  of  t h i n g.  T h ey  c an  t e ll  w h i ch  w ay
y ou  l e an  a nd  t h ey wi ll feel  t he  r e s u l t i ng  e m o t i o n s.
The average guy approaches a woman assuming that she is selective and
hoping to pass her test. He thinks, "God you are so hot, do you have a boyfriend?
Can I buy you a drink?" Because of this attitude, subtle cues in his behavior
will convey entirely the wrong frame. She will pick up on this and lose
interest.
Correspondingly, the opposite is true if you have standards; subtle cues in
your behavior will set the frame that you are a selective, high-value guy. She
will pick up on this and gain interest. She expects that a guy with potential
will be someone who is selective. Here are some standards worth considering:
T h e  M y s t e ry  M e t h od
138
• An attractive woman who takes care
of herself
• A woman  w ho is sociable and has
friends
• A woman  w ho has a real thirst for
life.
• A woman who has a great energy
and chemistry when the two of you
are together
• A woman  w ho is not a flake
• A woman who is in touch with her
own sensuality. She's not a baby
anymore
• A woman who can seek after her own
fulfillment instead of waiting for
approval from her friends
• A classy and smart woman with an
education
• A woman who is adventurous and has
a great imagination. S c r e e n i ng
The idea is to get her hoping that she's good enough to qualify for you. After
all, you are a high-value guy. Sure, you're curious about her, but you want to
know more. Is she smart? Do es she have a lot of friends? Do es she have a
good relationship with her family? Can she dance well? (You know what
that means!) What's the most spontaneous thing she's done recently? Can
she cook?
You don't want it to be explicit that you are screening her. Be very subtle,
and she will realize it on her own accord (instead of thinking that you are
trying to make her feel screened.) Somewhere in her mind an attraction
switch will flip and she'll think, "Hey, this guy is screening me to see if he
wants to invest mor e ."
She naturally assumes that the man she is looking for will be selective. It's a
behavior that she's been expecting  and thus is a powerful  D H V. It sets the
right frame, it's the signal she's been waiting for, and it baits her to invest.
• "Is there more to you than meets the
eye?"
• "What do you want to be when you grow
up?"
• "There are lots of beautiful women here.
But what's really important is the energy,
the intelligence, the little tilings about a
person that make her unique. What are
some tilings about you that would make
me want to get to know you better?"
•  " If a magician came along and you could
be poof anything you want to be . . .what
would you choose? And don't say
princess."
•  " If you had to pick one thing that makes
life worth living, what would it  b e ? . . ." "->
[Style's EV routine.]
•  "Who are you?"
•  " Do you like animals?"
•  "How old are you?" -> [Now disqualify:
" O M G, you're just a baby."]
• "So tell me, what are your three best
qualities?"
• "Did you go to school? Are you smart?
Do you have lots of friends?"
• "Can you cook? Do you give good
backrubs? Are you adventurous?"
• "Are you a passionate person?"
• "There are some people  w h o . .. they think
they're open-minded and adventurous.
They make all these great plans...they
talk about meeting new people, or going
on a diet, or taking a cool trip. But they
don't. They just sit around doing the
same old boring shit, over and over again.
Are you like that?"
- T he  M y s t e r y  M e t h o d
1 39 So  h ow can  y ou  convey  to  h er  t h at  she  is be ing screened." By asking
s c r e ening  q u e s t i o n s,  by giving  I O Is  a nd  I O Ds  at  the  r i g ht  m o m e n t s,  a nd  by
actually having real  s t anda rds  a b o ut  t he kind of  p e o p le you  s p e nd  y o ur  t ime
with.  It has  to  be  t r ue for  y ou  in  o r d er  to  c a ny  the ne c e s s a ry  congruenc e.
Intermittence
It  is we l l -known  a m o ng animal trainers  t h at  i n t e rmi t t e nt  r ewa r d i ng  is  m u ch  m o re
effective  t h an  c o n s i s t e nt  r ewa rding.  T he principle de r ived  is  t h at  I O I s, given  to
the target  as a  r ewa rd,  should  n ot be delivered  in a pr edi c t able  m a n n e r.
Uncertainty  m u st  be  i n t r o d u c ed  to  t he  equa t ion,  in  o r d er  to  m a ke  the experience
m o re  emot iona l ly compelling,  so  that  she  c an feel a  b r o a d er range of  h o p e,
d o u b t, surprise,  longing, fear of loss,  a nd  o t h er dr ama.
So  the idea  that we  r ewa rd her  w i th  I O Is  is only  t he simplest  int e rpr e t a t ion.  In
truth, we  r ewa rd her  i n v e s tme nt with  an  i n t e rmi t t e nt  a nd  u n p r e d i c t a b le mix  of
I O Is  and  I O D s.  T h is  h o t / c o l d,  p u s h / p u ll dynamic  is  v e ry emotionally
stimulating.  W h en  she  is be ing  r ewa r d ed  in this ma n n e r,  she  is  m o re likely  to
chase  and to  c omp ly wi th compliance tests.
The Hotseat Game
"What's your favorite color?"
"What did you think of high school?"
"What did you eat for dinner last night?"
And so on. Make sure she gives you an
answer and if not then say, "Yes, but that's
not an answer to my question." That'll show
her gently that you are in charge. Now this
isn't all of it but what you're doing here is
showing a lot of interest. After all you are
essentially giving her permission to talk about
herself. They get over any self-consciousness
pretty quickly by doing this, too. Plus, it gets
them to open up and if they hit on something
interesting then they'll maybe elaborate for
you.
But as I said there is more to it After they
relax after the first few questions, you start
throwing in some more personal ones such
as:
"Have you ever been to the hospital emergency
room?"
"How old where you when you first got
drunk?"
"Did you and your siblings keep secrets'?"
"Ever bad a very rough breakup?"
"What's your favorite food / vacation / place
to visit" (use your imagination)
- T he  M y s t e r y  M e t h o d
140 Kino Escalat ion
Kino  is  an  N LP  t e rm  and  is  an  abbr evi a t ion for kinesthetic,  w h i ch refers  to  the
sense of  t o u c h.  W h en venus i an artists  ( and  N LP geeks) speak of kino, they are
referring  to physical  t o u c h i ng of any kind.
An  i m p o r t a nt principle in  t he  g a me is  t h at nothing is ever a big deal.  T he
typical  c h u mp  t akes a girl  o ut on a da te  a nd  t h en  h o p es  to get  t he kiss  at  the  e nd
of  the night. He  w a n ts  to  s h ow her  h ow respectful  he is. As  t he  e v e n i ng pa s s e s,  he
c omes closer  a nd closer  to  that  awkwa rd  m o m e nt  at  t he  e nd  of  the night  w h en
he has to make the big move  a nd go in for  the kiss.  T h is ma k es it a Big Deal.
If  t he  m o m e nt of your first kiss  is we i rd  a nd  awkwa rd,  it will  p r o b a b ly also be
your last kiss.  W o m en are ve ry unforgiving  a b o ut  this  sort of  thing.  T h ey  h a ve a
fantasy  a b o ut  m e e t i ng  t he right guy,  a b o ut  h ow pe r f e ct  it will be  and  h ow
everything will  h a p p en  so naturally  a nd  so right.  A nd  the  t r u th is, wi th guys  w ho
h a ve  g a me (read: practice),  tha t 's exactly  h ow it does  h a p p e n.
W h en  t i l i n gs  go  d o wn  the  r ight way,  t h e re never  is a  " b ig  m o m e n t"  w h en you  go
in for  the kiss  a nd  "ma ke it  h a p p e n ." Instead, there is a natural How of kino
from the very early stages of the set that leads all the way to sex. It  should
be seamless — a series of small, naturally executed  m o m e n t s,  n o ne of  w h i ch ever
stick  o ut  in any  r ema rkable way. She feels like it's just  h ow  t he  two of you are
together.
T h u s,  the  k i no begins  in  t he early stages of  t he set,  a nd escalates  f rom  the r e.
Ima g i ne  t wo jellyfish right ne ar each  o t h e r. A few of their tentacles just barely
b r u sh against  o ne  anothe r. Tendr i ls  curl  and  touch, sliding off  a nd  t h en  t o u c h i ng
again.  M o re tentacles join  the dance  spont aneous ly. La rger  n u m b e rs  b r u sh against
o ne  a n o t h er  as a few begin  to pull  m o re strongly.  T h e re  is  e n e r gy  b e twe en  the
two jellyfish; a powe r ful  chemi s t ry is building as  they  int e r twine  a nd  d r aw closer.
T h at may be a strange pi c tur e. But  t he  p o i nt  is  that  t h e re  is no single  m o m e nt
w h en  s o m e o ne makes a move.  I n s t e a d,  t h e re is this subtle, plausibly-accidental-yetaccelerating  d a n ce  as  t he  ene rgy  g r ows be twe en  t h em.  I t 's  this energy  tha t 's
imp o r t a n t.  T h is  v i b e. This chemistry'.
T he  i n n u e n do  a nd  the little  h i n ts  a nd  t o u c h es  at first serve  to  a dd playfulness
while creating plausible deniability. So do  t he  t o u c h es create  t he vibe, or  d o es  t he
- T he  M y s t e r y  M e t h o d
141 vibe  c r e a te  the  t o u c h e s?  It  is all  p a rt of a snowballing  a nd  s e l l -prope l l ing  sys t em
that feeds  u p on itself  a nd sparks like a tire.  T h en  it  g r ows  a nd  b e c o m es clear  t h at
it is on  b e twe en  t h em.
T h is  ene rgy  is  w h a t 's  imp o r t a n t,  n ot  t he physical  t o u c h e s.  T he physical  t o u c h es
are  n ot merely ya rds  to be ga ined on a football  f i e ld  in  o r d er  to  g et closer  to  t he
goal.  R a t h e r,  they are  o ne necessary  p i e ce  to  i n c o r p o r a te wi th va r ious  o t h er  tools
to create a  c e r t a in chemistry  b e twe en you  a nd  the target.  T h e re  should be
anticipation  and  t e n s i on  in  t he air.
W i n d o ws  of  E s c a l a t i on
As you  g a me a gi rl —  as you  d e m o n s t r a te value  a nd lack of  n e e d i n e s s, stimulate
emo t i o n s, take  c o n t r ol of  t he frame,  m a ke a  c o n n e c t i o n,  and so on —periodically a
w i n d ow  of  o p p o r t u n i ty will  o p en for  y ou  to escalate.  If  y ou mi ss  t he  h i n t,  a nd
that  w i n d ow closes, you  h a ve just  d e m o n s t r a t ed  l ower value —  and  h er pa t i ence
will we ar thin.  E n o u gh mi s s ed  o p p o r t u n i t i es  and she'll decide  that  y o u ' re either
t oo  chi cken  to  m a ke a  m o v e, or  y o u ' re  i n c o m p e t e nt  in carrying  it  o u t, or you are
lacking  in social intelligence  a nd  t h us  inc apable  of leading  t he  d a n c e.  A ny  of  t h o se
are  D L V s.
So, if  she is  s t anding  the r e, talking to  y o u, just  c o n t i n ue escalating. As s ume that
it's  o n, always.  E v en if  y o ur  a s s ump t i on is wr o n g, it will still  r e sult in  the highe st
pos s ible  n u m b er of lavs.  I t 's also  the be st way  to  i m p r o ve  y o ur calibration.  A nd
o n ce your  c a l ibr a t ion is tight, all of  y o ur escalations will  h a p p en  smoothly,  and
that  is  t he  l o ng  t e rm goal anyway.
S o me forms of  k i no are:
•  A rm  in  a rm
•  H a n ds  t o u c h i ng
•  E m b r a c i ng
•  E m b r a c i ng  " f r om  b e h i n d"
• Ki s s ing lips
• Ki s s ing or nibbl ing on ne ck
•  H a nd  on  k n ee
• Sitting on lap
•  A rm  a r o u nd wa i st
•  T o u c h i ng face
• Smelling or pulling hair
•  H a nd  on ass
T h e  M y s t e r y  M e t h o d -
1 42 Non-Standard  T o u c h i ng
W h en touching a girl's hand,  y o u ' re not trying to set a frame  t h at the  two of  y ou
are explicitly  h a n d - h o l d i ng like a  c o u p le of teenagers ma r k i ng their territory.
I n s t e a d, you mi g ht  be  r e ading her  p a lm  or  thumb-wr e s t l ing  w i th her,  or  showing
h er  s o me jive  h a n d s h a k e,  or taking  h er  h a nd  a nd  spinning her  a r o u n d.
W h a t 's  i m p o r t a nt  is  that she  b e c omes  a c c u s t omed  to  y o ur  h a n ds  t o u c h i ng — this
act  should  s e em na tur al  and  n o r m al  to he r.  It  s h o u l d n 't  s e em like you' re trying  to
get somewhere with  h e r, like  it usually  d o es  w h en  some guy  w a n ts  to  h o ld  h er  h a nd
or  p ut his  a rms  a r o u nd her.  Ins t e ad,  i t 's fun  a nd feels right  as  y ou create this
c omf o rt wi th  y o ur  t o u c h.
Don't ma ke excuses
D o n 't  be  t ent a t ive  and  w i m py  a b o ut  t o u c h i n g,  be  n a t u r al  a nd confident.
T o u c h i ng (guys and girls) is  o ne way  t h at alpha males like  y ou  d emo n s t r a te their
d omi n a n c e.
Always be leading - one step at a  t ime
R e m e m b er  t he principle  that  it  is easier  to  c o n d i t i on  p e o p le  to  j ump  i n to small,
i n n o c u o us  h o o p s. Without realizing it,  they fall  i n to  y o ur  f r ame  as your  h o o ps
b e c o me larger  a nd  m o re explicit over  t ime.
F or this  r e a son,  w h en  y ou  do  t he spin ma n e u v e r,  y ou  d o n 't say,  " Ok  I 'm  g o i ng  to
spin you  a r o u nd  in a circle, let me see  y o ur  h a n d ."  T h is  is  m u ch  t oo large of a
h o o p. Unless  y ou have  d emo n s t r a t ed a  l ot of value, girls will  p r o b a b ly give  y ou
s o me  t r o u b le  on this  h o o p;  it forces  the ir  egos  to  b e c o me  involved. But  ins t e ad
you say,  " Go like  t h i s" - [holding  o ut your  h a n d,  t h en  t aking  h e rs  w h en she
mimics you] —  " n ow do a little  s p i n" —  [ n ow  spin her  a round.] See  h ow  e a ch  s t ep
is easy for  h er to follow, bit-by-bit?
In this way, lead  h er  t h r o u gh  the entire  int e r a c t ion.
One step  forward,  two steps  b a ck
While escalating,  t ake  o ne  s t ep  forwa rd (metaphorically). At  a ny sign of he s i t a t ion
or defiance,  t ake  two steps back.  T h en  s t ep  forwa rd  o n ce again.  F or  exampl e,  if
you  t ake her  h a n d,  a nd  y ou sense  a ny hesitation,  t h r ow her  h a nd away. La t er
w h en you take  it again,  she will  c omp ly  m o re readily.  T he pr inc iple  is  that  the
" t wo  s t eps  b a c k" creates more discomfort  t h an  t he  " o ne  s t ep forward."  T h u s,
the target  b e c o m es  m o re likely  to  c omp ly wi th future forward  s t eps.
T h e  M y s t e r y  M e t h o d
1 43 Y ou  be  t he  o ne  to  c r e a te  t he  t e n s i o n,  a nd  y ou  be  t he one  to push  it  a w ay
" B a b y, we've got to slow this  d o w n . ."
Some  p e o p le  t h i nk  t h at it's  the  m a n 's  j ob  to escalate,  and  t he  w o m a n 's job  is  to
resist.  Ins t e ad,  t h i nk of  it  as  if  it  is  t he  m a n 's job  to do both.  If you  a re  cons t ant ly
thing  to get  m o re kino, like ge t t ing  y a r ds on a football  f i e ld,  it telegraphs far  t oo
m u ch  int e r e st  a nd deprives her  of  the  h o t / c o l d,  p u s h / p u ll  ene rgy  t h at  she  f i n ds
so compelling.
W h en  y ou pull  in close  to a girl,  the r e 's this  t e n s i on  in  t he air. At  s o me point,  if
she feels  t oo  m u ch discomfort,  she will pull away.  T h is  i sn't  w h at  y ou wa nt —  y ou
d o n 't wa nt  to  c o n d i t i on her  i n to a behavior of  cons t ant ly pul l ing away  f rom you.
R a t h e r, you  w a nt her  c o n d i t i o n ed  to  cha se after you.
So,  o n ce  that  t e n s i on has  b e en created,  i t 's  n ow time  to  p u sh her away.  T h is mi g ht
be physically ("get off  m e, geez") or emotionally, such as  u s i ng a ba ckturn, false
disqualifier  or  s o me  o t h er  I O D.  Y ou  m i g ht frame  it  as  t h o u gh you are  the pr i ze
and you're not going to let her get anywhere with you tonight 'cause you have work tomorrow.
O ne effect of  this  is  that  it spikes  a t t r a c t ion  w h en you  p u sh  h er away. She will
r e s p o nd  m o re playfully  to you  n ow.  A n o t h er effect  is  t h at  c o m f o rt  is created. She
d o e s n 't feel like  y o u ' re trying to get something if  y o u ' re  cons t ant ly  p u s h i ng her away.
T h is allows  h er to feel safe while having fun  w i th you. She  c an allow  the  emot ional
stimulation  to escalate  ins t e ad  of  h a v i ng  to  shut  it off  in self-defense.  A nd  the
p u sh makes  it  t h at  m u ch  m o re  s t imul a t ing for her  w h en you  do pull  h er  b a ck in.
F or this  r e a s o n,  toss her  h a nd away after  t h umb -wr e s t l i ng  or palm-reading.
De v i se a  k i no  r o u t i ne wh e re you  e m b r a ce her for a few  s e c o n ds of role-playing,
and  t h en  p u sh  h er away. Mix signals..  . d r aw ne ar  to her saying  t h at  it  w o u ld  n e v er
w o rk  o ut  b e twe en  y o u,  b ut  s t roke your  f i n g er  d o wn  h er  c h e ek  at  the same time.
T h en  t u rn away.  U se  b o dy  r o c k i ng m  conjunc t ion wi th  I O I s,  I O D s, falsedisqualifiers, role-playing,  s t o n e s,  and  so  o n.
S o m e o ne  could easily  s p e nd we eks  or  m o n t hs playing  w i th  t h e se ideas  in  t he
f i e ld.  T h e re  is  so  m u ch  to explore.
T h e  M y s t e r y  M e t h o d
1 44 Kino Pinging
Kino pinging  is  an  expr e s s ion of  g r owi ng  a t t r a c t ion  b e t w e en  two  p e o p l e.  F or
example,  if you  p u sh a girl's  shoulder  a nd  she  p u s h es  y o u rs back,  the  two of  y ou
are  k i no pinging.  S o o n,  p e o p le will be telling  the  two of you  to go  f ind a  r o o m.
I t 's an  indi c a tor as well as a gene r a tor of attraction. Usually  this  sort of thing
starts  w i th a little ba ck- and- for th verbal jousting.  I t 's very easy to  p i ng a girl  a nd
see  if  she will  p i ng  b a ck
Some t imes  k i no pinging  is  m o re  fun  w h en it's deliberately  h i d d en  f rom  h er
g r o u p. This  s h ows discretion, builds conspiracy,  a nd  a d ds  exc i t ement.
T a k e a w a ys
Practice  t iming  y o ur  b a c k t u r ns  a nd  o t h er  indi c a tors  of di s int e r e st  to coincide  w i th
sparks  of  a t t r a c t ion.  J u st  at  t he  m o m e nt  w h en  she feels  m o st emotionally
stimulated or  in  n e ed of validation,  y ou  t u rn away slightly,  c aus ing  h er  to lean  in a
little  m o r e. "Wait, what you were saying about that little dog?" It  t akes practice to  g et
the  t iming  d o w n.  R e m e m b e r,  t he  a t t r a c t ion  is only a  t o ol  to be  u s ed  as bait.
W h en  she pul ls you back,  y ou  int e rmi t t ent ly  r ewa rd her  w i th  I O I s.  I s n 't  it
int e r e s t ing  that a takeaway  is be st  d o ne just after a  D H V,  w h en  the target has just
expe r i enc ed a spike  in attraction?  T h at  is  t he  t ime  that she  is  m o st likely  to chase
to get  y ou back. Similarly,  i t 's be st  to give  an  I O D just before escalating, since  it
ma k es  it  m o re likely  that  she will  a c c e pt  the escalation.  F or  exampl e,  if  y ou  turn
your ba ck on  h er just be fore  y ou kiss  h e r,  she will be  m o re likely  to  a c c ept  the
kiss.  T h e se  sor ts  of tilings mu st  be  e x p e r ime n t ed  w i th  in  t he  f i e ld  in  o r d er  to  be
prope r ly calibrated. Incidentally, this takeaway  a spe ct  of A3  c o r r e s p o n ds  to  the
thi rd law of  the Tao of Steve: Be gone.
T h is  is a useful  t i me  to use sniper negs  such  as "eye  b o o g e r s ,"  " y ou spit on  m e ,"
" h e r e 's a  n a p k i n ,"  e t c.  R e m e m b e r,  y ou  d o n 't get  b l amed for  t he eye  b o o g e r,  G od
doe s.  Y ou  a r e n 't trying to  m a ke her feel  emba r r a s s ed, it just happened. It is at this
time  t h at  she  w a n ts  to regain your  r e spe c t,  a nd  she  w a n ts  to feel  g o od again,  so
w h en you make  y o ur  m o v e,  she  w o n 't  g et all  cocky  a nd pull away. She'll  a c c ept  it
be c ause  she felt  emb a r r a s s ed  a nd  g ot all quiet. Of  c o u r s e,  y ou  d o n 't wa nt  to
r ewa rd  h er for be ing a goof, be c ause  t h at wo u ld be  i n c o n g r u e nt So you  a mp up
h er  e m b a r r a s s m e nt by acting di s int e r e s t ed for a bit,  t h en  y ou pl ay nice guy  a nd
say,  " D o n 't  be  emb a r r a s s ed for be ing  h u m a n " ..  . t h en you  s t op be ing  i n to  t he
conve r s a t ion  for a bit.  In  that state of mind,  she  is  ext r eme ly susceptible  to
escalation.
T h e  M y s t e r y  M e t h o d
1 45 Comp l i a n ce
O n e  c o n c e pt  c e n t r al  to  t he  M y s t e ry  M e t h o d  is compliance testing.  T he  b a s ic
i d ea  i s,  y ou  g i ve  h er a  k i n o - r e l a t ed  h o o p .  If  s he  c o m p l i es  w i th  y o ur  m o v e ,  s e v e r al
t i l i n gs  a re  a c c o m p l i s h e d: (1) Simi l ar  to  k i no  p i n g i n g,  it  is  an  I O I  a nd  a l so  c r e a t es
a t t r a c t i o n. (2)  Y o u  h a ve  e s c a l a t ed —  s he  is  n ow  m o r e  c o m f o r t a b le  w i th  y o ur
t o u c h. (3)  H e r  f r a me  h as  f u r t h er  b e en  i n f l u e n c ed  a nd  a b s o r b ed  by  y o ur  o w n.
So  if  s he  c o m p l i e s,  r e w a rd  h er  w i th  an  I O I.  Or  b e t t er  y e t,  r e w a rd  h er
i n t e r m i t t e n t l y.  Y o u  m i g ht  do a  c o m p l i a n ce  t e st  w i th  h er  h a n ds  a nd  t h en  t h r ow
t h em  away.  B ut  t h en  h er  n e xt  c o m p l i a n ce  m i g ht  be  r e w a r d ed  w i th a  c o m p l i m e nt
or  a n o t h er  t o u c h,  or  by  t u r n i ng  to  f a ce  h er  m o re  w i th a  smi l e,  e t c.  T h is  m i g ht  be
f o l l o w ed  by  a n o t h er  I O D  to  c r e a te  m o r e  s e x u al  t e n s i o n.
Compliance Test lOls
• You take her hand and drop
i t . .. she grabs for it again
• You squeeze her hand and she
squeezes back
• You touch her and she touches
you back
• Put her hand on your knee and
see if she leaves it there
• Put her arm in yours and walk
her around  the venue. Does she
comply?
• Sit her on TOUT lap. She does?
• When you are locked-in, take
her hand and pull her in a little
closer as you are Talking at the same
time.  N ow she is standing
between your legs as you run
game on her.
The Kino Test Routine
Hold out your hands in front of you, with your
palms facing up. The body language to her should
communicate that you are expecting her to give
you her hands. This is a compliance test.
If she gives you her hands, squeeze them, and see
if she squeezes back. Then slowly lower them, and
see if she follows the movement in order to
continue contact.
• Try throwing her hands away after.
•  T ry telling her she passed or failed.
• Try explaining the routine as you perform it
on her.
• Try it as merely subtext while talking about
something else.
• Try using this routine on  the target as a way of
defeating a competing male who has invaded
your  s et
T h e  M y s t e r y  M e t h o d -
1 46 If  she defies  y o ur  compl i ance test, give her  an  I O D,  f o l l owed  by a  D H V  a nd
t h en  a n o t h er  c omp l i a n ce test.  F or  exampl e,  it you ask a girl  to  s t a nd  u p,  she may
refuse  to  do  so.  S he has refused your  h o o p.  T h is  d o e s n 't  l o ok  g o o d; it's a  D LV  to
the  g r o u p.  D o n 't bl ame her — maybe  s h e 's just  n ot  a t t r a c t ed  e n o u gh yet, maybe
the  h o op was  t oo big,  t oo early.  So just  be unaffected,  do  a n o t h er  D H V,  and try
anothe r, smaller  compl i ance test: "Show me your hand"  (Whi ch  c an always be
followed up by  t aking  h er  h a nd  a nd saying: '"Ok now stand up for a sec...")
Ne a r ly  eve rything  is a  compl i ance test.  P u t t i ng her  h a nd on  y o ur  c o ck  is a
compl i ance test.  E v e ry escalation,  eve ry  b o u n ce or  m o v e, every  t o u c h, kissing,
even sex itself.  W h en you' re  w o n d e r i ng  h ow tilings are  g o i ng  w i th your  c u r r e nt
target,  a sk yourself: How much compliance do I have?
T he  m o re value  y ou have,  t he  m o re  s h e ll  p e rmit  y ou  to escalate  y o ur  compl i ance
testing.  If  y o u ' re a  r o ck star, her rules will go  r ight  o ut  the  w i n d o w.
C o m p l i a n ce  M o m e n t um
T h e re  is a basic AIM  m o d el wh e re
p e o p le  int e r a ct socially in five
ways:
•  D H V — Demo n s t r a t i on  of
higher value.
•  D LV — Demo n s t r a t i on of
lower value.  (Other people do
this,  n ot you.)
•  I OI —  Indi c a tor of interest.
•  I OD —  Indi c a tor of disinterest.
• CT — Compliance test. Almost
all interactions at  some point
come  d o wn to a test for
compliance. Will you get
compliance or defiance?
T h e  M y s t e r y  M e t h o d
1 47 Fol lowing  t he illustration  a b o v e,  h e re  is  t he way  it  g o es after  y ou  o p e n:  y ou  I O D
(neg, etc.)  a nd  D H V,  then wait for female  I O I s.  It  she  r e s p o n ds wi th  I O I s, give
h er a  c omp l i a n ce test. (If  ins t e ad  she gives  an  I O D,  t h en just  r e p e at  the process.)
If  she complies  w i th your test,  r ewa rd  h er wi th  I O Is  a nd  t h en give  h er  a n o t h er
compl i ance test. As this cycle  r epe a t s, compliance momentum is  b u i lt
T h is  cont inues  u n t il  y ou  r e a ch sex,  w h i ch  is  s omewh e re  a r o u nd  6 5%  compl i anc e.
(Yes,  t h e re are  d e e p er levels of  c omp l i a n ce  t h an sex —  b ut they  a re  n ot  the subject
of this book.)
C omf o rt  is  n ot only  t rust  a nd  t ime —  it  is also  compl i anc e.
If  y ou ask a friend  to do  s ome t h i ng for  y o u, he  is  m u ch  m o re likely  to do  it  than
if  y ou we re  to  a sk a  r a n d om stranger.  If you wa lk up  to your girlfriend  and kiss
h e r,  she will  n ot only let  y o u, she will  p u ll you  in  a nd kiss  y ou ha rde r. Why?  I t 's
be c ause  y ou  h a ve a high level  of  compl i anc e.  H o w e v er  y ou  h a ve  a lmo st  no
chance  of wa lking  up  to a  s t r anger  a nd  d o i ng this.
W hy  do we say  that  compl i ance  h as  m o m e n t u m? All  c omp l i a n ce bui lds  u p on
itself.  S o m e o ne  complying will  c o n t i n ue to comply.  S o m e o ne defying will
c o n t i n ue  to defy  a nd  r e s ent,  a nd take  as attacks any  a t t e m pt  to force her  to
comply.  B ut  o n ce we have  r e a ched  c omp l i a n ce  thr e shold,  it  t akes very little effort
to  k e ep  the  c omp l i a n ce going.
Negative Compliance Momentum
10s will  n ot usually  w a nt  to talk  to  y ou  r i g ht off  the  o p e n e r.  In  o t h er  w o r d s, they
exhibit  l ow  c omp l i a n ce  to your  o p e n e r.  So  to establish  c omp l i a n c e,  I O D  t h em,
D H V,  t h en try  o p e n i ng  t h em  to see  if  t h ey will comply.
T h is may  n ot  be necessary  if  y ou already  h a ve  compl i anc e.  F or example,  w h at
h a p p e ns  w h en  y ou  o p en a set of 7s,  a nd immediately  t he girls are  i n to YOU,  b ut
t h en  y ou  n eg  t h em pur e ly  o ut  of  d o gma t i sm?  In  an instant,  t he  int e r a c t ion  g o es
sour.
Why?
I t 's be c ause  y ou have established negative compliance momentum.  Y ou
p u n i s h ed  t h em  for  g o od behavior.
T he  s ame  p h e n o m e n on oc curs  w h en  y ou  r ewa rd — or fail  to  p u n i sh —  b ad
behavior.  E i t h er way, negative  c omp l i a n ce  m o m e n t um gets bui lt  up  a nd  t h en
works  to your  d e t r ime n t.
- T he  M y s t e r y  M e t h o d
1 48 C o m p l i a n ce  T h r e s h o ld
W h en  c h o o s i ng  to align  w i th  p e o p l e, we  c omp ly wi th their  r e q u e s ts  to a certain
threshold.  T he  m o re value  that  y ou  r e p r e s e nt  to a  w o m a n,  the  m o re  she  w a n ts  to
align  w i th  y ou —  t he  m o re leeway you  h a ve  w h en escalating.  By using  I O Ds  to
p u n i sh defiance,  a nd  I O Is  to  r ewa rd  compl i anc e, a venus i an artist can quickly
br ing a  w o m an  to  t he  compl i ance  thr e shold.
T he compliance threshold  is  t he  p o i nt of  the  int e r a c t ion  w h e re she realizes  that
she has  m o re fun  if  she complies!  O n ce this  h a p p e n s, you  h a ve established
c o n t r ol of  t he  f r ame  a nd  she will follow your lead.  T h is  s h o u ld  h a p p en  in A2 or
A 3. If in C1 you are still getting defiance, then you are not really in C1 at all
Do  n ot  be afraid  to ove r e s t ima te your value.  If  y ou wa s te  t ime trying  to build
value that  y ou already have,  w h en  y ou  s h o u ld  ins t e ad  be  c omp l i a n ce testing,  y ou
could  b l ow your s e lf  o ut  of  t he set  by  c r e a t ing negative  compl i anc e.
O ne venus i an artist us ed  to have a  p r o b l em wi th  S o u t h e rn girls, be c ause they
we re  so nice  t h at he felt he wa s n 't  spa rking attraction,  so he  w o u ld ove r -neg  to
the  p o i nt  of  o b n o x i o u s n e s s. La t er  he realized  that  t h o se sets  w e re already  o n,  a nd
all he was  d o i ng was creating  r e s i s t ance  to his  compl i ance  t e s ts by punishing
inappropr i a t e ly  w h en he  should  h a ve  b e en escalating.
Gi v e - a n d - T a ke
Mu t u al  c omp l i a n ce oc curs  in  C 1.  In  A 2,  if  she  d r o ps  s ome t h i n g,  y ou bust  on her
f or it.  Y ou  do  n ot give her  a ny  of  y o ur  c omp l i a n ce yet.  H o w e v er  in  C omf o r t,  if
she  d r o ps  s o m e t h i ng  y ou will pi ck  it  up  f or he r.  It  is  h e re  that  y ou  s h ow  t h at you
will  comply  for  h e r.  T h is  is attractive  as  she wants  s ome o ne  to take care of he r.
She just  d o e s n 't  w a nt  it unt il mid-game.
O n ce  in  c omf o r t,  t he venus i an artist  a nd his target  should  b o th  c omp ly  f or  e a ch
o t h er all  t he  w ay to a mu t u al  s educ t ion. Ha v i ng a girl  u n d r e ss you is be t t er  t h an
you  u n d r e s s i ng  h e r.  If you get a girl  to  c o me over  and br ing a  c andle  and  t h en
light  it for  y ou  in  h er  b e d r o o m, tilings  a re going  to  h a p p en —  t he  c omp l i a n ce
ma k es it clear.
I t 's also  i m p o r t a nt  to  n o te  that her willingness  to  comply will be directly affected
by  t he  c o n g r u e n ce with wh i ch  y ou deliver  t he  compl i ance test.  If  y ou give her a
- T he  M y s t e r y  M e t h o d
149 compl i ance  r eque st  and any pa rt of her  s ens es  that you  c a n n ot  b a ck  it  u p,  she will
deny you. Do  n ot  l o ok for her  approval  or  even her being  " ok  w i th  i t ." Just lead.
W h at  a re  s o me  o t h er examples  of ga ining  compl i anc e?
• Ge t t i ng  h er  to invest. (She  g o es  to retrieve a dr ink  for you,  she
s p e n ds  s o me  m o n ey  on  y o u, etc.)
• Ge t t i ng  h er  to  m o ve wi th  y ou  or  b o u n ce  to  a n o t h er  loc a t ion.
• Locking  h er in.  T he  longer a girl we a rs  an  i t em of  y o u r s,  t he  m o re
c omp l i a n ce you have.  If  t he girl  r e m o v es  y o ur  i t em,  she  is defying.
• Social  p r e s s u r e.  G et  o ne  of  h er  p e er  g r o up  to tell  h er  to  be nice  to
y o u,  or  to give  y ou  an  a c c omp l i s hme nt  i n t r o d u c t i o n,  a nd  y ou will
immedi a t e ly gain  m u ch  m o re  c omp l i a n ce  f rom he r.
•  P e o p le generally  comply if it  r e sul ts in  m o re fun, or ga ining  s o me
benefit. We are  inhe r ent ly selfish.
•  P e o p le will also  c omp ly if  t h e re is a  t h r e at A  m an  w i th a  g un ge ts
m o re  c omp l i a n ce  t h an  o ne wi th a  h o s e.
Of  cour se  the  v e n u s i an artist will never actually pull  o ut a gun.  B ut  the re  a re ways
to make her feel slightly  thr e a t ened if  s he fails to comply.
F or  exampl e:
•  Y ou can  p u n i sh her  w i th freeze-outs every time  she defies. Basically
any  I O D will wo r k.  (Wh en freezing her  o u t,  i t 's  m u ch  b e t t er  to  s e em
like you  a re  b e c omi ng genuinely distracted — you do not  w a nt her
to  t h i nk  t h at you' re deliberately  p u n i s h i ng her. See  c h a p t er 7.)
•  Y ou  c an wa lk off  in  t he middle of her defiance  and  s t a rt a jealousy
plotline  in  an adjacent set  t h en  e i ther wa it for her  to  c o me over or
just  w a n d er ba ck after  e s t abl i shing  h ow  m u ch fun  y ou  c an be. (See
chapt er 7 for  m o re on freeze-outs  a nd jealousy plots.)
•  In early  A 2,  y ou  c an take all  a t t e n t i on off of her  a nd use active
disinterest,  t h en  compl i ance test again  and  I OI her for  complying.
- T he  M y s t e r y  M e t h o d
150 Token Re s i s t a n ce
At higher levels of escalation,  such  as kissing, your  h a n ds will be mo v i ng  m u ch
m o re freely  a r o u nd  h er body. (This is also a  f o rm of  c omp l i a n ce testing.) Girls
are  p r o g r a m m ed  to give Token resistance  to physical escalation; it's  an  emot ional
r e s p o n se  to  a v o id feeling like a slut. She wants tilings  to  h a p p e n,  b ut  she  w a n ts  it
to feel right  a nd  she  d o e s n 't  w a nt  it  to be her fault  F or  e x amp l e,  if you  p ut  y o ur
h a nd on her leg  a nd leave  it  the r e,  she  m ay  r e m o ve it.  T h is  is unde s i r able be c ause
you are  n ow  u s i ng her anti-slut defense  to  c o n d i t i on  h er  to  p u sh you away.
B ut  ins t e ad  it  y ou stroke  y o ur  f i n g er  up her thigh  as  p a rt  of a  r o u t i ne  and  t h en
your  t o u ch  is  g o n e,  y ou  h a ve  e n d ed clean. She may  even feel slight
d i s a p p o i n tme nt  that  t he  t o u ch  is gone.  N ow  she  is  m o re  b e i ng  c o n d i t i o n ed  to
feel di smay  w h en  y o ur  t o u ch  is gone.
She  is also  m o re  a c c u s t omed  to your  t o u ch  a nd  a c c ept ing  of it.  T h is wo r ks
because of  t he consistency principle. She  d i d n 't object  b e c a u se  t he  t o u ch was
already gone.  B ut  by  n ot objecting,  s o me  p a rt  of  h er has tacitly  a c c ept ed  t h at it's
n ot obj e c t ionabl e.  In  t he future  she  is  m o re likely  to  be  c o n s i s t e nt  w i th  t he
behavior  a nd frame  that  she  is already  a c c u s t omed  to  w h en  int e r a c t ing wi th you.
After all,  she 's  n ot a  h y p o c r i te
Touching  w i th Motion
A n o t h er  int e r e s t ing  a spe ct of  that  e x amp le  is  t he motion  involved.  S o m e h ow
mo v i ng your  h a nd  a c ross her  thigh  is  n ot  as objectionable  as  p u t t i ng  y o ur  h a nd
on her thigh  a nd leaving  it  the r e.
Similarly, if you  a re  r e ady to  t o u ch  h er br e a s ts out s ide her shirt (which is not
usually  an early  p a rt of escalation  b ut will eventually  h a p p e n)  t h en  y ou will gam
compl i ance  m u ch easier  if  ins t e ad of just gr abbing her  b o o b, you  s t roke your
h a nd  a c ross  it  as  p a rt  of a larger  p e t t i ng  m o t i on  on her body,  e n d i ng  up
s omewh e re else like her waist.  T h is  c o n c e pt  is  m u ch easier  to  d emo n s t r a te  in
seminar  t h an  to de s c r ibe  in text.  I t 's rust a way of escalating  m o re  smoothly,
wh i ch  she will  appr e c i a t e.  M a ke her feel  g o o d.
T h e  M y s t e r y  M e t h o d
151 Qual i f iers
P e r i o d i c a l ly  t he  t i me  c o m es  to  l et a
g i rl  k n ow  s he  is qua l i fying  f or  y o u.
S he  h as  to feel like  s he  is  w i n n i ng
y ou  o v e r,  o t h e r w i se  s he wi ll  g et
d i s c o u r a g e d.
T h e se  l i n es  a re  o n ly  e x a m p l e s.  Y o u
c o u ld qualify  h e r  e v en  w i th  y o ur
b o dy  l a n g u a g e.  T ry  g i v i ng  h er  an
I O I.  T u r n  to  f a ce  h er  w h en  s he says
s o m e t h i ng  t h at  y ou  c an  m i s i n t e r p r et
as  b e i ng  c o ol  a nd  w o r t hy  of  an  I O I.
O f t e n,  i t 's  u s e f ul  to  f o l l ow  an  I OI
w i th  an  I O D .  N o t i c e  t h at  e a ch  of
t h e se qua l i f i e rs  h as  an  o p t i o n al
di squa l i f i e r.
S t a t e m e n ts  of  I n t e r e st (SOI)
Simi l ar  to  an  i n d i c a t or  of  i n t e r e s t,  w h i ch  is  u s u a l ly a  s u b t le  c ue  of  s o me  s o r t, a
statement  of interest  is  an  expl i c it  v e r b al  s t a t e m e nt  t h at  m a k es  c l e ar  y o ur
g r o w i ng  i n t e r e st  in  h e r.  F o r  e x a m p l e:
•  " Y ou  k n o w,  y o ur  f i r st  imp r e s s i on  w as kind  of  s o - s o ..  .but  n ow  t h at I get  to
k n ow you,  y ou are  so  i n c r e d i b l e . . ."
•  B uy her a dr ink.
•  " W h en we me t,  y ou just  s e emed like  a n o t h er  o ne  of  t h o se California blondie
gi r l s.  B ut since I get  to  k n ow you, I actually feel  n e r v o us  a r o u nd  y o u ."
•  " O M G, I  c a n 't believe this. Like.  C an  y ou believe we  m et  at a  b a r ?"
•  "We ' re  g o i ng  to sit  d o wn over  t h e r e, wo u ld  y ou like  to join  u s ?"
•  " Y ou  k n ow wh a t;  y ou are actually  p r e t ty  cool,  I 'm  cur ious  a b o ut  y o u ."
•  "I have  to  h a ng  o ut wi th  y ou again  s ome t ime.  ->  C an  y ou  c o o k"
A  w e l l - t i m ed  S O I  c an  w o rk  w o n d e r s.
• "You are SO  a d o r a b l e . . . ->  i t 's
sickening."
• "You know, you can be pretty
interesting sometimes."
•  "You' re awesome!  .. .Sort  of
•  " I t 's weird.. .I feel so good  a round
you."  [ F a l se  d i s q u a l i f i e r]  " T oo
bad you're not my type."
•  "You' re  p r e t t y . .. -> but you' re
EVIL."
•  " O MG you're French?  T h at is so
awesome. -> I  c an't even talk to you
right  n ow."
•  " O MG you're a dancer? That is so
awesome. -> I  c an't even talk to you
right  n ow."
- T he  M y s t e r y  M e t h o d -
152 C o m p l i m e n ts
•  No  c r ap  a b o ut  " y ou  a re  so  h o t ,"  " Y ou  a re  my  d r e am  g i r l ,"  e t c.  In  o t h er
w o r d s,  c o m p l i m e nt  f r om a  s c r e e n i ng  f r ame,  n ot a  b e g g i ng frame.
•  C o m p l i m e nt  h er style,  h er  ene rgy,  h er  p o i s e,  or  s o m e t h i ng  u n i q ue
a b o ut  h er out f it  t h at  she  c h o s e.  H e r  s h o e s,  h er ha i r,  a nd ONLY  if  y ou
really like  it  a nd  t h i nk  it  d e s e r v es a  c o m p l i m e n t.  T h is  m e a ns  d o n 't  be
t h at  g uy  w ho  is  c o n s t a n t ly  c o m p l i m e n t i ng girls  on  t h e ir  n e c k l a c e.  L e a rn
to  n o t i c e  t h i n g s.
•  T ry  u s i ng  c o n s t r u c t i ve  c r i t i c i sm  a f t er  m a k i ng  t he  c o m p l i m e n t.  T h is  is a
p owe r f ul  w ay  to  n eg  h er  a nd  d e m o n s t r a te  v a l u e.
•  D O N 'T  M E N T I ON HER LOOKS.
Hint: Try complimenting a girl in a way that directs her to behave the way
you want her to, and to play a role that's useful to you.
An  e x a m p le  of  t h i s:  " Y ou  s e em  to  be  v e ry  c o n n e c t ed  w i th  y o ur  e m o t i o n s.  Y o u
s e em  to  r e a l ly  l i s t en  to  y o ur  w o m a n 's  i n t u i t i o n ."  Or  if  s h e 's  b e i ng  r u d e,  or  if  y ou
w a nt  to  m i s i n t e r p r et  t h at  s he  w as  r u d e,  s ay,  " Y o u ' re  t oo  c l a s sy  to  a ct like  t h i s ."
J u st tell  h er  h o w  y ou  " v i e w"  h e r,  a nd  s he wi ll  b e c o me  t h at  p e r s on  for  y o u,  b ut
o n ly  if  s he  a g r e es  a nd  it  is  f l a t t e r i ng  f or  h e r.  Y o u  a re  b u i l d i ng a  c h a r a c t er  for  h e r,
a nd  s he wi ll  p l ay  t he  r o le  b e c a u se  s he  l i k es  t he  w ay  t h at  t he  r o le  m a k es  h er feel.
H e re  a re  s o me examples  of  c o m p l i m e n t s:
•  "You  s e em like  s ome o ne  w ho really  k n o ws  w h at she  w a n t s, I  a dmi re  t h a t ."
•  "You really  c a re  a b o ut your friends. I  b et  y ou will make a really  g o od  m o t h e r ."
•  ' Y ou have a  g o od  ene rgy."
•  "I  n o t i ce  y o u ' re  the leader of  y o ur friends. Why  is  t h a t ?"
•  "Y o u ' re a gr e at  conve r s a t iona l i s t ."
•  " Y o u ' re a  v e ry classy girl. Wh at are  y ou  d o i ng in a place like  t h i s ?"
•  " W ow you  s e em  so  conf ident wi th  y o ur friends, like  y o u ' re kinda  t he leader of your
p e er  g r o u p. I just  love your  e n e r g y . ..  ->  A re  y ou close wi th  y o ur family?'"  [Going
into  n e xt  rout ine .]
•  "You have  s u ch an expressive pe r sona l i ty ...  T h a t 's a valuable  t h i ng in the
e n t e r t a i nme nt  indus t ry.  T h e re are a million  w o m en  w ho are beautiful; I just came
ba ck from Flor ida,  b ut  h ow many do  y ou  think have  an  o u t g o i ng pe r sona l i ty like
yourself?  I 'm telling you,  tha t 's a ve ry  a t t r a c t ive quality  a nd a valuable  a s s e t ."
T h e  M y s t e r y  M e t h o d
1 53 Bait -  H o ok - Reel - Re l e a se
T he "Bait—Hook-Reel-Release" metaphor is  o ne  that continually resurfaces in
study  of  the  g ame.  O ne way  to apply  it  is  in  A 3.  Y ou  w a nt  to give  I O Is  to  the
target,  b ut you  d o n 't  w a nt  to  s e em  t oo easy.  (Othe rwi se  she  w o n 't appreciate  y o ur
pair  b o n d;  ins t e ad  she will enjoy your  I O Is  as a validation of  h er sexual  p owe r,
b ut  she will lose  a t t r a c t ion for you.)
T he idea  is  to  m a ke  t he woman  d e m o n s t r a te higher value  to you. Bait her  i n to
telling you interesting things  a b o ut he r s e lf  (not  "what do you dot") so  w h en she
replies (the hook) you  c an IOI her (reel her in) only to  p u sh her off again
(release her  f r om  the  p r e s s u re of be ing hit on.) This  p r o c e ss repeats several
t ime s.
H e re  is  an  e x amp le for  y ou  to use in-field right  away
Y o u:  [ B a i t]  W h at nationality are you?
H e r:  [ H o o k]  F r e n c h.
Y o u:  [Re e l] Seriously? No WAY!!!  T he girl I had  t he biggest  c r u sh  on  in high
s chool was  F r e n c h!  [ R e l e a s e] I  c an't  e v en talk  to  y ou  n o w.
E v e ry time she gives you a  d e m o n s t r a t i on of higher value,  y ou indicate  y o ur
int e r e st  to he r.  T h is way she will believe your  I O I s,  a nd  w h en  y ou fully  S OI her,
she will feel like  she really de s e rves it.  T h is allows  y o ur  a t t r a c t ion for her to
legitimately  g r ow  o v er several mi n u t es  ins t e ad of just  I O I i ng  h er because  she first
IOI'd you.
An  i m p o r t a nt  a s p e ct  of  t he Mystery  M e t h od  is  to  r e s t ruc ture  rout ines  to  be  in
cont ext  w i th YOUR IDENTITY  in particular.  T a ke  t he  t ime  to wr i te up  some
pe r sona l i z ed  r o u t i n es wi th this  in  m i n d. Again,  m a ke  y o u rs  c o n g r u e nt wi th  y o ur
identity.  Y ou  do  n ot  h a ve  to  be a magician  to  do  the Mystery  M e t h o d,  b ut you  do
n e ed a  s t r o ng  ident i ty
T h e  M y s t e r y  M e t h o d -
154 H e re  is  an  e x a m p le  of  t h i s,  u s i ng  M y s t e r y 's  i d e n t i t y:
M y s t e r y:  " If  y ou  c o u ld  be  a n y t h i ng  in  t he  w o r ld  w i th  no  c h a n ce  of  f a i lur e,  w h a t
w o u ld  y ou  w a nt  to  b e?  A n d  d o n 't  s ay  ' P r i n c e s s'  h a a ."
G i r l:  " U r n,  an  a c t r e s s ."
M y s t e r y:  " R e a l l y?  W h e n I  w as  l i t t le I  w a n t ed  to  g r ow  up  a nd  be a  m a g i c i a n.  A n d
y ou  k n ow  w h a t I  am  n o w? A  m a g i c i a n!  So  y ou  w a nt  to  be  an  a c t r e s s.  I 'm  l i v i ng
p r o of  t h at  o ur  d r e a ms  c an  c o me  t r u e.  It  w o u ld  be  so  c o ol  if  y ou  w e re  an  a c t r e s s. I
l o ve  t h a t!  We  n e e d  to  f i g u re  o ut  h ow  to  m a ke  t h at  h a p p e n. I  b et  y o u 'd  be  an
a m a z i ng  a c t r e s s.  B ut  w h a t  if  y ou  g et  m o r e  a t t e n t i on  t h an  I? I  c a n 't  e v en  h a ng  o ut
w i th  y ou  n o w . '
1
T he Bait—Hook—Reel—Release  m e t a p h or  p e r f e c t ly  m a t c h es  t he  A3  p r o c e ss
d e s c n b ed  in  t h is  c h a p t e r,  w h e t h e r  a p p l i ed  to  s c r e e n i n g,  h o o p s,  k i no  e s c a l a t i on  or
c o m p l i a n ce  t e s t i n g.  H e r e  a re  s o me  e x a m p l es  of  thi s:
Bait — Challenge her
H o ok - She  D H Vs for you
Reel — Give her an SOI
Re l e a se — False disqualifier
Bait — Give her a compliance test
H o ok - FAILURE; she defies
Re l e a se — Give her an  I OD
Bait —  D HV in some way
H o ok — She gives  I O Is
Re el — Kino escalation
Re l e a se — Throw her hand away
Bait — Give her a compliance test
H o ok - SUCCESS; she complies
Reel — Kino escalation.
Re l e a se - Push her away
Bait — Ask her a screening question
H o ok — She qualifies herself to you
Re el - Give her an  IOI
Re l e a se — False time constraint
Bait - DHV, men takeaway
H o ok - She chases, for example she
quickly finds a way to prolong the
conversation
Re el — Give her a qualifier
Re l e a se — Give her an  I OD
Bait — Give her a hoop to jump into
H o ok — She jumps into your  h o op
Bait — Give her a compliance test
H o ok — She complies
Re el - Compliment her
Re l e a se — Tease neg
T h e  M y s t e r y  M e t h o d
155 T he bait  c an be a challenge, a screening que s t ion, a  compl i ance test, a takeaway, a
h o o p, or  so  o n. THESE ARE ONLY EXAMPLES.  T he  t r u th  is  that bait  c an be
anything.  It can be a subtle  cue  in  y o ur  b o dy language.  It  c an be  an allusion  to a
t emp t i ng  b o u n c e, giving her  an  o p p o r t u n i ty  to  s h ow  int e r e st  in joining you.  F i nd
wh at wo r ks for  y ou us ing  e x p e r ime n t a t i on  a nd field-testing.
Y o u: "How old are  y o u ?"
H e r:  " 2 3,  h ow  a b o ut YOU? '' (Hook!)
Y o u: (ignoring her question)  " H o ld  o ut your
hand."
H e r: (She complies —  s p in her.)
Y o u:  " H ow graceful! I bet  y ou  w e re a ballet
geek"
Y o u:  (Hold  o ut  h a n d s, expecting hers.)
H e r: (Complies  a nd gives you her hands. Hook!)
Y o u: (While talking  a b o ut unr e l a t ed material, do
the kino test.)
H e r: (She squeezes back.)
Y o u: (Continue talking  a nd  t h r ow her  h a n ds
away.)
Y o u:  w h at  do  y ou  w a nt  to  be  w h en  y ou  g r ow
up?"
H e r:  "I  w a nt  to  be a  t e a c h e r ..  . I 'm studying
educ a t ion  at  X YZ  s c h o o l " (Hook!)
Y o u:  " W ow  tha t 's a  g o od  s c h o ol This  is funny, I
t h o u g ht you  w e re like  the se  o t h er girls; I gave you
way insufficient credit. I bet  y o u 'd be really  g o od
working wi th  chi ldr en; you'll  p r o b a b ly ma ke a
great  m o t h er  someday.  T oo  b ad you' re totally  n ot
my type.  Y o u ' re a  c o ol girl; we  should  f i nd  y ou
s ome o ne  t o n i g h t"
Y o u: (Finishing a  D H V)
H e r:  " So wha t 's your  n a m e ?"  ( IOI)
Y o u: (ignoring  h er que s t ion)  "Are  y ou  an intuitive
p e r s o n ?"
H e r:  "Yes  v e ry  m u ch  so!" (Hook!)
Y o u:  " L et me see your  h a n d ."
H e r: (She complies.)
Y o u: (Stroking your finger  d o wn her palm.)
" I n t e r e s t i n g . . ."  ( T h r ow  h er  h a nd away.)
H e r: "Wait,  w h a t? Can  y ou  r e ad  p a lms ?" (Chasing)
Y o u: (Taking  h er  h a nd again.)  " S ee  this line? This
is  the  r e t a rd line,  it me ans you' re a  r e t a rd."  ( H ug
her.)
Y o u:  " So tell  m e,  w h at are your  t h r ee  b e st
qualities?"
H e r:  "We l l,  I 'm loyal,  I 'm  s m a r t . . ." (Hook!)
Y o u: (Interrupting)  " C an  y ou cook?"'
H e r:  " Oh yeah I can  c o ok all kinds of stuff."
(Hook!)
You: (Smiling approvingly)  " T h a t 's  so cool,  it
seems like everyone eats TV dinne rs  the se days. I
have  to  go  in a mi n u t e,  b ut I was  w o n d e r i n g . . ."
( Go  into next routine.)
Y o u: (Finishing a  D HV  a nd  b o dy  rocking  a w a y . . .)
H e r:  " So wait a sec,  w h at  ever  h a p p e n ed  to  t h at
d o g ?" (Hook!)
Y o u: (Rocking back)  " Y ou  k n ow wh a t, you' re  so
a d o r a b l e .. .it's sickening!"
T h e  M y s t e r y  M e t h o d -
156 Her  p e r c e p t i on  of  t he  p i c k up  in  t e r ms  of  s o c i al  s t a t us
W h en you first  o p en  h er set,  y ou  a re just
s o me guy. She has  no  r e a s on  to perceive
you  as having any  m o re value  t h an that.
She sees herself as  the prize.
Al
E x c e p t ..  . h mm  y ou  a re dr e s s ed well,  a nd
have  g o od  b o dy language,  n ot needy,  a nd
i n t e r e s t i n g . ..
A2
N ow  y ou are  d emo n s t r a t i ng value.  O t h er
girls are  t o u c h i ng you  and  t h en  y ou  n eg
her! She starts  to give  I O I s, wh i ch  y ou
exploit
She  D H Vs  to  w in your affections.  Y ou
r e s p o nd  w i th  int e rmi t t ent  I O I s,
compl i ance tests,  a nd  h o o ps  as  she  "wi ns
you  o v e r ."
A 3
N o w  t h at  s he  h as  i n d i c a t ed  h er  i n t e r e st
in  y ou (A2)  a nd  y ou  h a ve  i n d i c a t ed  y o ur
i n t e r e st  in  h er  (A3),  she  is  i n v e s t ed  in  t h is
i n t e r a c t i on  a nd  is  p r o b a b ly  t rying  to  b u i ld
c o m f o rt  w i th  y o u,  or  w i s h i ng  y ou  w o u ld
m a ke  it  h a p p e n.
C1
Y ou  n ow  h a ve  m u t u al  r e s p e c t,
i n v e s t m e n t,  a nd  a t t r a c t i o n.  M o ve
h er  to a  l o c a t i on  w h e re  t he  t wo  of  y ou
c an  be  m o re  i s o l a t ed  t o g e t h e r,  a nd bui ld
c o m f o rt  w i th  h e r.
- T he  M y s t e r y  M e t h o d -
1 57 C h a p t er Six  R e v i ew
• In the A3 phase, you bait a woman into working
for your affections. As she becomes invested in
the interaction, you reward her and the cycle
repeats.
• The Frame is the context, usually assumed and
unspoken, that provides meaning to the content
and the interaction He who controls the frame
controls the communication itself.
• If your frame is strong enough, you can get
away with anything. You can use any opener,
any line, any spontaneous attitude, and it will
work — but you must be congruent.
• The field will give you the answers that you seek.
Go, and be in the field, and listen to your
intuition there. Over time you will calibrate.
• Women and men will play frame games on you
and test you for congruence. Women are seeking
a strong mate and men are testing for
dominance. Often this is unconscious and
instinctive behavior.
• There are all sorts of hoops that people will
produce to see if you will jump into their hoop.
Don' t. Instead, bait  them to jump into your
hoops.
• Do n 't go off the deep end and respond to every
social interaction like it's a power play for
dominance and like you are so clever for
recognizing it. You will turn into a social robot
and will lose your ability to vibe naturally with
people. Be relaxed and enjoy the process.
• Feel free to jump into someone's hoop if you
can first make them jump into one of yours.
• The more obvious it is that it's a hoop, the less
likely it becomes that someone will jump into it.
• A useful frame is where you are the person in
the interaction with mo re value, not her. This
isn't explicitly communicated, but you imply it
with your assumptions, in a fun way.
• When using this sort of material, remember that
what's really important is the inner game. With
practice, your internal frame will become congruent
and comfortable with spontaneous interaction as
well as canned material.
• You must have standards about what sort of
woman you want to be with. This will be
communicated in your frame through many subtle
cues in your body language and speech.
• One way to do this is to screen her by asking her
certain questions. Calibrate gently — you don't want
her to think this is a tactic to flip her attraction
switch. (The standards must be real.)
• Intermittent rewarding is more effective  than
consistent rewarding. Use  I O Ds to add a hot/cold,
push/pull dynamic when you are stimulating and
rewarding the target.
• There is a natural flow of kino from the very early
stages of the set that leads all the way to sex.
Nothing is ever a big deal, there is never any "big
move" — it's just how the two of you are when you
are together.
• Take aways, properly timed, will condition her to
chase.
• Do n 't compliment a woman on her looks.  D o n 't
mention her looks.
• Almost all interactions at some point come down to
a test for compliance. Will you get compliance or
defiance?
• Compliance momentum can be built by
rewarding  "good" behavior using intermittent  IOIs
and punishing "bad" behavior using  IODs. A
venusian artist will continue compliance testing all
the way up to sex.
• The compliance threshold is the point where she
realizes that she benefits more if she complies.
• Bait-Hook-Reel-Release is a metaphor used to
describe the application of compliance testing,
screening, qualifiers, and other aspects of A3.
T h e  M y s t e r y  M e t h o d
1 58 C 1: Comfort and Conversation
A wide conversational rapport
A sense of comfort and trust
A sense that this interaction is real and genuine
A feeling of connection
T
h e re  a re several  e l ements  t h at need  to be  a d d ed  to  t he mix  at  this  p o i n t.
A l t h o u gh you  a nd your target  h a ve  b o th  indi c a t ed  i n t e r e st  in  e a ch othe r,
YOU  h a ve still only  k n o wn  e a ch  o t h er  for  f ive or  t en mi n u t e s.  Y o ur
interest  is  b a s ed pur e ly on  the  a t t r a c t ion switches flipped. By baiting her  to  inve st
further, you  n ow  h a ve  an  o p p o r t u n i ty  to build  c omf o rt  a nd  t r u st wi th her.  A nd
t h at is wh at actually ge ts  the girl — the game is played in comfort. Everything
else was me r e ly  to get  to this  p o i n t.
If  it has  n ot already  b e en  d emo n s t r a t ed  that  the  t wo  of you  c an  h a ve a  n o rma l,
fun, natural  c o n v e r s a t i on  toge the r, this  is  the time  to do so.  In  the future,  w h en
she  is de c iding  w h e t h er  or  n ot  to  r e t u rn your  p h o ne call,  y ou  d o n 't  w a nt  h er
thinking, "Geez all we really had to talk about was dog food and petting our dogs, we didn't
really connect on a conversational level. Plus I made out with him so I know he's going to want
more of that, but I don't even know this guy.. .it was fun at the time but I just don't feel
comfortable with this right now. There are a million guys; I'll meet another hot guy tonight when
I'm out with my girlfriends."
T h is  is exactly  w hy  so  m a ny  p h o ne  n u m b e rs  a re flakes —  n ot  e n o u gh  comfor t.
T h u s, it's  i m p o r t a nt  to have fun,  n a t u r al  conve r s a t ions with girls, us ing wide
r a p p o rt  and mul t iple  conve r s a t ional  t h r e a d s.  W h en  she  l o o ks ba ck  on  t h at
conve r s a t ion,  she  should  be  thinking  a b o ut  h ow  she enjoys talking wi th  y ou  a nd
looks forward  to  d o i ng  so again.
Al so,  t h e re mu st be a sense  that this  int e r a c t ion is real  and  g e n u i n e. Of t en  this is
t he  r e a s on  w hy  w o m en  a re distrustful  of  "ni ce  g u y s ."  H ow  d o es  she  k n ow  he
i sn't just  p r e t e n d i ng  to  be ni ce  in  o r d er  to  g et  i n to her pant s? Sure,  h e 's buying
7
Chapter
T h e  M y s t e r y  M e t h o d
1 59 d i n n er  and telling her  she 's  p r e t t y ..  . b ut  is  t h at  w h at  h e 's really like? Or  is  that just
w h at  h e 's like  w h en  he wants  some thing?
By  d emo n s t r a t i ng a willingness  to walk, or  to  s t ep up  and call bullshit  in a fun
way, you  d emo n s t r a te that  y ou are  b e i ng genuine  w i th her,  w h i ch creates trust,
allowing her  to feel safe.  T h is  is wh at girls me an  w h en  they say  they  w a nt a  m an
w ho  c an keep it real. She  n e e ds to feel  that  she is ge t t ing to  k n ow  the real you
—and  that takes time.
W h en you  f i r st  g a me a girl,  she  is  b e i ng stimulated  and  h a v i ng fun wi th you.  If
d o ne  in a  c o m p e t e nt ma n n e r,  m o st  w o m en enjoy  it  at  t he  t ime.  B ut for her  to
cons ider da t ing  y ou  in  t he future,  she  m u st  n ot only  be  inve s t ed,  b ut  she  m u st
feel  that  the re is a real  c o n n e c t i on  b e t w e en YOU. She  m u st see  y ou as  s o m e o ne
w ho  could really  b e c o me a  p a rt of her life —  and  m o re  imp o r t a n t l y,  that she  c o u ld
b e c o me a  p a rt of your life. She  w a n ts  s o m e o ne  w ho  is similar  to her  in va r ious
ways.  S o m e o ne  w ho  l o o ks like a  g o od  c o u n t e r p a r t,  that  o t h er  p e o p le  w o u ld say,
" Oh you  look like  such a great couple!"  S he wants  s o m e o ne  t h at her friends like;
s o m e o ne  she  c an  s h ow off  on social oc c a s ions;  s o m e o ne  that  she  u n d e r s t a n ds
a nd  emp a t h i z es wi t h.
W h en she  r e m e m b e rs you,  d o es  she feel a  g e n u i ne  c o n n e c t i o n? Or  a re you just
s o me guy she  h ad a few laughs wi th whi le dr inking at a bar  o ne night?
T he Freeze-Out
W h en YOU are in  t he attract phase, YOU can  b u st her balls  w h en  she bus ts your s.
B ut  o n ce  y ou  r e a ch  c omf o r t,  if  she  b u s ts on  y o u,  y ou  c an only freeze-out by
wi thdr awing  a t t ent ion. She will say,  w h a t 's  w r o n g ?"  Y ou say,  " N o t h i n g ." (Not
sulking! The delivery must be sincere, like it's really no big deal)
T h e n, after  she  is  p u n i s h ed by  y o ur silence for  an  awkwa rd  m o m e n t,  r e t u rn  to
c o m f o rt  by finding  s ome t h i ng  to  I OI  h er  f o r.
She learns quickly  n ot  to bust on  y ou be c aus e, (1)  y o u ' ve already  p r o v en  that you
can bust ba ck (in attract pha s e)  a nd (2)  s he feels discomfort  w h e n e v er  she  b u s ts on
YOU.  T h is  is your  o p p o r t u n i ty  to  s h ow  h er YOU  a r en't always  an asshole like you
we re  in  a t t r a ct  p h a s e.
So  fr e e z e - o u ts  a re a way  to train he r.  Y ou  c an  u se  d i s c omf o rt sparingly  to  t e a ch
her  t h at be ing  n i ce  to  y ou me a ns  c o m f o rt  a nd fun.  W h en  t he  t ime has  c o me  to
- T he  M y s t e r y  M e t h o d
160 build  comfor t,  i t 's  c o u n t e r p r o d u c t i ve  to  c o n t i n ue be ing  c o c ky  a nd ball bus t ing.
T he  p u n i s h / r e w a rd dynamic  m u st  be  u s ed  ins t e ad.
T h is  p h a se  is  a l so  y o ur  o p p o r t u n i ty  to  d emo n s t r a te  that  y ou  a re capable  of
ma k i ng  u n c omf o r t a b le situations  comfor t able again. The use of sniper negs  is
great he r e, like saying,  "you  h a ve  s o m e t h i ng on your  n o s e"  a nd  h a n d i ng her a
tissue.
She feels  u n c omf o r t a b le  b ut it's not your fault, it's  G o d ' s. Right after  thi s,  she will
feel so small Af t er  she not i c es  that you  a re freezing her  o ut a  b it  (not as if you' re
be ing cruel,  b ut  r a t h er as if you  a r e n 't  i n t e r e s t ed in  h e r ), give  h er a compliance
rest  a nd  t h en  r ewa rd her  compl i ance  w i th  an  IOI  In this  w ay  y ou are can
c o n t i n ue  r ewa r d i ng her,  b ut only for  c omp l i a n ce  and  n ot mi sbehavior.
Style's Kiss  T a c t ic
When sitting arm-in-arm with your target, lean in and smell her hair and say, "You smell
so flacking good,  F in trying so hard not to kiss you right  n o w ..."
Then, push her off you and say,  " N ow get off of me ." At this point, do a slight freeze
o u t / I OD and wait for her to give you an IOI. If you did everything correctly up to this
point, she will give you an  I OI by re-initiating kino with you. After she does, lean in and
kiss her.
You'll know that she is ready to be kissed after she  IOIs you, because you verbalized
that you wanted to kiss her, and her IOIing you is a way of accepting this verbalization.
T he  a b o ve  r o u t i ne  is a very  g o od  e x amp le of ma ny of  t he principles of MM (kino
escalation,  compl i anc e,  p u n i s h m e n t / r e w a r d, etc.) wo r k i ng  in  c o n j u n c t i on wi th
o ne  anothe r. See  h ow  t he  w o m an enjoys this  p r o c e ss  w h en  it unfolds?
W h en  y ou lean  in  to smell her hair,  y ou  a re giving  h er  an  I O I,  b ut you also  do  n ot
w a nt  to  m a ke  h er  u n c omf o r t a b le  by escalating  t oo fast.  T h e r e f o r e, you  p u sh her
off of you.  T h is  in  turn makes her  u n c o m f o r t a b l e. She notices  that  she  is  m o re
u n c omf o r t a b le  n ot having  k i no wi th  y ou  t h an  she was  w h en  s he  h ad  k i no  w i th
you,  so  she re-initiates kino.  T h en  w h en you lean  in  to kiss  h e r, this  is  an  IOI
T h us you are  r ewa r d i ng  h er  g o od behavior (her  k i n o i ng you),  and  encour aging
m o re  such  b e h a v i or  as tilings  p r o g r e s s.
T h is  is  h ow a  v e n u s i an artist us es  the  o ne  s t ep forward  two  s t e ps ba ck principle
to  g et  t he  g i rl  to  cha se  h im.
T h e  M y s t e r y  M e t h o d
161 Comfort Building Locat ions
T he  l o c a t i on  in  w h i ch  y ou first  m e et a  w o m an  is  n ot ne c e s s a r i ly  f avor able  to
bui lding  c o m f o r t.  T he mu s ic  m ay  be  t oo  l o ud for  l e n g t hy  c o m f o rt  b u i l d i ng
di a log.  T he  c r o wd  m ay  be  t oo  c o n g e s t e d.  Y o ur  r o m a n t ic  i n t e r e s t 's  p r o t e c t i ve
f r i ends,  c u r r e nt  b o y f r i e n d, jealous  e x - b o y f r i e nd  or family  m e m b e rs  m ay  be
p r e s e n t.  Y ou  or  s he  m ay  a l so  l a ck  t he  i m m e d i a te  t i me  to  s p e nd 7  h o u rs  b u i l d i ng
e n o u gh  c o m f o rt  w i th  e a ch  o t h e r.
If  t he  m e e t i ng  l o c a t i on  d o es  n ot  a l low  y ou  t he  t ime  n or  a f f o rd a  c o m f o r t a b le
s e t t i ng  to sit  w i th  h er  a nd  b u i ld  c o m f o r t,  y ou  m u st  m o ve  h er  f r om  t he  m e e t i ng
l o c a t i on  to a  c o m f o rt  l o c a t i o n.
All  c o m f o rt  b u i l d i ng  l o c a t i o ns  a re  m a r k ed  by  m o re  q u i et  a nd  s e c l u d ed  ( t h o u gh
o f t en still publ i c)  s e t t ings  w h e re  y o u,  y o ur  r o m a n t ic  i n t e r e st  a nd  h er  f r i ends (as
we ll  as  y o ur  f r i ends)  m ay  s h a re  in  l e n g t hy di a logue.
T h e re  a re  t h r ee  t y p es  of  c o m f o rt  b u i l d i ng  l o c a t i o ns  t h at  y ou  a nd  y o ur  r o m a n t ic
i n t e r e st will visit.  M y s t e ry  h as  n a m ed  t h e se  C 1,  C 2,  a nd  C 3.
T h e  M y s t e r y  M e t h o d
1 62 T h r ee Comfort Building Locations Types
- T he  M y s t e r y  M e t h o d
163
C1  =
Any comfort building location within
the meeting location.
C2  =
Any comfort building location
separate from the meeting location
and the sex location
C3  =
Any comfort building location within
the sex location. T he  F i ve  L o c a t i on  T y p es  f or  G a m i ng
T he  f i ve  l o c a t i o ns  a re  t he  M e e t i ng  L o c a t i o n,  C 1,  C 2,  C 3,  a nd  t he Sex
L o c a t i o n.  T he  C1  l o c a t i on  exi s ts  s o m e w h e re  w i t h in  t he  m e e t i ng  l o c a t i on
d u r i ng  t he  p i c k up stage, wh i le  t he  C3  l o c a t i on  exi s ts  w i t h in  t he sex  l o c a t i on
d u r i ng  t he  s e d u c t i on stage.
H e re  is  o ne way  to  l o ok  at it:
T h e re  a re  s e v e r al  r e a s o ns  for  this  d e s i gn  s t r u c t u r e:
•  M o v i ng  o n ly a few feet  f rom  t he  m e e t i ng  l o c a t i on  to  t he C1
l o c a t i on  c a r r i es  w i th  it  m u ch  l e ss  of a safety  r i sk for a  w o m an  w ho
h as  just  m e t  y ou  a nd  it  t h us  h e l ps  k e ep  h er  in social  h o m e o s t a s i s.
•  It  is  m u ch less  of a  p e r s o n al  i n v e s t m e nt  in  g e t t i ng  to  k n ow  y o u, a
relative  s t r a n g e r,  t h an  j u m p i ng di r e c t ly  to a  C2  l o c a t i on  w i t h o ut
e s t a b l i s h i ng at  l e a st  s o me  c o m f o r t. Because it's a smaller hoop,
she's more likely to do it.
•  M o v i ng  to a  C1  l o c a t i on allows  y ou  t he  o p p o r t u n i ty  to  m a ke  h er
feel  c o m f o r t a b le  e n o u gh  so  y ou  m ay successfully  j u mp  to a  C2
l o c a t i on  w i th he r.
•  M o v i ng  o n ly a  f ew feet  f r om  t he  C3  l o c a t i on  to  t he  s ex  l o c a t i on  is
m u ch  m o re pr a c t i c al  t h an  h a v i ng  h er  k n ow  in  t he  C2  l o c a t i on  t h at
y ou  a re  p l a n n i ng  on  t a k i ng  h er  d i r e c t ly  to a sex  l o c a t i on  w i th only
o ne  ' n a u g h ty  t h o u g h t y'  on  y o ur  m i n d.
Meeting
Location  C1
Pickup  Mid-game
C2
End-game
C3
Sex
l o c a t i on
T h e  M y s t e r y  M e t h o d -
164 T he  C1 Locat ion
Any comfort building location within the meeting location.
U n l e ss  y o ur  r o m a n t ic  i n t e r e st  is  a l r e a dy sitting  in a  q u i et area  w i t h in  t he
m e e t i ng  l o c a t i on  y ou will  i n e v i t a b ly  h a ve  to move  f rom  t he  m e e t i ng  l o c a t i on
to  C 1.
In fact,  b e f o re  y ou  e v en  a p p r o a ch a  w o m an  in a  m e e t i ng  l o c a t i on  y ou  m u st
h a ve a  n e a r by  C1  c o m f o rt  b u i l d i ng  l o c a t i on  p r e - s e l e c t ed  so  y ou  m ay  be
p r e p a r ed  to  m o ve  to it.
C1  e x amp l e s:
• Leaning up against wall or bar with woman leaning in and facing you
• Sitting on stool by bar with woman standing between your legs
• Sitting in quiet area of club or coffee shop
U n l e ss  y o ur  m e e t i ng  l o c a t i on  is  a l r e a dy a  g o od C1  l o c a t i o n,  e v e ry successful
p i c k up will  i n e v i t a b ly  r e q u i re  y ou  to move  to a C1  l o c a t i o n.
Going from the meeting location to a C1 location, or from  the C3 location to
the sex location is called moving. Go i ng from C1 to C2, from C2 to  another
C2, or C2 to C3 is called jumping.
T h e  M y s t e r y  M e t h o d
1 65 Moving to C1
To move  m e a n s,  to  go  f rom  t he  m e e t i ng  l o c a t i on  to  C1  w i th  y o ur  r o m a n t ic
i n t e r e st  a nd  h er  f r i ends  if necessary-  ( M o v i ng  a l so  m e a ns  g o i ng  f rom  t he  C3
l o c a t i on  to  t he  s ex  l o c a t i o n,  w h i ch we ' ll  e x ami ne  in a  l a t er  c h a p t e r .)  M o v i ng  is
n ot only a logistical ne c e s s i ty,  b ut  is  a l so a  p o w e r f ul  c o m f o rt  b u i l d er  i n - a n d - of
itself.
E x a m p l e:
My s t e ry  is  s p e a k i ng  to a be aut i ful  w o m an  by  t he bar  of a  b u sy  n i g h t c l u b.
B e f o re  e v en  a p p r o a c h i ng  t he  w o m an  in  t h is  m e e t i ng  l o c a t i on  he  h ad his  g a me
p l an  a l r e a dy  in  m i n d:  m o v i ng her  to  t he  q u i et  s m o k i ng  s e c t i o n; a  g o od  C1
l o c a t i o n.  He  p l a c es his  h at  on  h er  a nd says,  " I 'm  g o i ng  to  s h ow  y ou
s o me  t h i ng really  n e a t.  C o me join me  f or a  s e c ."
T he  w o m an  r e p l i e s,  " W h e re  a re  we  g o i n g ?"
" I t 's a special little  p l a ce I  l ike  to call  . ..  Y o u ' ll  S e e ,"  he  l a u g h s,  p o i n t i ng
t o w a r ds  t he  s m o k i ng  s e c t ion.  " J u st  r i g ht  t h e r e ." He  b e g i ns  w a l k i ng off a few
feet.
Whi le  she  is  h e s i t a nt  to leave  h er  f r i ends  e v en for  "a  s e c ,"  s he  is  m o re  a pt  to
join  h im  b e c a u se  he  h as  l o c k ed  h er  in  w i th his ha t.  T h o u gh  s he  d o e s n 't  e v en
s m o k e,  she  h as  to  at  l e a st  t a ke a few  s t e ps  f o rwa rd  to  r e t u rn  h is  h a t.
Me et Loc a t ion to C1 Move
T h e  M y s t e r y  M e t h o d
166 " W h a t  a re  y ou  g o n n a  s h ow  m e ? "  s he  a s ks  c u r i o u s ly  as  he  g r a bs  h er  h a n d  a nd
l e a ds  h er  t h r o u g h  t he  c r o w d.
" A r e  y ou  c r e a t i v e ?"  M y s t e ry  a s ks  b a c k,  k e e p i ng  h er  c u r i o u s.  W h i le  t h ey  m o v e ,
he  d o es a  s u b t le interest test  on  h e r.  He  g a u g es  h er  i n t e r e st  l e v e ls  by  l o o s e n i ng
h is  g r ip  as  t h ey  w a l k.  D o e s  s he  h o ld  h is  h a n d  t i g h t ly still  or  l et  go  of  h is  h a n d :'
"I  w a n t  to  s ee  h o w  c r e a t i ve  y o u  a re  b e f o re I  s h ow  y o u , "  he  s a ys  as  he  p u l ls
o u t a  p a d  of  p a p e r  a n d  p e n  a nd  h a n ds  t h em  to  h e r.  R e a c h i ng  t he  s m o k i ng
s e c t i o n,  t h ey  s it  t o g e t h er  a n d  he  p l a c es  h e r  h a n d  on  h is  k n ee  a n d  l e ts  g o.  D o e s
s he  l e a ve  it  t h e r e?  T h is  is  a n o t h er  s u b t le  t e s t.
He  l e a ns  b a ck  a n d  s a y s,  ' I t 's  q u i e t er  o u t  h e r e.  O k , I  n e ed  y o u  t h i nk  up a  l i st
of  10  r a n d om  w o r d s,  b u t  t h ey  c a n 't  h a ve  a ny  a s s o c i a t i on  w i t h  a ny  o t h e r  w o r d
y ou  c o me  u p  w i t h . "
A n d  s o,  w i th a  s u c c e s s f ul  m o v e  ( a nd  an  i s o l a t i on  f r om  h er  f r i e n ds  as  w e ll  in
t h is  c a s e)  f r om  t he  m e e t i ng  l o c a t i on  to  C 1,  he  is  a b le  to  b e g in  b u i l d i ng
c o m f o r t,  in  t h is  c a se  by  d e m o n s t r a t i ng  h is  p h o t o g r a p h i c  m e m o r y  u s i ng The
Peg System  a n d  t h e n  t e a c h i ng  it  to  h e r.
•  " L e t 's see  w h at  adventure awaits  us  in
t h at  r o o m ."  ( P ut  h er  on  y o ur  a rm,
promenade-style.)
•  " H ey gays,  I 'm  g o i ng  to  b o r r ow  y o ur
friend for a  s e c, we'll be right there
on  the  c o u c h ."
•  " I 'm  g o i ng  to  s h ow  y ou  s ome t h i ng
really neat,  c o me wi th  m e ."
•  "I wa nt  to  i n t r o d u ce  y ou  to  my
friend,  c o me  w i th  m e ."
•  " Y ou have got  to  m e et my friend."
•  " L e t 's  go get a  d r i n k"
•  " Ok  s t and  u p.  N ow give  me your  a rm,
promenade - s tyl e.  N ow  c o me  h e re  for a
s e c . ..
•  " Y o ur friend  a nd I kinda like each
othe r,  a re  y ou  cool  w i th  tha t ?"  ( "Uh, I
g u e s s . . . ' ')
•  " Is it ok if I  b o r r ow  y o ur friend for a
s e c o n d ?" ("Uh I gue s s; if it's ok wi th
h e r . . . ")
• "I like your friend. Is it alright if I talk
to  h er for a  m i n u t e ?" ("I guess; if  i t 's
ok wi th  h e r . . . ")
->  " G r e a t  t h en  w e ll  be  r i g ht  b a c k ."
S o me  i s o l a t i on  l ine s:
- T he  M y s t e r y  M e t h o d
1 67 Conversat ional Rapport
•  Be a talkative  p e r s o n.  T a lk  to  a n y b o d y,
n ot just girls.  G et  i n to  t he  z o n e.
•  D o n 't explicitly  t ry  to  i m p r e ss  or  s h ow
off.  D o n 't di r e c t ly tell  imp r e s s i ve facts
a b o ut yourself.  D o n 't  s e ek  a t t e n t i o n,
a p p r o v a l,  or  u n d e r s t a n d i ng  f r om  o t h e r s.
H ot  w o m en  a re  a l r e ady  b o t h e r ed
e n o u gh  by guvs  w h o  a re  w o r r i ed  w h at
she  t h i n k s.  T ry  b e i ng  t he  o ne guy  w ho
i s n ' t.
•  D o n 't talk  a b o ut we i r d,  c r e epy,  or
s t u p id  t o p i c s.  M o st  p e o p le  w ho  do  this
a re  s e e k i ng  a t t e n t i o n. It's cool to get
attention, but it's very uncool to be perceived as
seeking  i t.  T h u s,  d o n 't  p r o v o ke  p e o p le  or
s h ow off  to  t h em  in  a ny way.
•  P r a c t i ce  m o v i ng  y o ur  t a rget  a nd  g e t t i ng
h er  i n to  i sol a t ion  for  c omf o r t - b u i l d i n g.
• Demons t r a te vulnerability and establish
commonality and connection.
•  P r a c t i ce  s t a cks  of  c a n n ed ma t e r i a l.  T h is
is a useful skill.
•  A l so  p r a c t i ce  n a t u r a l,  s p o n t a n e o us
c o n v e r s a t i o ns  w i th  no  c a n n ed ma t e r i a l.
•  P r a c t i ce  u s i ng Mu l t i p le  C o n v e r s a t i o n al
T h r e a d s.
•  C o n t i n u a l ly escalate  k i no  a nd  u se
c o m p l i a n ce  t e s t i n g.
•  F or  t h o se  r e a d e rs  v e r s ed  in  N L P,  this
p h a se  is a  g o od  t i me  to  p r a c t i ce  y o ur
p a t t e r n i n g.
•  C ut  b o r i ng  t h r e a d s,  y o u rs  or  h e r s.  L e ad
t he frame.
•  T a lk  a b o ut  r u n,  int e r e s t ing,  emo t i o n a l ly
c o m p e l l i ng  t o p i c s.
•  D o n 't  a sk a  b u n ch  of  q u e s t i o n s.  T h ey
d o n 't  a dd  v a l ue  a nd  t h ey  c o me  o ff
r a p p o r t - s e e k i n g.  I n s t e ad  of  a sking  h er
w h e re  s h e 's  f r o m,  m a ke a  g u e s s. She'll
a sk  y ou  w hy  y ou  g u e s s ed  A r k a n s a s,
you' ll give  h er a  r e a s o n,  a nd she'll giggle
—  w h e t h er  y ou  w e re  r ight  or  n o t.
•  (You  do  w a nt  h er  to  c o n t r i b u te  a nd
i n v e st 111  t he  c o n v e r s a t i o n.  B ut  y ou  w a nt
h er  to  do  so  b e c a u se  she  is  a t t r a c t e d,
n ot  b e c a u se  y ou  a re  f o r c i ng  t he
c o n v e r s a t i on  a l o ng  w i th  lots  of
q u e s t i o n s.  Y ou  m u st  a dd value.)
•  Be  agr e e abl e.  Y ou  d o n 't always  h a ve  to
be  r ight.  D o n 't  t ake your s e lf  t oo
seriously.  F or  e x amp l e,  d o n 't  u se
d i s a g r e eme nt  u n l e ss  y ou  n e ed  to
e n f o r ce a frame.  If  y o u ' re  a r g u i ng  a b o ut
s o m e t h i ng  y ou  p r o b a b ly  c a re  t oo
m u c h.  R e m e m b er  w hy  y o u ' re  h e r e.
• Rapport  d o e s n 't  m e an boring  T he  v i be
y ou  c r e a t ed  in  t he  A t t r a ct stage  s h o u ld
still  be  s i m m e r i ng just  b e l ow  t he
sur f a c e.  If  it  i s n ' t,  t h en  y ou  p r o b a b ly
m a de  M3  S e q u e n c i ng Mi s t a ke  # 2 :
Comfort but with no Attraction.
•  P r a c t i ce  y o ur grounding routine,
w h i ch will  be  c o v e r ed  in  this  c h a p t e r.
- T he  M y s t e r y  M e t h o d
1 68 The Que s t ion Game
" H a ve  y ou ever pl ayed  the que s t ion game?  W e ll  t h e re  a re rules...
"Rule 1,  y ou ask a que s t ion,  t h en  m e,  t h en you,  a nd  so  o n, ba ck  a nd  for th.
"Rule  2,  y ou have  to tell  t he  t r u t h,  the  w h o le  t r u t h,  a nd  n o t h i ng  b ut  t he  t ruth. Like  t r u th
or da re  b ut  w i t h o ut  the da re because I  d o n 't  k n ow  h ow we i rd  y ou really are."  [Not i ce
the neg.]
"Rule 3,  y ou  c an't ask  the  s ame que s t ion  tha t 's already  b e en asked.
"Rule 4,  y ou have  to ask que s t ions  that let  ske l e tons  o ut of  the closet.  T a ke  advant age of
our anonymity.
" Oh  a n d .. .Rule  5,  y ou  go first."
She will say, "that's  n ot fair."
So  y ou  t h en ask,  " H ow ma ny boyfriends  h a ve  y ou  h a d ?"
F r om  h e re  o n,  the que s t ion  g a me will escalate sexually until she  is  a sking  y ou  h ow ma ny
times  y ou ma s t u r b a t e.  I t 's a fun  rout ine.  T h is is a  c omf o rt bui lding  rout ine  tha t 's also
useful for  s c r e ening.  A n o t h er great thing  a b o ut the que s t ion  g ame is that it  c an last for a
really  l o ng time.  W h en  y ou get  i n to  C 1,  u se  t h is  rout ine  as  y o ur default.
F un que s t ion:  " T e ll me a  s e c r e t ."
Really - Be Ta lka t ive
I t 's vi t a l ly  i m p o r t a nt  to  be  t a l k a t i v e.  I t 's  e a sy  to say  it  b ut  a c t u a l ly  t ry  it  f or a  f ew
m o n t hs  of  p r a c t i c e.  If  y ou  h a ve  so much  to  t a lk  a b o u t,  a nd  y ou  b o m b a rd  h er  ( or
h er set)  w i th  l o ts  of  f un  a nd  i n t e r e s t i ng  c o n v e r s a t i o n,  s h o w i ng  h u m o r,  o p i n i o n,
a nd  p a s s i o n,  t h en  y ou  g et  to  c o n v ey  y o ur  p e r s o n a l i t y.
T he  t a l k a t i ve  p e r s on just  g e ts laid way  m o r e  o f t e n.  T he  s e c r et  is  to  p u t  y o u r s e lf  in
a  t a l k a t i ve  m o o d.  H a ve  y ou  e v er  b e en  in  o n er  C l o se  y o ur  eyes  f or a  m o m e n t  a nd
r e m e m b e r  w h at  it  w as  l ike  at  t he  t i m e.  L o o k i ng  b a ck  on all  t he girls  M y s t e ry  h as
b e en  w i t h,  he  j u st  t a l k ed  t h e ir  e a rs off.  T h e n after  he  s aw  p o s i t i ve  b o dy  l a n g u a ge
a nd  o t h er  I O Is  he  w o u ld  c o me  o ut  of  t he  b l ue  a nd say,  " W o u ld  y ou like  to ki ss
m e ? "
T h a t 's  it —  he  w o u ld  j u st  t a lk  p a s s i o n a t e ly  a b o ut  s o m e t h i n g ..  . t a lk  a nd talk.  He
w o u l d n 't  t a lk  a b o ut  h e r.  He  w o u l d n 't  a sk  q u e s t i o n s.  He  w o u l d n 't  r e a l ly  e x p e ct  h er
to  s ay  a n y t h i n g.  If  s he  w a n ts  to  j o in  i n,  g r e a t,  b ut  o t h e r w i s e,  w h o  c a r e s?  He  d o es
it all.'
T h e  M y s t e r y  M e t h o d
169 T a l k i ng  is a  L o g i s t i c al  T o ol
T h e re  is  a n o t h er benefit  to talking —  it oc cupi es  the  cons c ious  m i n d.  Ima g i ne  that
you' re talking  to  y o ur friend.  Y ou  b o th get  i n to his car,  c o n t i n u i ng your
conve r s a t ion,  a nd  he drives you  to  the be a ch.  F r om your pe r spe c t ive,  y ou we re
having this  conve r s a t ion; sights we re flying by,  and voila!  Y o u ' re at  the beach!  I t 's
like magic —  t he  c o n v e r s a t i on was  t he opi a te
T he  p i c k up  s h o u ld be  t he  s ame way.  S he  is talking  to you;  eve rything feels  so fun,
comfor t able  a nd natural.  T he  c o n v e r s a t i on  cont inues  to flow — voila! She's  h a v i ng
sex. Like magic!  H er  cons c ious  m i nd  s h o u ld be  cons t ant ly  o c c u p i ed by you.
N o t h i ng  ruins  the  m o od like a  long, qui et car ride  b a ck  to  the  h o u s e ..  .or a  l o ng
quiet walk ba ck  to  the car. Talking  a nd  k e e p i ng  the flow  is necessary  to  o v e r c o me
logistical difficulties that inevitably will arise.
T he Photo  R o u t i ne
P r e p a r a t i o n:
T a ke pictures of your s e lf in  int e r e s t ing  s i tua t ions. Active  s h o ts —you  d o i ng fun
tilings.  G o o f i ng  o ff  at your  w o r k o ut pl a c e.  Y ou  r o ck climbing.  Y ou pa r tying wi th
friends  and girls.  Y ou  in mid- a ir while roller-blading.  T he  'be ar shit' from  the be ar
y ou  b u m p ed  i n to while hiking.  E t c.  T he  b e st  p h o t os will  convey value  as well  as
your identity.  A l so  inc lude a  couple  b o r i ng or out-of-focus  p i c t u r es for realism.
P ut  t h e se  p h o t os  in a  d e v e l o p i ng  e n v e l o p e,  as  t h o u gh you just  p i c k ed  t h em up
from  the  s t o re  t o d ay wh e re  they were  d e v e l o p e d,  and you  h a p p en  to  h a re  t h em
wi th you.
P e r f o r m a n c e:
Whi le in set, use  t he  enve lope as a lock-in prop on  the target, while also
d emo n s t r a t i ng  h i g h er value  to  t he set.  If  she tries  to  o p en  t he  e n v e l o p e, swat her
h a nd  and call her nosy.  ( "Ge ez is  she always like  t h i s ?" Et c .)
W h en  t he  t i me  c o m es  to engage  t he  t a r g et directly wi th  A3  and  C 1, you  c an decide
to  " be  n i c e r"  to  h er  and sit  d o wn  w i th  h er  to  go  t h r o u gh  t he  p i c t u r e s.  F or each
pi c tur e, tell a  s t o r y.  D u r i ng this time  y ou can  d emo n s t r a te pr e - s e l e c t ion, social
p r o of  a nd  o t h er  D H V s, build  c omf o r t,  a nd you can also engage  h er  in a fun
dialogue wh e re  s he  c o n t r i b u t es  and  i n v e s t s.  Y o ur stories will  r emi nd her  of  h er
o wn stories  and  s he will tell  o ne  to you. Practice your  s p o n t a n e o us  conve r s a t ions.
T h is way, you will always  h a ve a  t h r e ad  to go ba ck  to  a nd a  n ew  s tory  w i th each
pi c tur e. I have  it on  g o od  author i ty  that Mystery hims e lf swears  t he  P h o to  R o u t i ne
is  the be st  r o u t i ne ever ma d e.
T h e  M y s t e r y  M e t h o d -
170 Commo n a l i ty
T he  o ld saying opposites attract  n o twi t h s t a n d i n g,  p e o p le  t end  to be  m o re  a t t r a c t ed  to
t h o se  w h om  they  cons ider  to  be similar  to  thems e lves  in  s o me way.  T he  m o re  that
y ou both  h a ve  in  c o m m on wi th  e a ch  o t h e r,  t he  m o re  h er serendipity chip will be
activated to let  h er  k n ow  that this was meant to be.
She  n e e ds  to be  able  to imagine you  as a realistic  addi t ion  to  h er everyday life. Sure
she enjoyed be ing  ent e r t a ined by  y ou  at  t he club.  B ut  that  is a fantasy wor ld.  In  r e al
life,  w o u ld  the  t wo of you  f i t? Wo u ld your respective social circles be  compa t ibl e?
Be careful: if it  l o o ks like  y ou are fishing  for  commona l i t i es in an effort to ingratiate
yourself  w i th her,  it makes you  l o ok de spe r a t e.  T h e re are,  h owe v e r, ways  to share
commona l i t i es  t h at  a r e n 't  t ry-ha rd.  F or  exampl e,  this classic Mystery  M e t h od game:
The Music Game
T h is  g a me  is  v e ry  s imp l e:  s h a re  w i th  e a ch  o t h er  t h o se  t i l ings  t h at  y ou  l ike.  F or
e x amp l e,  n a me a  b a nd  y ou enjoy,  a nd  t h en say  " y o ur  t u r n ."
S he  m ay  n ot pl ay  a l o n g:  "I  d o n 't really  l ike  t h at  b a n d ."
Y o u:  " J u st  m a k i ng  c o n v e r s a t i o n . ''  ( T u rn away a  b i t ..  . s l ight  f r e e z e - o u t .)
H e r:  " S o ..  .wh at  e l se  do  y ou  l i s t en  t o r"
Y ou  p r o c e e d:  "I  l i k e ..  . P e a rl  J a m .. .it's my  f avour i te  b a nd  of  t he  n i n e t i e s. I really
like  t h at  s o ng  ' G a r d e n ,' I  r e m e m b er  m a k i ng  o ut  w i th  my  h i g h - s c h o ol  c r u sh  to
t h at  s o n g ..  . b ut I  d i g r e s s.  O k,  n ow  i t 's  y o ur  t u r n ."
H e r:  " O k ..  .I  l i k e .. .Ray  C h a r l e s ...  I ' ve always  l o v ed  ' G e o r g ia  on  my  M i n d .'  D id
y ou  s ee  t h at  m o v ie  a b o ut  h i m ?"
Y o u:  " Y e ah I  just  s aw  t h at  t he  o t h er  n i g ht  in fact.  He  h as  o ne  of  t he  m o st
be aut i ful  v o i c es  I 've ever he a rd.  W ow  I 'm  k i nd of  i m p r e s s e d;  R ay  C h a r l e s. I
tot a l ly  g a ve  y ou  insuf f i c i ent  c r e d i t.  Y ou  h a ve  g o od  t a s te  in  m u s i c ."
H e r:  " W h y,  t h a nk  y o u ."
Y o u:  " Ok  my  t u r n ..  .I  l i k e ..  T o o l . "
H e r:  "I  l o ve  T o o l!  I ' ve  b e en  i n to  t h em  s ince  t h e ir  f i r st  C D . "
Y o u:  " No wa y,  y ou  l ike  T o o l?  N ot  t oo  m a ny girls  a re  i n to  t h e m.  Y ou  k n o w, I
r e m e m b er  w h en  t h e ir  l a st  CD  c a me  o u t. I  w a s . . . " (Tell a story.)  " ..  . So I  n e v er
s aw  t h at girl  aga in,  b ut I still  h a ve  t h at  s e a she ll  s he  g a ve me  w h en  it  r a ined.  O k . . .
n ow  i t 's  y o ur  turn.
- T he  M y s t e r y  M e t h o d
171 Conspi racy
Ima g i ne  that you' re gaming a gi r l.  T he  t wo of  y ou are sitting on a  couch, isolated
f rom her friends  w ho are  n ow  o ut  on  t he dance floor.  Y ou suggest a  b o u n ce  n e xt
d o or for a piece of pizza.
H e re  on  the  c o u c h, you' re  s o m e o ne  she  h as just  m et  a nd sat  d o wn  to  t a lk  w i th for
a few minut e s. She 's still  h e re wi th  h er friends. But  o n ce  t he  t wo of you  s t ep inside
the pizza joint, you  a re  t h e re together.  T h e re is a powe r ful psychological effect.
B o u n c i ng  is  c o v e r ed  in  m o re detail  in  t he next chapter.  B ut  w h a t 's  int e r e s t ing  h e re
is  t he  sha r ed frame.  Y ou  and  the girl  a re  n ow  in  on  s ome t h i ng  toge the r.  Y ou have
de c ided  t o g e t h er  to  go  on  t h is  j o u r n ey  toge ther  a nd  n ow  h e re you are  t o g e t h e r.
As s umi ng  y ou  d id  y o ur A3 properly,  s he  h as already  b e en falling  i n to  y o ur  h o o p s,
and a  "we  a re  toge the r"  f r ame  is  n ow  s t r engthening  b e twe en  the  two of you.
T h is shared reality is  k n o wn as a conspiracy.  Y ou  c an usually tell  w h en  p e o p le
h a ve a  conspi r a cy  toge ther by  the  looks  t h ey give  o ne  anothe r,  a nd by  the ir  u se of
nicknames  a nd inside jokes.  It  g o es  w i t h o ut saving  that  y ou  c an also  u se  the se
e n d e a rme n ts  to  s t r e n g t h en  the  conspi r a cy  b e twe en you  and your target. Be wa rned:
this  is exactly  the sort of  thing  that  w o u ld  l o ok try-hard  if  y ou  w e re  d o i ng  it  t oo
early in your set.
Tip: Have your pivot stop by and mention what a cute couple you and your target make.
O ne easy way  to  c r e a te a  conspi r a cy  is  to play games  that  involve you  a nd  the
target having a  s e c r et together against  s o m e o ne else — for  exampl e, girls  love
people-watching. Try this game:
Murder / Marry / Shag
As  y ou  p ut  h er  on  y o ur  a r m,  p r o m e n a de -style,  y ou say,  " O k,  w e ' re  g o i ng  to
pl ay a  g a me  c a l l ed murder/marry/shag. I will  p o i nt  o ut  t h r ee guys  in  the
c r o w d.  Y ou  h a ve  to tell  me  w h i ch  o ne 3*011  w o u ld  m u r d e r,  w h i ch  o ne  y ou
w o u ld ma r r y,  a nd  w h i ch  o ne  y ou  w o u ld  s h ag —  a nd  t h en  y ou  h a ve  to tell  me
w h y ."
Af t er  this  h a p p e n s,  it  is  n ow  h er  t u r n.  C o n t i n ue wa l k i ng  a r o u nd  t he  v e n ue
t o g e t h er  as  s he  p i c ks  o ut  t h r ee girls.  W h i ch  o ne  w o u ld  y ou  m u r d e r,  w h i ch  o ne
w o u ld  y ou  m a n y,  a nd  w h i ch  o ne  w o u ld  y ou  shag?  ..  . A nd  w h y?
T h e  M y s t e r y  M e t h o d
1 72 Vulnerabi l i ty
W h en people share vulnerabilities wi th  e a ch  o t h e r,  it  d emo n s t r a t es (and creates)  an
emo t i o n al  c o n n e c t i on  b e twe en  t h em.  I t 's  o ne  of  t h o se tilings  t h a t,  if  d o ne  t oo  s o o n,
will  c o me off like  y ou are trying  t oo  h a rd  to gain  r a p p o rt  w i th  h er — a  D L V. So  d o n 't
be Capt a in Sensitive  w h en you  f i r st  m e et her. But us ed  at  the right  t ime, sharing
vulnerabilities is a powe r ful  c omf o rt builder.
D id  she tell you  s o m e t h i ng pe r sonal  a b o ut herself?  D id  she tell  y ou a secret? The
Question Game is ve ry useful for this  s o rt of sharing.  I t 's also pos s ible to  s t ruc ture
s tones  to make  t he reveal  of vulnerability  a p p e ar  to  be accidental.
Some  exampl es of  f i e ld- t e s t ed vulnerability stories:
So  m u ch una t t r a c t ive behavior  c omes  f rom a desire  to avoid vulnerability.  T he secret
is  to  emb r a ce  y o ur vulnerability  a nd still  be unaffected.  I t 's  ok  to  be wr o n g.  I t 's  ok  to
l augh  at yourself  s ome t ime s.  T h i nk  a b o ut it:  if you' re sensitive  a b o ut her seeing  that
y o u ' re wr o n g,  t h en  it obviously ma t t e rs  to  y ou  w h at  she  thinks.  B ut I  t h o u g ht you
we re unaffected? So  t he next time  y ou tell  the story of  w h en  y ou fought a lion  w i th
y o ur ba re  h a n d s,  r e m e m b er  that  i t 's  m o re attractive -  and  int e r e s t ing —  to  a dmit  y ou
we re scared  shi t l e ss  than  it  is  to play Mi s t er  T o u gh Guy.
• Tell all embarrassing story.  H i nt
Cosmo Confessions is a treasuret rove of material
• First kiss experience (childhood
regression)
• Yo ur pet died because you were
t oo small to take care of it
• Yo ur little girl cousin fell down
the stairs —  " a nd I  d o n 't  k n ow
what I wo u ld have  d o ne if things
had  g o ne  b ad that day, I love
that little  g i r l .. . s o . .. much"
•  T he story of your father dying
and maybe  some long-simmering
drama finally reaching closure
• Tell her  about  y o ur childhood.
• Talk  about the cutest little baby
that you just saw and it  r eminded
you of your little sister wh en you
were a kid
• Reveal an insecurity and tell the
story behind it
• Tell her a secret. She'll be mo re
likely to share  o ne of her own.
• Do  n ot whine  about your exgirlfriend.  A nd  d o n 't linger on
sad emotions. Stimulate her sad
strings  and  then move on  to
another one of your multiple
threads
- T he  M y s t e r y  M e t h o d -
1 73 Punishment / Reward
Y ou  c a n 't  do a freeze-out unless  she  w a n ts your  a t t ent ion  in  t he first place.  D o i ng
a takeaway on  s o m e o ne  w ho cares less  i s n 't a takeaway  at all.  It only wo r ks  w h en
you are  of value  to  h er  a nd  w h en  she says  or  d o es  s ome t h i ng negative you  t h en
remove  y o ur  a t t e n t i o n,  to make  h er feel lonely. She feels bad  a nd  k n o ws she  w o u ld
pr e f er talking  to  y ou  so  that  is  w hy a  f r e e z e -out wo r k s.
Ea r ly  in  the set  w h en she  is bad,  y ou  t e a se her  and frame  c o n t r o l.  B ut  in C1  y ou
d o n 't  w a nt  to  go ba ckwa rds  in  the set.  So give a slight  I O D.  P e r h a ps you  s t op
talking  to  h er for a  m o m e n t, or you  t u rn away, or just barely shift your  b o dy
language.  It  d o e s n 't  t ake  m u c h,  w o m en  a re very sensitive.  R e m e m b e r,  y ou  a r e n 't
c ommu n i c a t i ng  ange r, me r e ly a slight disinterest.
In  this way, the  ' p u n i s h m e n t' is actually just a quick,  sha rp  cor r e c t ion, like in  d og
training.  I t 's  n ot pe r sonal  and  y o u ' re  n ot angry.  Y ou just  g et  c a u g ht  up
s ome t imes  in  y o ur  o wn reality  and  she  d o e s n 't always me r it your full  a t t ent ion.
Y ou  t u rn away for a  s e c o n d, wh i ch indicates disinterest, delivering a slight
emot ional tinge directly to her.
W h en you are  t r a ining a  d og  to, say,  n ot  j ump  on you,  y ou  d o n 't  h it his  n o s e,
be c ause  t h at  s h ows  anger  and  d o gs of t en  c a nt correlate  y o ur anger  w i th his
behavior. (This  is  w hy calling a girl on  h er shit while on  the  p h o ne sucks.  It just
ma k es  h er  n ot  w a nt  to  t ake calls  f rom you  in  the future.)
I n s t e ad you simply de t a ch yourself  f rom  the  e q u a t i on by taking  p e n n i e s,  p u t t i ng
t h em  in a jar  a nd wh e n e v er your  d og  j u m p s,  y ou shake  it briefly by his he ad.  T h is
scares him.  H o w e v e r, this is  n ot  e n o u gh of a  solut ion because over time he will
c o me  to  r e cogni ze  that  y ou are  d o i ng it,  a nd  he  w o n 't only  n ot  j u mp  on  y ou —  he
w o n 't  w a nt  to  go near you.
So the  solut ion  d og trainers  h a ve is  thi s: after the  cor r e c t ion for bad behavior,
you  s t ruc ture a challenge for  the  d og  to do  s ome t h i ng correctly.  F or example, right
after  y ou shake  t he jar, you  t h en say, "sit"  a nd  h e lp  the  d og  to sit.  T h en  y ou
r ewa rd  h im  w i th  love  a nd affection  " g o o od boy! Yes  g o od boy!"
If you only punish,  the  d og sees you  as  t he puni she r. But  if  y ou  w a nt  h im  to obey
you  a nd  love  y ou still,  y ou  m u st  r ewa rd  h im  as well. So,  in  t h is way,  w h en we
I O D a girl, we  m u st  t h en structure  an  o p p o r t u n i ty  to have her  j u mp  t h r o u gh  o ne
of our  h o o p s.  W h en  she  d o e s, you  r ewa rd her wi th "respect," or,  " d a mn  that  is
witty. I give  y ou  t h a t" or  " ok  y ou wi n" or  " that was A- c rowd!"
- T he  M y s t e r y  M e t h o d
174 Jealousy Plot l ines
J e a l o u sy is a powe r ful mot iva tor.  F or a girl,  h o r n i n e ss is  n ot as powerful a
mo t i v a t or as jealousy.  W h i ch is better: a girl  w ho feels  h o r ny  b ut is in a club  w i th
her friends or a girl  w ho  i sn't  h o r ny  b ut  is  super jealous? Always  c h o o se  j e a l o u sy
in  the club be c ause  it  is usually  t he  m o m e nt  w h en  she realizes just  h ow
a t t r a c t ed  she  is  to you.  H o r ny has its place  t o o,  b ut not unt il  y ou get her alone  at
the sex location.
So, while  in  C o m f o rt  p h a s e,  w h en  y ou are  n ot hitting  on her, just laughing  a nd
spending  t ime (after A3) imagine  a n o t h er girl  c omes  and sits on  y o ur lap.  Y ou
i n t r o d u ce  t he  t wo  and voila!  I n s t a nt  emo t i o n s! See, plotlines mu st be built  i n to your
g a me consciously — just like negs  a re really building a plotline  b e twe en you  a nd
the target.  T he pr inc iple  is  that  p e o p le are willing  to  w o rk  m o re  to  p r e s e r ve  an
existing  i n v e s t m e nt  t h an  they are  to  m a ke a  n ew  i n v e s tme n t,  e v en  if  b o th carry
the exact same risk  a nd reward. Simply  p u t, fear of loss is a  m o re powerful
mo t i v a t or  than anticipation of gain.
T he  m o m e nt finally  c omes  w h en  y ou choose her over the other girl. This
willingness  to flake off gi r ls (which  they do  to guys all  t he time)  is a  D H V.  A nd
f or  h e r,  it  is  h er  m o m e nt  of  t r i umph  o v er  a n o t h er  w o m a n,  w h i ch  she relishes.
She has  inve s t ed,  she has  expe r i enc ed fear of  l o s s,  and  n ow she has  t he pr i ze
(you!)
A n o t h er way  to  u se this is,  if you  h a ve already  a t t r a c t ed a certain gi rl  b ut  she  i sn't
be ing mo t i v a t ed  e n o u g h, just  go  i n to  t he  n e xt set  and attract  a n o t h er  o n e.  Y ou
may like  t he  n ew  o ne  b e t t er  a nd  t h us flake off  t he  f i r st  o n e,  or  y ou may  u se her  as
a  p a wn  to make  t he  f i r st  o ne jealous.  Y ou  could  even me rge  t he  two sets.
This may  s o u nd Machiavellian  a nd  p e r h a ps you  h a ve mo r al  q u a lms  a b o ut it. Just
k e ep  in  m i nd  t h at jealousy  p l o ts are extremely effective. This  is  an accurate
a s s e s sment of  h u m an social behavior.  It will  h a p p en all  a r o u n d,  even  involving
you  s ome t imes  compl e t e ly at  r a n d o m. Girls will  u se it against you as well.  Y ou
always have a free will —  t h e re is  n o t h i ng forcing  y ou to  u se jealousy plotlines in
your game. But  they  e x i st
D e m o n s t r a t i on  is  t he secret key  to a  w o m a n,  n ot languaging.  T h e r e 's  n o t h i ng
be t t er  t h an a live  d e mo  and  p r o of  t h at  t h e re  is  a n o t h er gi r l,  a nd its  n ot just talk
W h i ch is  m o re powe r ful, telling a girl that girls like you, or actually having  two
gi r ls on your  a rm? Telling a gi rl  y ou are  a d v e n t u r o u s, or  s h owi ng a pi c ture of  y ou
r o ck  c l i m b i n g?
T h e  M y s t e r y  M e t h o d
1 75 D e m o n s t r a t i o ns  t h at  c r e a te  j e a l o u sy
1.  H a ve a female wing or  p i v ot  w ho  is "in  the  k n o w" wi th you,
2. Build a  p a wn while in  t he club.
So for  exampl e, you  a re  in isolation  w i th  y o ur target,  a nd  y ou do a brief takeaway. Use a  lock- in  p r op on her (Mystery often us es his hat)  a nd  t h en go  f ind a
girl from a  p r e v i o us set. Tell her,  " I 'm sitting over  the re  w i th my friend, let me
i n t r o d u ce  y o u ,"
So  w h en you  c o me back, you  c o me  b a ck wi th a friend. Of  c o u r se this 'friend'
t h en sits  in your  l ap. A pr evious set has  n ow  b e en me r g ed  w i th  t he  n ew  o n e,  b ut
ins t e ad of group-to-group, it's isolation-to-isolation.  Y ou  h a ve  two different girls in C1
at the same time.
F r om  t he  p o i nt  of vi ew  of  t he girl you  b r o u g ht over,  i n t r o d u c i ng her  to  o ne  of
your other  ' f r i ends' is respectful  a nd is a  c o m f o rt tactic; the fact that this friend is
a  h ot girl he lps  w i th social proof. She  a l so feels  g o od  w h en  y ou kino her  in front
of  the  o t h er girl.
F r om your target's  p o i nt of vi ew —  t he girl  w ho  is still we a r ing  y o ur lock-in  p r op
—  she  n ow has a challenge on her  h a n ds  and  j e a l o u s y. Bam! Some t imes  the
m o m e nt  she first feels jealousy is also  w h en she first consciously realizes  that  she
is  i n to  y o u,  a nd  t h at  she  w a n ts  to  h a ve  y ou over  the  o t h er girl.
If you  d o n 't  h a ve  r e ady  p awns  f rom  p r e v i o us sets, you  c an  m a ke  o ne  w h en  y ou
do your takeaway. So  y ou  r un off  a nd enlist a girl  to directly  h e lp  y ou by saying,  "I
like this girl. Will  y ou make  h er jealous for me ?"  I t 's a tool.
If  y ou have a  p i v o t,  f i nd  h er  and tell  h er  to  f i nd you  a nd sit  on your  l ap  in  two
mi n u t e s.
Or just game  a n o t h er set quickly  and  t h en  w h en  y ou isolate  t he girl  f rom  that
g r o u p, say,  " I 've  g ot my friend over  t h e r e, let me  i n t r o d u ce you."
So  the re are several  o p t i o n s:
1.  F i nd  y o ur  p i v ot
2.  E n l i st a girl to directly  h e lp you
3.  B a c kwa r ds me rge to a pr evious set
4.  F o r w a r ds me rge by  o p e n i ng a  n ew set  a nd br inging  t he  n ew girl ba ck
to  the ma in target.
T h e  M y s t e r y  M e t h o d
176 If  y ou  w a nt a 10, you need to do advanced group theory -  w h i ch is  the
application  of me r g i ng  g r o u p s.  A n e c d o t al evidence  f rom  the  f i e ld is,  t h at  of  t he
sets  w h e re jealousy was utilized, success always  c ame  m o re of t en  a nd wi th  m o re
of a solid set. So make  h er jealous as a  r egul ar pa rt of your  g a me  a nd you'll have
girls wanting you.
D e m o n s t r a t i o ns  a re always  m o re effective  t h an ve rbal  ins inua t ions. Howe v e r,
h e re are a  c o u p le ve rbal tactics to install jealousy:
1. On  t he  p h o ne say,  "Ho ld  on I  h a ve  a n o t h er call." Do  this  t h r ee  or
four  t imes dur ing  the  c o n v e r s a t i on  a nd act  annoyed.  I t ' ll make you
s e em  p o p u l a r. Girls have  d o ne  this  to me  and  it wo r k s.
2.  Y ou  c an  a l so  t h r ow  in  t he  t a ct  that  y ou  h a ve a girlfriend (which you
may, or not .)  "A girlfriend of  m i ne ..." or  h ow  a b o u t,  "I  d o n 't  t h i nk
my girlfriend  w o u ld like  it  that you' re  f l i r t i ng wi th  m e ."  D o n 't wo r ry
a b o ut  b l owi ng yourself  o ut  b e c a u se  w h en  the girl says,  "I  t h o u g ht
you  h a ve a girlfriend,"  y ou say,  "you wa nt me  to be single  d o n 't  y o ur
So you  c an have me.  Y ou like me ! !! Ha a, I thought  t h at  w o u ld  m a ke you
jealous."
Incidentally,  e x amp le 2 is similar to  t he old gay bit wh e re  y ou  c o n v ey to a girl  that
you are gay  in  o r d er  to create a challenge. La t er on  w h en  y ou are ma k i ng  o ut
wi th  h er  a nd  she says,  "I  t h o u g ht  y ou  w e re gay" you  c an reply  "I  w a s ."
D E F I N I T I O N: By the way, a bit is a length of thread. A piece of thread. A bit of
thread.
Finally,  h e re  is  an  i m p o r t a nt  n o te for  t h o se  w ho try this. Af t er you  m a ke her
jealous,  t h o u gh  it  m ay increase  y o ur va lue  and her  a t t r a c t ion  to  y o u,  she may  n ot
r e s p o nd wi th visible  I O I s.  In fact, she  m ay  be cold  w h en  y ou  r e t u rn  to her.  T h is
is partly a  c o n g r u e n ce test,  and  p a rt female pr ide.  T he challenge  h e re  is  to  w a rm
h er up again  to you,  b ut wi t h o ut  suppl i c a t ing (and  t h us failing  t he  c o n g r u e n ce
test). So  ignore  w h at  appe ar  to be  I O Ds after this (in  m o st cases), be c ause  h e re
they are actually  I O Is  s h owi ng  that  she  w as  h u rt  a nd  thr e a t ened. *
* Credit to Style for this insight.
- T he  M y s t e r y  M e t h o d
1 77 Style's Eliciting Values Routine
" W h at  is  t he  expe r i ence you  m o st enjoy  d o i n g ?" (She'll say  d a n c i ng or be ing wi th
family  or  some thing) Al t e rna te wo r d i n g:  " If  y ou  h ad  to pi ck  o ne  expe r i ence  that
ma k es life  w o r th living...what  w o u ld  it  b e ?"
" W h at  is  t he ideal scenario  of  y ou  d o i ng  that  t h i n g? De s c r i be  i t ."
" So pi c tur ing  t h at right now,  h ow do you  f e e l ..  .Wh at  emo t i o n s ?"
"So really  t h e n, while I was asking  y ou this,  y ou smiled...  a nd yeah it's kind of
be c ause  I 'm  b e i ng a bit funny or we i rd or whatever...  b ut also, it's be c ause you
could kind of feel  t h at  e m o t i on  r ight  n o w, while we we re talking  a b o ut it...  c an
you feel it., bl ah  b l ah bl ah"
" So really  t h e n,  e v en  t h o u gh  y o ur favorite experience  is danc ing,  y o ur  c o re value
is  fun  and  exc i t ement,  a nd  the way  y ou feel  t h o se  e m o t i o ns  in  y o ur body... So
wha t 's  m o st  i m p o r t a nt  to  y ou  is  t he  expe r i ence  of fun  a nd  exc i t ement,  and
wh a t e v er leads  y ou  to  that  is  m o st  impor t ant . .. blah  b l a h"
" O k,  so  in  four mi n u t es we 've fulfilled your que st for  c o re va lue.  Y ou can  the
n o w ."
In  o t h er wo r d s:
1.  F a v o r i te activity
2. De s c r i p t i on of her favorite activity  in  an ideal setting
3.  W h at  e m o t i on she gets while  she pi c tur es this
4.  S h ow her  t h at she  expe r i enc ed  the  e m o t i on while pi c tur ing  it
5.  S h ow her  t h at wh at  she really  w a n ts  is  n ot  so  m u ch  the activity (although it's
imp o r t a n t)  b ut  the  emo t i o n al fulfillment  she ge ts  f rom it.
6.  N ow  she  c an  the  h a p py ©
T h e  M y s t e r y  M e t h o d -
1 78 Grounding
[From Mystery's Lounge — Mystery's classic Grounding article.]
I'm sure you've found yourself in a set when you reach
the point where your target says, "What do you do?" You
either give her your honest but lame answer like, "I'm a
student", or "I'm a system administrator", or worse, you
try to circumvent the question entirely with "I'm an ass
model." A cocky answer like this might be funny at
first, but she will probably ask you again shortly. Do
you have something to hide?
The problem is you don't have an attractive identity, or
if you do, it's not a strong one. Some guys will
experiment with "I'm a rock star," or "I'm a promoter,"
or "I'm a public speaker," but your target will either
feel you are lying (in the same way we believe an
"actress" is likely a "waitress"), or if she does
believe your evidence, she becomes intimidated - you get
weighed down by the stereotype she has of you. For
example, I am a magician. How can she relate to that?
Instead of answering her question with "I'm a magician,"
I can ground my present identity to her reality and
harness the opportunity to convey a much richer
personality. Here's how I do it:
Here is the applied format that I used to ground my
identity to a recent 9's reality. It helped to attract
her and build enough comfort to get her back to my
place.
I 1. "Well when I was little I wanted to be..." I
(Childhood regression. Tell stories about my
dreams and ambitions as a child.)
2. "When I was a teenager..." (Tell stories about
how I got from 1 to 3.)
3. "Now I'm a magician. Can you believe it?" (Talk
about where I am now and what I'm working on
next.)
- T he  M y s t e r y  M e t h o d
1 79 1. What do I do? Well, when I was young,
a. ...I wanted to be a ventriloquist, and then a
magician. (Talk about this a bit.)
2. When I got a bit older...
a. Tell story of my first birthday party magic
show and how the money was used to see a
Copperfield show. (5 minute story.)
b. Tell story of how my biggest audience scared
the shit out of me and how I went up and kicked
ass. I really get into the fear of it all. (3
minute story.)
c. Talk about my first real TV experience. (2
minute story.)
d. Tell her about moving to Las Vegas and why.
This is a "vulnerability routine" in comfort
stage. (3 minute story.)
3. Tell her what is now on my plate...
a. My "WTF?" underground internet show, my TV
reality show interest, the book I'm writing,
and my seminars on various topics such as
social dynamics and wealth building. (5 minutes
of stories.)
b. Tell her what I am planning on doing next —
illusion show concepts, publicity stunts, etc.
(5 minutes of stories.)
That was at least 23 minutes of story-telling and I was
holding this beautiful girl long before I performed any
magic. The reason magic works for me of course is
because I'm a magician. You do not need to use my style
or do magic in any way to use Mystery Method. There is
no shortage of former students of mine who don't perform
magic yet still, by sticking to the method and running
their unique personality conveying material, they can
consistently attract women.
If I just come in and say "I
!
m a magician," my target
really wouldn't feel that we share commonalities or
lifestyle. She would have to rely on stereotyping. I
- T he  M y s t e r y  M e t h o d -
ISO would also not appear very humble. She would feel that
I'm too different for her and I would otherwise overqualify myself. Some women it seems would actually
reject a date with George Clooney because they don't
understand his lifestyle - they feel they lack
commonality and this lack creates discomfort. But what
if he gave her his back-story and taught her what
happened, step-by-step, to him to become who he is
today? This is the concept of grounding.
By giving my target my back-story, I ground myself to
her reality ("When I was as a regular Joe") so that she
can see how she too could be the type of person I now am
("This is who I am today") if only she were to make
similar decisions along the way. You can even later use
this format to encourage your target to ground her life
to you during A2 by having her stick to the format.
Simply ask, "Whoa. Back up. So what happened next?"
Notice in my list of grounding stories above that the
common theme is "This is what led me to become who I am
today." You too must do this - once you decide what your
identity in fact is. Does this mean you must steal my
magician identity in order to do the Mystery Method? No.
You won't be telling stories of your first birthday
party magic show. That would be a lie. You won't talk
about how you learned the secret to a card trick by
beating it out of a classmate of yours, or how years
later that classmate saw you on TV and said, "I can't
believe your future changed that day." No, you won't use
my specific material. Nor will any of my students. But
you can use material from your own real life experiences
as I do. The format or game plan is the Mystery Method.
The personalized material you use to fill in the format
is what constitutes your own, personal style.
Now, how does one answer the deep question, "Who am I?"
A friend of mine told me, "You are what you repeatedly
do."
I do magic on a regular basis. I perform it almost every
day, whether for a beautiful woman or any other person.
Style writes almost every day (and gets paid for it,
- T he  M y s t e r y  M e t h o d making him a full-time professional) . What do you do on
a regular basis? Besides being a social butterfly that
is. Remember, the pick-up arts exist to enrich your
life, not define it. What stories do you already possess
that convey who you have become today?
Grounding reality is far reaching. It will change the
way you do  A 2, A3, and build comfort - but will not
alter their basic structure. It will also change the way
you choose and structure routines, sequence them (which
routines you will use and when) , and convey to your
target the way you handle challenges in your life.
So this is what you must now do to improve your game:
1. Figure out who you are by looking at what you do
repeatedly - something you can say in a word or
two (e.g. magician, writer, toy inventor, CEO,
hacker, rock climber, rapper, public speaker,
traveler...) Are you really pursuing your dream?
What would you do with your life if you had no
chance of failure? Start doing it.
2. Come up with several stories that convey how you
got from being a normal kid to doing what you
repeatedly do.
3. Practice telling these stories to others to make
the stories enthusiastic and natural. She should
feel as though she's been on this journey with
you.
While grounding you can also ask her, "So what were you
like as a teenager?" etc. This is a great way to open her
up and get her invested in the interaction. Going for
rapport in this way right at the opener would be try-hard
and telegraph interest. But now that she has given you
IOIs and she has earned your IOIs, sparingly using
questions in this way you can effectively build a strong
connection with her.
- T he  M y s t e r y  M e t h o d -
182 C h a p t er  S e v en  R e v i ew
• The game is played in comfort. It's necessary
to develop a wide conversational rapport, a
sense of comfort and trust, a sense that the
interaction is real and genuine, and a feeling of
connection.
• Mi s s i ng elements of A3 and comfort are the
primary reason that girls will flake out and
blur when you call  them the next day. Most
guys get all blurry numbers when they first start
gaming.
• When you are real with her, it  c r e a t es  t rust
and allows her to feel safe. Do n 't front, sulk, or
have a confrontational attitude. Keep it fun and
remember that whatever the issue, it's no big
deal.
• A comfort  b u i l d i ng  loc a t ion is usually a more
quiet and secluded setting where you, your
romantic interest, and potentially a few friends
can share in lengthier dialogue.
• The C1 location is a quiet spot somewhere
within the meeting location. The C2 location is
a place to go on a bounce or time bridge. The
C3 location is within  the sex location.
• Practice moving her — take your romantic
interest from the meeting location to the C1
location.
• It's important to be a talkative person and to
constantly be practicing your conversational
skills. Do n 't get stuck on boring or creepy
topics — keep it fun, interesting, and emotionally
compelling. (Add value.)
• Be agreeable, don't ask a lot of questions, and
remember; don't seek attention, approval, or
understanding from others. (Be unaffected.)
• Talking is also a powerful logistical tool that
keeps her conscious mind occupied and out of
trouble while you progress the courtship. You
don't want her ant-slut defease rearing its ugly
head and screwing everything up.
• Sharing commonalities builds comfort and
rapport, and helps her to imagine spending time
with you in the future. Beware: if it comes off like
you are fishing for commonalities with her, it is a
DLV. Serendipity must be preserved!
• A conspiracy is a shared frame between you
and your romantic interest, characterized by
ins ide  j o k e s,  n i c k n a m e s, and a growing
c o n n e c t i o n. It is  the natural outgrowth of the A3
process where validation was used to bait her  into
frame submission.
• Vulnerability is attractive and builds comfort.
Instead of trying to protect your ego, set it tree.
Be willing to laugh at yourself — it shows
confidence.
• The freeze-out is  the deliberate use of  I O Ds to
create discomfort (as a way to train her out of
bad behavior.) The freeze-out should come off
sincere and inadvertent; she shouldn't perceive
that you are trying to punish her, rather, just a bit
of disinterest triggered by her behavior, resulting
in a temporary loss of attention or validation.
• After you  'p u n i s h' her with the freeze-out, give
her a compliance test so that you can reward hex
for passing it.
• Jealousy is a very powerful motivator. If she feels
it, that's often when she first realizes that she
wants you. This also gives her that much more
drama when you do eventually choose her.
• When we relate our identity, sometimes it can
create distance instead of closeness. But the use
of a  g r o u n d i ng routine allows her to follow your
life through stories, leading up to where you are
today. This helps her to relate to you and to
empathize as if she had been there with you.
• Figure out what you do repeatedly. Pursue your
dreams. To ground her reality to your identity, tell
her stones that convey how you got to where you
are today and what's coming next.
T h e  M y s t e r y  M e t h o d—
183 Mid-Game and End-Game
A. sense that "it is on " between us.. .logistical issues and the passage of time.. .intimacy and
seduction
T
he  p o i nt of C2  is  to make  h er feel familiar  w i th you.  I t 's  n ot  a b o ut  r o u t i n es
so  m u ch  as shared space.  T a ke her with you  to  the mail. Let her  k e ep  y ou
company while you  a re  w o r k i ng on a pape r.  It takes four  to  t en  h o u rs of
c omf o rt building  to  h a ve sex with a girl.  T h a t 's seven  h o u rs of babysitting, on
average — just wait  it out.  W h en  t he time  c o m e s,  g et her isolated  a nd escalate.
Mid-game is an opportunity to practice  b e i ng  w i th a girl  a nd kissing her, to practice
naturally leading  h er  t h r o u gh  b o u n c es  a nd bridges,  a nd practice talking  on  t he  p h o n e.
R e m e m b e r, the game is played in comfort.
T he Seven Hour Rule
If  y ou  l og  t he  m i n u t es  y ou  s p e nd  w i th a  w o m a n, you' ll  r e a l i ze  t h at  it usua l ly  t akes
s o m e w h e re  b e t w e en  t o ur  a nd  t en  h o u r s,  cumul a t ive ly,  to  go  f r om  m e e t i ng  h er  to
h a v i ng sex  w i th  h e r.  T he  ave r age  is  a r o u nd  s e v en  h o u r s.
My s t e ry  d i s c o v e r ed  t he Seven-Hour Rule wh i le  s e a r c h i ng  for  p a t t e r ns  r e l a t i ng
his  suc c e ss  s t o r i e s.  A n e c d o t al  e v i d e n ce  a nd field  r e p o r ts  f r om  m a ny  v e n u s i an
a r t i s ts gene r a l ly  c o n f i rm  t he  a c c u r a cy  of  t he  r u l e,  e x c e p t i ng  i n s t a n c es  of fool's
mate of  c o u r s e.
8
Chapter
T h e  M y s t e r y  M e t h o d
1 85 Wh i le  it  c an  t a ke several  d a ys  or  e v en we e ks  to  a c c u m u l a te  s e v en  h o u rs  of
t ime  w i th a  w o m a n,  if  y ou  s e d u ce  h er  p r ema t u r e l y,  y ou  r un  t he  h i gh  r i sk  of
m a k i ng  h er  u n c o m f o r t a b le  e n o u gh  to  h a ve  h er  a t t r a c t i on  for  y ou  t u rn off.
We  h a ve  a l so  d i s c o v e r ed  t h at  t he  m o st  emo t i o n a l ly  r e w a r d i ng  l o ng  t e rm
r e l a t i o n s h i ps  o f t en  d e v e l op  i n to  s exual  o n es  w i t h in a we e k;  s o m e t i m es  w i t h in
as  l i t t le  as a  f ew  d a y s.  T h is  o n ly  h a p p e ns  w h en  y ou  a c c umu l a t i v e ly  l og  an
ave r age  of  f o ur  to  t en  h o u rs  of  c o m f o rt  b u i l d i ng  in  t he  p r e s e n ce  of  t he
w o m an  b e f o re  a t t e m p t i ng  to  s e d u ce  h e r. My s t e r y 's  m o st  p a s s i o n a te
r e l a t i o n s h i ps  ( o ne  of  w h i ch  l a s t ed  t h r ee  a nd a ha lf ye a r s ),  o f t en  b e c a me sexual
w i t h in a  f ew  d a ys  of  m e e t i ng  t he  w o m a n.  T h ey  a l so  a v e r a g ed  a r o u nd 7  h o u rs
in  a c c u m u l a t ed  t i me  b e f o re  s e d u c t i on  o c c u r r e d.
It is interesting to note that the Seven Hour Rule is also
intrinsically comforting — even if you are not actively
"comfort building" during that time, the mere fact that you are
sharing time together is a powerful component of the comfort stage.
T he  fol lowing  t i me  l og  is a typical  e x a m p le  of a  m o d e rn  d ay  c o u r t s h i p:
Day  Minutes  Stage  Location  Highlights
1  1:30  Attract, Comfort  P ub  Kiss, exchange  n umb e rs
3  0:05  Comfort  P h o ne  Invite for  h ot apple cider
4  0:10  Comfort  His Place  Brief  h o u se visit  then leave
4  1:15  Comfort  Cafe  Talk  a nd hold hands
4  0:45  Comfort  His Place  Video, kiss, mall invite
7  0:15  Comfort  Her Car  Picked up  to go  to mall
7  3:00  Comfort  Mall  Meet at mall, share straw
7  0:25  Seduce  His Place  Ba th and sex
T o t a l — 7  h o u rs  a nd  25  m i n u t es  h a ve  a c c u m u l a t ed  in 7  d a y s.
M o st  of  t he  t i me  y ou  s h a re  w i th a  w o m an  s h o u ld  be  i n v e s t ed  in  c o m f o rt
b u i l d i ng  (mi d - g ame)  so  t h at  s he wi ll  be  c o m f o r t a b le  w h en  y ou begin
s e d u c t i o n.
T h e  M y s t e r y  M e t h o d
186 Kissing
•  K i no  a nd kissing are  c omf o rt bui lde r s,  n ot seduction.
•  If  y ou go  t oo far (into  s educ t ion) be fore you  h a ve  e n o u gh  comfor t,
you'll feel like a great player  at  t he  t ime  b ut you  w o n 't  g et laid  w h en
(a) your fool's  m a te backfires  a nd (b) you get buye r 's  r emo r se the
n e xt day.
•  H ow wi ll  y ou  k n ow  t he  r i g ht  m o m e nt  to kiss?  Y ou  m u st  t r a in
y o ur  i n t u i t i on  t h r o u gh  t i me  in  t he field. A  g o od  rule  of  t h u mb  is
to ki ss  h er after  s he  h as  g i v en  y ou  t h r ee  I O I s.  F or  e x a m p l e,  s he
t o u c h es  y o u,  she  l a u g hs  at  y o ur  joke s,  a nd  s he  p i c ks  up  t he
c o n v e r s a t i on  w h en  y ou let  it  d r o p. Go for it, just for  t he  p r a c t i c e.
•  To  do  t h i s,  w h en  y ou  a re  r e a d y, just  go  for a  m a k e - o ut  in  eve ry
set.  T a ke a  m o n th  or  t wo  to  f o c us  on it.  Do  it  at  d i f f e r e nt  t imes
o v er  d o z e ns  in  s e ts  in  o r d er  to  c a l ibr a t e.  R i g ht  n o w,  c an  y ou
c o n s i s t e n t ly  g et  m a k e - o u ts wh i le  y o u ' re  in  t he field?
•  W i t h in  t w e n ty  m i n u t es  of  m e e t i ng  h e r,  y ou  s h o u ld  be  able  to kiss
h er  a nd  i sol a te  h er  for  c o m f o rt bui lding.  N o t e,  this  d o e s n 't  m e an
t h a t,  l o n g - t e r m,  y ou  s h o u ld ki ss  e v e ry girl  in  eve ry set.  B ut  y ou
should  h a ve  t he ability  to  do  so  c o n s i s t e n t l y,  t h us  it  is  g o od  p r a c t i ce
for a  b e g i n n e r.
•  E m o t i o n s!  C o n t r ol  a nd  d i r e ct  t he girl's  e m o t i o n s.  We  a re usually
far  t oo  int e l l e c tua l!  J u st tell  t he girl  to "shhh"  a nd  n u z z le  h e r.  P ut
y o ur  m o u th  to  h er ear  a nd  i n h a le  a nd  w h i s p er  h ow  g o od  she
sme l l s.
•  "I  w a nt  to  k i ss  y o u ."
•  L et  t he  c o n v e r s a t i on  d r o p.  W h en
she  r e - i n i t i a t e s,  i n t e r r u pt  w i th
" S h h . . . "* k i s s*
•  "Ki ss  m e ."
•  " Y ou  t a lk a  l o t.  W o u ld  y ou like  to
kiss  m e ?"
•  " Do  y ou  l ike  h a v i ng  y o ur  n e ck bit?
W h y?  B e c a u se  r i g ht  n ow all I  w a nt
to  do  is  b i te  y o ur  n e c k ."
• "May I bi te  y o ur  n e c k? (If  s he says
'why'  t h at  m e a ns  s he  w a n ts  y ou  t o.
O n ly  if  s he says  'n o'  do  y ou not  b i te
her neck playfully.)
T h e  M y s t e r y  M e t h o d -
187 M y s t e r y 's  K i ss Cl o se
Y ou ask,  " W o u ld  y ou like  to kiss  m e?
If  s he says  y e s,  k i ss hex.
If  s he says,  " M a y b e ,"  ' 'Wh y ? ",  " W h at  do  y ou  m e a n"  or  "I  d o n n o"  it  m e a ns
s he  d o e s,  b ut  is  s hy  a b o ut it.  R e p ly  w i th a  g l e am  in  y o ur  eye,  " L e t 's find  o u t . . ."
* k i s s*  R e m e m b er  to  c a r e ss  t he  b a ck  of  h er  n e ck  to  s h ow  y ou  m e an  b u s i n e ss
If  s he says  n o,  y ou  r eply, "Well I  d i d n 't say  y ou could,  it just  l o o k ed like  y ou
h ad  s o m e t h i ng  on  y o ur  m i n d ."  ( D o n 't  a sk  "W hy  n o t ?" T h is  s h o ws  l ow selfe s t e em.)
If  s he says,  " n ot  y e t"  or  " n ot  h e r e"  it  m e a ns  she  is  o p en  to  it  b ut  t h e re  is a
logistical  i s sue.  P e r h a ps  h er  f r i ends  a re  n e a r b y,  or  she  n e e ds  m o re  g a m i ng
first. Say,  "I  u n d e r s t a n d ,"  a nd  c o n t i n ue  g a m i ng he r.
D o es  it  s e em  as  if  m o st  of  t h e se  l i n es  i n v o l ve  a sking  h er  for  p e r m i s s i on  in
o r d er  to kiss  h e r?  Is  t h at  w i m p y?  T h ey  a re just  c o n s i d e r a t i o n s.  W e ' ve  f o u nd
t h at just  g o i ng  f or  t he kiss  w i t h o ut  i n d i c a t i ng  y o ur  i n t e n t i o ns  c an  s o m e t i m es
l e ad  to  e m b a r r a s s m e nt —  m o re  t h an  h er saying  just saying no.  W h en  s he says
n o,  t h at  is  m u ch easier  to  s ave face  f r om  t h an  t he  s i t u a t i on  w h e re  y ou  t ry  to
ki ss  h er  a nd  she  m o v es away.
T h at  h a v i ng  b e en  s a id, feel free  to  f i e ld- t e st every  p o s s i b le ki ss  m o ve  t h at  y ou
c an  t h i nk of.  J u st  go  r i g ht  in for  t he ki ss  w i t h o ut saying a  w o r d.  If  she  t u r ns
h er  h e a d,  u se  y o ur  h a nd  to  t u rn  it  b a ck  a nd kiss  h er anyway.  T e st  it  o ut a
h u n d r ed  t ime s.  Be  enthus i a s t i c a l ly wi l l ing  to  b r a i n s t o rm  a nd  e x p e r i m e n t.
- T he  M y s t e r y  M e t h o d
188 Evolution Phase Shi ft Routine
by Style
1. I tell her that she smells good and ask what she is wearing. Then I lean in,
brush her hair aside, and sniff her slowly, moving up from the shoulder to the
ear. "Mmmm, that smells good. People don't pay enough attention to smell. But
you'll notice how animals, before they mate, will always smell each other.
Evolution has hard-wired us to respond to certain things. You are wired to
respond when someone smells you."
2. "It's like when someone pulls the back of your hair. You'll notice how lions,
when they mate, always bite and tug at the end of each other's mane, right
here." (Since I'm shaved bald, I'll add here, "This is what I miss the most about
not having hair"; if you have hair, say, "This is one of my favorite things".) Then
I run my hand up the back of her neck and grab a fistful of hair at the roots and
pull it, downwards. She says "Mmmm..." And I say "see."
3. Then I talk about how "No one knows this, but the most sensitive places on the
body are places that are usually hidden from contact with the air, like the back
of the elbow (touching it) and knee (touching it). Any place where your body
bends, twists, or folds, there are millions of sensitive little nerve endings that
release endorphins. Then I take her arm, bend it a little, and erotically bite the
area on the opposite side of the elbow (that crease where it bends). She
usually gets the chills, and I have her ratify how good it feels.
[Note for the less experienced: If you don't know how to erotically bite a girl,
learn before you do this. You want to take a big chunk of skin -- not a little pinch! -
and slowly and firmly slide your teeth together until they meet and release the skin.
You may want to practice on your own elbow first.]
4. After, I say, "But do you know what the best thing in the world is?...A
bite...right..here." And I point to the side of my neck. (Every now and then, I'll
add, that "this has to do with the fact that it is where the jugular vein is most
exposed, and since most sexual fantasies have to do with submission and
vulnerability, it sends all the fantasy signals flying.") Then I'll expose my neck
and say, "Bite me right here" as if I expect her to do it. Fifty percent of the time
she will. If she doesn't, I just turn away calmly (punish), wait a few seconds,
and then turn back and repeat, "Bite me right here." Usually she will.
5. Half the time, her bite is lame. If so, I correct her and say, "That's not how you
bite. Come here." Then I give her a good bite on the neck and instruct her to
"try again." This time, she ALWAYS does a great job.
6. Now you look her in the eye, smile mischievously/approvingly, and say, very
slowly, "not bad." Then glance down at her mouth, back up at her eyes,
and...yes...finally...you...may...if you want...and if she's ready...um...kiss!
Short Version: grab hair, bite my neck, kiss elbow, rub back of knee,
triangular gazing.
T h e  M y s t e r y  M e t h o d
1 89 T he  C2  L o c a t i on
Any comfort building location separate from the
meeting location and the sex location
W h en  y ou  a re  in  C 1,  t he  p r e s e n ce  of  y o ur  r o m a n t ic  i n t e r e s t 's  f r i ends  or family
m ay  at  t i m es  c o m p r o m i se  y o ur  c o m f o rt bui lding  e f for t s.  Y ou  m ay  i n s t e ad
s imp ly  n ot  h a ve  t he  t i me  to sit  w i th  h e r.  F or  w h a t e v er  r e a s o n,  w h en  y ou  a re
u n a b le  to  c o n t i n ue  b u i l d i ng  c o m f o rt  in  C 1,  y ou will  h a ve  to  j u mp  f r om  C1  to
C 2.  E x a m p l es  of  C2  l o c a t i o n s:
• Sitting in bar, coffee shop, quiet restaurant or living room
• Window shopping (mall or street)
• As you walk or drive from one comfort building location to another
B e f o re  y ou  a p p r o a ch a  w o m an  in a  m e e t i ng  l o c a t i o n,  h a ve  y o ur  C2  c o m f o rt
b u i l d i ng  l o c a t i on  p r e - s e l e c t e d.  E v e ry successful  p i c k - up wi ll  i n e v i t a b ly  j u mp
to  C 2.  Y ou  m ay  j u mp  f r om  o ne  C2  l o c a t i on  to  a n o t h er  as  m a ny  t i m es  as
n e c e s s a ry  u n t il  y ou  s p e nd  e n o u gh  t i me  a nd bui ld  e n o u gh  c o m f o rt  to
successfully shift  to  C 3.
Jumping
G o i ng  f rom  o ne  c o m f o rt  l o c a t i on  to  a n o t h er  is  c a l l ed jumping.  T h e re  a re
t wo ways  to jump:  t he bounce  a nd  t he time-bridge.  To  b o u n ce  m e a ns  to
m o ve  y o ur  g r o up  of  p e o p le  to a  d i f f e r e nt  v e n ue  t h at  s a me  n i g h t.  W h e r e as
t ime - b r i d g i ng  is  to  m a ke  p l a ns  to  s ee  h er  at  a n o t h er  t i m e.  (Ob v i o u s ly
b o u n c i ng  is pr e f e r abl e .)
T h e  M y s t e r y  M e t h o d -
190 T he Bounce
O ne  w ay  to  c h a n ge  c o m f o rt  b u i l d i ng  l o c a t i o ns  is  to  do  so  at that time.  T h is  i n s t a nt
v e n ue  c h a n ge  is called bouncing. (As  w h en a friend says  to  y o u,  ' W e ' r e  l e a v i ng
for Me l 's  D i n e r.  L e t 's  b o u n c e . ")
In  o t h er  w o r d s,  t he  p u r p o se  of  b o u n c i ng  is  to successfully  g et  y ou  f rom  o ne
c o m f o rt bui lding  l o c a t i on  to  t he next,  so  t h at  y ou  m ay  c o n t i n ue  s p e n d i ng  t ime
w i th  y o ur  r o m a n t ic  i n t e r e st that same night.  O f t e n,  t h e se  a re  in fact  s t r u c t u r ed
o p p o r t u n i t i es for  t he  w o m an  to  p u r s ue  y o u!
I t 's  i n t e r e s t i ng  to  n o te  t h a t,  for  w h a t e v er  r e a s o n,  b o u n c i ng (as well  as mo v i n g)  is
n ot  o n ly a  n e c e s s a ry  e s c a l a tor,  b ut  a l so  is a  p o w e r f ul  c o m f o rt bui lder  in- and-ofltself.  It just  c r e a t es  t h at  v i b e.
If  y ou  a re successfully  b o u n c i ng  a nd  t he  s e v en  h o u rs  a re  p a s s i n g,  c o m f o rt  n e a r ly
t akes  c a re  of itself.  T h e se  a re  t he  t wo  m o st  i m p o r t a nt  a s p e c ts  of  c o m f o r tbuilding.
The best way to calibrate your bouncing is to just do it as much as
possible. Eventually your intuition will tell you when it is the right time.
E x a m p l e s:
My s t e ry  t u r ns  to  t he  w o m an  he has  b e en  s i t t ing  w i th  in  C1 for a  t i me  a nd
says, "My  f r i ends  a nd I are  a b o ut  to  g r ab a bi te  to  e at  o v er  at Mel's  D i n e r.
Y ou  a nd  y o ur  f r i ends  a re  m o re  t h an  w e l c o me  to  t ag  a l o n g ."
Daytime:
•  " I 'm starved; I've  g ot to  g r ab a
bagel.  C o me join  m e ."
•  "I  n e ed  to  g et  an  enve lope from
t he  p o st office,  c o me  k e ep me
c omp a n y ."
•  " I 'm  g o i ng  d o wn  to Me l rose  to
g r ab a shirt I  n e ed  to ge t, let's go
get  s o me  l u n c h ."
N i g h t t i m e:
•  "We ' re on  t he gue st list for a
be t t er club.  C o me wi th  u s ."
•  " I 'm starved. Le t 's  g et  s o me
food."
•  "We ' re going  n e xt  d o or  to sit
d o wn for a bit. Wo u ld  y ou  a nd
y o ur friends like  to join  u s ?"
T h e  M y s t e r y  M e t h o d
191 T he  T i me Bridge
T he  s e c o nd way to  j ump  c omf o rt  loc a t ions is to agree to see each other at a later
date.  T h is is called time-bridging.
T he so-called "number close" (as in, "I  g ot  h er  p h o ne  n u m b e r ")  i s n 't  even a close at all.
T h e re is only  o ne  type of close, really: sex. Are  y ou a closer?
Incidentally,  t h e re is no  such  thing as a "kiss close" either, since kissing is just a
comfor t -bui lding tactic.  J u st like pulling  t he ba ck of her hair is  n ot a hair pulling close,
or biting  h er  n e ck is  n ot a neck biting close. They are merely  c o m f o rt building tactics.
So wh at is a time bridge?
A time bridge is an optional move in  y o ur  g a me  that you play only if  y ou  c a n n ot follow
the  s t anda rd  g a me pl an of  b o u n c i ng  h er  for  f o od  a nd eventually sex. After all,  if  y ou
b o th  h a ve  t he  t ime  a nd interest, isn't  it  b e t t er  to  c o n t i n ue now  r a t h er  t h an try  to
c o n t i n ue it at  a n o t h er time?
But  p e r h a ps she  w o n 't  b o u n c e. Maybe logistics  a re screwed  u p,  h er friends are  the r e,
or you just  h a v e n 't  h ad  t he  o p p o r t u n i ty  to build  e n o u gh  c o m f o rt for her  to  a c c ept
such  an escalation.  T h en  w h a t? Well,  y ou try  to build  as  m u ch  c o m f o rt  a nd  t rust  as
y ou  c an,  and  t h en you build a time bridge,
Whi le talking, say,  " It  w o u ld  be  c o ol  to  t a lk  a g a in  s o m e t i m e , "  and  t h e n,  w h en
she agrees,  y ou  p op  o ut  t he  n o t e p ad  a nd  t he  p en  as  if she  h ad  r e q u e s t ed it, saying,
"Give  me  y o ur  n u m b e r ."
If your frame is  c o n g r u e n t,  she will  b e h a ve as if it was her idea  a nd comply. It all
d e p e n ds on  t he  ene rgy  b e twe en  the  two of you.  Is  it 'on'?When  things are on  they
just  s e em  to  f low  so naturally.  I n s t e ad of  looking for clever ways  to ask for her
n u m b e r, focus  on creating  t h at chemistry  t h at  c an  g r ow  b e twe en  t wo  p e o p l e.
T he  p u r p o se  of  t he time  b r i d ge  is simple:  to  b r i d ge  t he gap  of  t i me  t h at  k e e ps  y ou
apart.  Y ou are  w i th her now  a nd  t he  t ime bridge will allow  y ou  to be wi th her again
in  p e r s on  so  that you may  cont inue.  R e m e m b e r,  the  cour t ship  g o es  f rom meet  to
sex,  n ot from  m e et  to  p h o ne  n umb e r. Merely getting a  n u m b er  is not a br idge,
be c ause a bridge  m u st  h a ve  two sides. A  n u m b er  d o e s n 't have a definite other side.
W h en  y ou call,  y o u ' re stuck trying to set a  d a te to see  e a ch  o t h er again — if only  y ou
d id  that  in  the  f i r st place, you wo u l d n 't  e v en need  h er  n u m b e r.
T h e  M y s t e r y  M e t h o d -
1 92 A time bridge  l e ads  to a definite time  a nd place wh e re you will be  w i th  h er  in  p e r s on
to  c o n t i n ue  the  c o u r t s h i p.  It  is  s ome t h i ng  that you  h a ve pa int ed  o n to her imagination
a nd  p e r h a ps  y ou  e v en  r an a  rout ine  a b o ut it. Wh e r e as merely  g e t t i ng a  n u m b er  is
n o t h i ng  m o re  t h an a stairway  to he aven.  It  d o e s n 't take  m u ch pr a c t i ce before you
start ge t t ing  p h o ne  n u m b e rs  and realize  they are all blurring. Ma k i ng  t h o se  n u m b e rs
m o re solid is a serious  conc e rn.
T ry setting a time and place  to me et up again.  Y ou  should be  p r e p a r ed wi th  two or
t h r ee time bridges for situations  w h en  y ou can't  b o u n c e.
S o me  e x a m p l e s:
1.  " I 'm picking  up  s o me shoes  at  t he mall  t o m o r r o w.  C o me  k e ep me  c o m p a ny  and
we  c an window*  s h o p ."
2. "I've  g ot  to  d r op off  s o me stuff  to my sisters.  C o me  k e ep me  c o m p a ny  f or  the
drive. I'll pi ck  y ou up  at eight  P M ."
3.  "I  h a ve a  d i n n er  p a r ty  in  two we eks.  Y ou have  to  come !"
4.  " I 'm going  to  t he Magic Castle  in Ho l l ywo od on  T h u r s d ay  to see a magic  show.
I'd like you  to  c o m e. Le t 's  exchange  n u m b e r s ."
No t i ce  h ow  y ou already  h a ve a reason  to see  e a ch  o t h er in-person again.  If  y ou just  g ot
t he  n u m b e r,  y ou  c o u ld  be  in a pos i t ion  w h e re you  h a ve  to try  to  convince  h er  to see
y ou again.  Y ou  d o n 't  even  n e ed  to  exchange  n u m b e r s.  E x c h a n g i ng  n u m b e rs
c o n f o rms  t oo  m u ch  to  the stereotypical dating  f r ame.  If  she  w o n 't me et  y ou again,
t h en  t he  p r o b l em was  w i th your  n ot bui lding  e n o u gh value  and  c o m f o rt  in  t he first
place —  a nd  t he  n u m b er  w o u l d n 't  h a ve  c h a n g ed that.
Having solid game is more important than getting phone numbers. Solid
game makes for solid numbers.
In  t he  t h i rd  e x amp l e, you may  g et  the  n umb e r. (You've  g ot  two we eks  to  p ut
toge ther a dinner party!) Call her  the  n e xt day  a nd  u se  the  p h o ne  to establish greater
r a p p o r t. Time on  the  p h o ne  c o u n ts  t owa rd  t he 7  h o u rs — it's just  a n o t h er way of
b e c omi ng a  n o r m al  p a rt of her life.
If  y ou  h a ve  e n o u gh  c omf o rt wi th  h e r,  y ou  c an  m e et  h er  s o m e w h e re  w i t h o ut  e v en
exchanging  n u m b e rs  a nd  she will  be  the r e.  B ut  if you  d o n 't  h a ve  e n o u gh  comfor t,
t he  n u m b er will blur, wh i ch me a ns  it  w as wor thl e ss anyway. So  d o n 't place  t oo
m u ch  i m p o r t a n ce on ge t t ing  n u m b e rs — pr a c t i ce solid game.
- T he  M y s t e r y  M e t h o d -
1 93 C h o o se locations  t h at are  conveni ent ly  n e ar  y o ur  h o u se  or  w h e re  y ou pl an  on be ing
anyways.  D o n 't go  o ut of your way  to  m e et a girl  w ho  m ay flake on you.  H a ve a life.
T he  m o re  c omp e l l i ng  y o ur life is,  the  m o re  she will wa nt  to be a  p a rt of it.
D o n 't  go  to  ' cof f e e' —  ins t e ad say  "I  h a ve  to me et my friend  D i a ne  at  t he coffee  p ub
to  d r op off a  p a ge layout for  an  u n d e r g r o u nd newsletter. Me et me  the r e ."
I went to a mall yesterday  and sat beside an old man in the crowded food court with my
"Made in Japan" meal. He started to talk to me  about this  and  t h at  h ow skateboards used
to be just metal wheels on  w o od boards  and  n ow they are fiberglass  and such. Well, I
just wanted to eat my food. I  n o d d ed  b ut didn't want to invest in  the conversation
(nothing personal, he was a nice  enough  m an  and all, just...  n ot my type haaa.)
I was displaying to him  I O Ds (indicators of disinterest.) I didn't want to say, "Please
don't talk to me" as that would have been  r u de  and confrontational. Well, many women
will find themselves in the same position. There are several  I O Ds  and I conveyed a
couple of  them to this old man. I averted my eyes to him, I  o p e n ed a magazine and
flipped  through it while he was talking, I  g ot really  into my food and I answered his
questions wi th one liner answers.
N ow  I 'm  n ot saying that you should give up on a girl wh en she gives you  some  I O D s,
because you can always torn it around.  T he old man could have talked  about something
that fascinated me and I maybe would  h a ve shared a conversation with him (a good
reminder of  h ow  impor t ant it is to initiate an inherently interesting conversation), but
imagine if after this conversation with the old ma n, he tried to  g et my number.  T h i nk
h ow weird  that would be.
I mean, I've  g o t t en numbe rs from guys before. That's  h ow we make male friends and
buds. But imagine if this old man wanted to 'hang  o u t .' I be like,  "um, no thanks." He 's
n ot offering any value,  and I feel no connection to him. Asking for my  n umb er under
those circumstances would be an  a t t empt to force a familiarity between  u s, which is
Creepy, while simultaneously begging for  r a p p o rt with me, whi ch is  t ry-ha rd Both are
severe DLVs.
See. this is what a  l ot of guys  p ut women  through. A brief thirty seconds of boring talk
and  then they hit on  the girl by asking  for  h er numbe r.  H ot  w o m en are  u l t r a - s e n s i t i ve
to this — they've be en  through it a slew of times. So when you do  a t t empt to construct a
time bridge, make it natural. Have a reason to see each other again  and play solid game.
D o n 't be the old  m an in this story.
T h e  M y s t e r y  M e t h o d -
ISA P h o ne  G a me
[From Mystery's Lounge — Lovedrop's original article on phone game.]
As you go into the Field and practice your game, you will start to
accumulate phone numbers. At some point the venusian artist asks
himself, "What do I do with these numbers? How do I convert these
into lays?"
Oftentimes it happens like this: the venusian artist has been in the
field for some weeks or months and finally he gets a number that has
some importance to him. Perhaps the set went really well or the girl
is especially hot, or he hasn't been laid in a while. For whatever
reason, he wants to play it just right so that he gets this girl. He
might even post in an online forum or call a friend with game so he
can ask, "What do I do with this number? How do I get this girl?" He
doesn't want to fuck this up!!
And there's the rub. You cannot ever let some number become that
important to you - much in the same way that you cannot ever let any
specific courtship matter to you. Opening sets and calling numbers
are both activities that you should be doing over and over again
purely for the practice.
If I am going into my sixth set of the night, and I know there will
be more sets tonight {and tomorrow night, etc) I am just not going to
be that concerned about the outcome. Instead, I can focus on the
process and play with it. I can practice my skill while
simultaneously giving off a natural, comfortable vibe with the
subtext: J don't care if I fuck this up. Ironically this results in a
greater success rate.
The same must be true of your phone calls and your dates {time
bridges.) You have to do many of them, or your skill will never
improve. You can't take any one call or date seriously. You're just
doing it for the practice. Enjoy the process. 3e willing to lose and
learn.
Here are just a few ideas to play around with on the phone:
• Anyone who's taken a live program knows that you shouldn't
eject from a set immediately after getting the phone number.
Stay around and talk for a few more minutes afterwards.
Otherwise you play into the pattern of all the other guys she
flaked on who got her number immediately before parting.
• Don't make the number itself the point. The point is the time
bridge. Maybe the two of you discussed going to sushi. Maybe
some art exhibit. Whatever. The point is that the number is
an incidental, not a goal. When in set, practice your
bridging and collection numbers along the way.
T h e  M y s t e r y  M e t h o d
1 95 • Don't assume that every phone call must occur for the purpose
of setting up a meet. Is this how you use the phone when you
talk to your friends?
• Call her up soon after the set is over (that same night) and
chat for a few minutes, then let her go.
• Call her in the next day or two and chat her up, then let her
go. In this way you come off non-needy, and you are
conditioning her to accept you as a normal part of her life.
Not some bar guy, not some club fantasy last Saturday - but a
real person who is a normal and regular part of her life.
• Call her when you're somewhere fun, like you would call your
guy friends, just to invite her over to hang out. Whether she
comes or not, you're having a good time without her and she
knows it.
• Time on the phone counts towards comfort time (the seven
hours.) So use it as an opportunity to build comfort, become a
pleasantly chatty person, and practice. Only time on the phone
will give you the practice so that you can vibe on the phone.
• If you talk to her as described above, she will likely start
hinting at a meet. Especially if you talk about the fun
activities and friends that you experience in your day-to-day
life. It's also perfectly reasonable to throw out an activity
and see if she bites. If she doesn't, no big deal - your life
is fun and fulfilling with or without her. You'll just get
someone else. (This attitude, by the way, should be subtext to
her, never explicitly communicated.)
• Even if a girl hasn't accepted an offer to meet (or preferably
made one of her own) - it's no big deal to you because as soon
as you get off the phone with her, you've still got to call
five, ten, or twenty other girls and practice the same phone
game with them. This is the most important piece. When you are
holding that one phone number and worried that you are going to
fuck it up, that's going about it all wrong. You should be out
gaming regularly. Eventually you will be getting phone numbers
regularly and you will be going through your calling rotation
regularly as well. It's hard to be worried about any specific
number when you know that you still have 5 others to call. It's
all just practice - and the lack of neediness will be evident
in your voice.
T h e  M y s t e r y  M e t h o d
196 A Note on Flakes
There will always be some percentage of flakes. Girls tend to be
flakey creatures. They don't just flake on you - they flake on
their friends and family, and often they even flake on themselves.
• Just keep calling them anyway. Put them in the rotation.
There is a random component to the game. Sometimes a girl
who really liked you won't return your calls. Sometimes a
girl that wasn't so solid is suddenly ready to come over
and get it on. You never know! So just keep them in the
rotation and keep practicing. Never take any number
seriously.
• As your game improves, your flake percentages will drop.
So keep working on value, attract, qualify, comfort, etc.
Keep working on conditioning girls to chase after you and
get invested in the interaction. The tighter your game,
the fewer flakes you will have to deal with.
•J* Often you can't even get the girl on the phone. Big deal.
Maybe it's buyer's remorse. Maybe her friends talked her
out of it. Maybe her grandma just died. Leave her a
message and call the next girl. Go out practicing tonight.
Etc! This is a lifestyle.
Dating
[ F r om  M y s t e r y 's  L o u n ge —  L o v e d r o p 's  o r i g i n al  a r t i c le  on  d a t i n g .]
At some point in my game, I discovered that it was really easy
to get isolated with a girl. I could game up a set, get a
number, call her a few days later, and soon she's sitting on my
bed and we're watching a movie together.
But the problem was, 1 hadn't done enough A3 or comfort in
order to escalate. There was this weird pressure for me to make
a move, even though she wasn't ready for me to do so, and it
would be awkward - and then I'd never hear from her again. I
discovered that I could get girls over at my place but I
couldn't make anything happen after that point.
The solution, for me, was to design a specific date plan that I
could repeat over and over again. A routine that I could
practice with on many different girls until I had my dating
game tight. If you are getting numbers, but not lays, it's
useful to practice your dating game in a structured way.
T h e  M y s t e r y  M e t h o d -
1 97 When designing my date, I decided it should have as many venue
changes, and as many hours together, as possible. For some
reason, moving, bouncing, and the seven hours are powerful
comfort builders, so I built these ideas into my date routine.
Here's what I came up with:
(On the phone) -- "Let's do sushi Wednesday night like we
talked about. There's a good place near where I live. Come by
around 7 and we'll go eat."
~ 7:30 PM Girl shows up at my place. I come downstairs but
then I "forgot" something so we have to run back upstairs "real
quick." She gets to see my pimp pad and my bay view, which she
Oos and Ahhs over. Then I hustle her out and we drive to the
sushi shop. Kudos to David DeAngelo of Double Your Dating for
this trick...it familiarizes her with your place (so it's not a
big deal / fear of the unknown when you return!) and it also
makes her more curious about being in my apartment, since I
hustled her out.
~8:00 PM We're at the Sushi shop. I have various routines
that I always do...can't pour your own Sake, Japanese voice
stuff, teach her chopsticks, etc. The specifics aren't
important. Most of the time here is vibing, practicing comfort,
the question game, palm read, whatever. Getting to know each
other.
~9:00 PM "There's this really cool band playing across the
street, let's go check it out!!" There is an 80's parody rock
band that plays every Wednesday right across the street from my
sushi shop. I have a VIP card to the venue so we don't have to
wait in line. I take the girl across the street but the band
hasn't started yet. So we have a few drinks and more comfort
building material, along with some push/pull to keep up the
sexual tension.
-10:00 PM — The concert room opens and we enter (another
venue change.) As the crowd thickens, I'm either leading her
through the crowd or I've got my arms around her to protect her
from the crowd. The band goes on shortly after and she spends
the next two hours either laughing at their comedic dialogues,
or singing along with old favorite rock songs.
~Midnight -- We drive back to my place. I say, "Ok you can
come upstairs but only for a few minutes, I have to work
tomorrow." [Credit: David D.]
T h e  M y s t e r y  M e t h o d -
1 98 ~12:30 AM - We're sitting on my balcony making out. I take
her by the hand, say, "Let's go make out like a couple of
teenagers," and lead her back into my bedroom and fuck her.
Notice how this routine allows me to get in lots of venue
changes, pass time with the girl, and also practice other bits
of my game...When I need to attract, I can be cocky and playful
and use hot/cold dynamics. I can keep screening and qualifying
her, and I can work on comfort building and kino escalation.
This all occurs within a date structure that I can repeat every
week with a new girl and practice until it is tight.
And tight it is - this routine gets me laid.
Here's another date routine that I came up with recently for
Saturday afternoons:
-10:30 AM — "It's such a beautiful day. I'm going to get
lunch at the beach near where I live. Come over and we'll go
together."
~12:00 PM --- Let her briefly upstairs and then hustle her out.
Drive to the main drag and park.
~12:15 PM There is a billiards place that serves food. We
hang out here for an hour or two, eat lunch and shoot some
pool. Meanwhile continue gaming., comfort building, etc.
~ 2:00 PM ---Bounce and walk up and down the street. Go into
clothes shops and try stuff on. There's one shop in particular
with cool masks, wigs, etc. Go into a vintage shop and try
stuff on.
~4:00 PM -- After a few hours of bouncing around together, we
go back to my car.
~ 4:15 PM -- Swing by the store on the way home "to pick up
some stuff." Get BBQ fixings. Walking around in the store
together is a great way to subconsciously activate domestic
couple fantasies in her lizard brain. She also gets involved in
picking food out - which makes her involved in the BBQ at my
place.
~5:00 PM -- Get back to my place. Make a few drinks and fire
up the BBQ. Watch the sunset together. Make out, etc.
- T he  M y s t e r y  M e t h o d
199 Notice that all the venue changes seem perfectly spontaneous to
her, even though they've all been planned out. So her
experience is fun, constantly changing, and without pressure.
You are leading through all of this, and practicing your date
game along the way.
• Design a date plan {or several) that you can execute
over and over again.
• Build the most useful logistics into the date. Design
in the seven hours. Design in the venue changes. Design
it so she ends up at your place.
• Do it over and over again with many girls.++ Focus on
improving your skill and improving your dating routine.
Don't take it too seriously.
The C3 Location
Any comfort building location within the sex locution.
N ot  u n t il  y ou  h a ve  b u i lt  e n o u gh  c o m f o rt  w i th a  w o m an  c an  y ou  j u mp  to  C 3.
E x a m p l es  of  C3  l o c a t i o n s:
• Sitting on couch in your living room
• In whirlpool a short distance from your bedroom or hotel room
• Sitting on couch in lobby near your hotel room
Since every successful  cour t ship will inevitably lead to  the C3  loc a t ion (which is in
the sex  loc a t ion), be fore you  e v en  a p p r o a ch a  w o m an  in a me e t i ng location, take
efforts  to secure a C3  c omf o rt building  loc a t ion
++ Don't be a pervert..
T h e  M y s t e r y  M e t h o d
200 T he Sex  L o c a t i on
M o st  m e e t i ng  l o c a t i o ns  a nd  m a ny  c o m f o rt  b u i l d i ng  l o c a t i o ns  a re  n ot
a p p r o p r i a te  s e t t i n gs for  s exual  i n t ima c y.  In  o r d er  to  s h a re  in  m u t u al
s e d u c t i o n,  y ou wi ll  h a ve  to  j u mp  to a  s ex  l o c a t i o n.
A sex  l o c a t i on  is  m a r k ed  p r ima r i ly  by  i ts pr iva cy  a nd  s h o u ld  be  in  c lose
p r o x i m i ty  to a  C3  c o m f o rt bui lding  l o c a t i o n.  T h at  w ay  y ou  o n ly  h a ve a  s h o rt
d i s t a n ce  to  m o ve  w h en  t he  t ime  c o m e s.  F or  e x amp l e,  y o ur  b e d r o om  is ve ry
n e ar  y o ur living  r o o m.
T he  b e st  s e d u c t i on  l o c a t i on  is  o ne  in  w h i ch  y ou  h a ve  c o m p l e te  c o n t r o l,  s u ch
as  t he  b e d r o om  of  y o ur  o wn  a p a r t m e nt  or  h o u s e.  F ew  v a r i a b l e s,  s u ch  as
p h o ne calls,  r o om  m a t e s,  p a r e n ts  a nd  p e ts will  i m p e de  y o ur  s u c c e s s.
C o n s i d er  t he  v a r i o us  b e n e f i ts  a nd  l imi t a t i o ns  of  t he  f o l l owi ng sex  l o c a t i on
e x amp l e s:
• A  v e h i c le
• A  h o t el  r o om
• A  f r i end's living  r o om  or  b e d r o om
•  T he  w o m a n 's  b e d r o om
•  Y o ur  b e d r o om
S o me  C3  c o m f o rt bui lding  l o c a t i o ns  s u ch  as a  p r i v a te living  r o om  m ay  a l so  be
a  g o od sex  l o c a t i o n.  If  y ou  a re  in  s u ch a  l o c a t i o n,  y ou  c an  s a ve  y o u r s e lf  f r om
h a v i ng  to  m o ve  f r om  C3  to  t he sex  l o c a t i o n.
B e f o re  y ou  a s s u me a  p u b l ic  toi l et  n e ar  an  a t t r a ct  l o c a t i on  is  an  exc e l l ent  p l a ce
to  h a ve  s ex,  c o n s i d er  t h i s:  if  y o ur gi r l f r i end  of  s eve r al  y e a rs  w o n 't  h a ve sex
w i th  y ou  in a  p u b l ic  b a t h r o o m,  d o n 't  e x p e ct a quality  w o m an  y ou just  m et  t o.
T h is  is  o n ly a  r a re  f o o l 's  m a t e.
If  y ou  h a ve  n or yet  s e c u r ed a sex  l o c a t i o n,  t ake  e f for ts  to  do  so  b e f o re  y ou
a p p r o a ch a  w o m an  in a  m e e t i ng  l o c a t i o n.  Do  n ot leave  t he  suc c e ss  of  y o ur
e n d - g a me  to  c h a n c e.
- T he  M y s t e r y  M e t h o d
201 Moving  f rom C3 to S1
My s t e ry sits  in his  l iving  r o om  w i th a  w o m a n,  s h o w i ng  h er  s o me  s h o rt
c o m e d ic  h o me  m o v i e s.  T h ey  a re  in  C 3.  He  p u ts  on  s o me  m u s i c,  l ights  up  t he
h o o k ah  a nd  t h ey  s h a re  s m o k i ng it.  He  i n h a l es  t he  s m o ke  f r om  t he  p i p e,  a nd
t h en  exha l es  it  i n to  h er  m o u t h.  T h ey  do  this  s eve r al  t ime s.
S h a r i ng  i n t i m a cy  by  h o l d i ng  e a ch  o t h er  a nd ki s s ing,  he  n ow  p r o g r e s s es  t h e ir
ki s s ing  i n to foreplay.  B o th  a r o u s e d,  he  t akes  h er  by  t he  h a n d,  l e a ds  h er  i n to
his  b e d r o o m,  h a n ds  h er a  b ox  of  m a t c h es  a nd says,  " H e r e.  L i g ht  t he  c a n d l es
while I  f i nd  t he  i n c e n s e ."  He  t h en  s a y s,  " C an  y ou  c l o se  t he  b l i n ds for  m e?  I 'm
g o i ng  to  w a sh  u p . " A  m i n u te  l a t er  he  r e t u r n s.  " W hy  d o n 't  y ou  go  w a sh  up
wh i le I  l ight  t he  i n c e n s e ,"  he  s a ys  to  h e r,  p o i n t i ng  o ut  w h e re  t he  b a t h r o om  i s.
B u i l d i ng  t he  s e d u c t i on  s c e ne  t o g e t h er  in  this  w ay  is similar  to  t he  w ay  l o ng
t e rm  c o u p l es  r egul a r ly  d o.  S u ch ritualistic  b e h a v i or  is familiar  a nd
c o m f o r t a b l e.
In  c a se  it  h as  n ot  b e en  m a de clear  up  u n t il  this  p o i n t,  do  n ot  m a ke  t h is  m o ve
b e f o re  y ou  h a ve  p r o p e r ly qualified  h er  a nd bui lt  c o m f o rt  w i th he r.  If  y ou  d o,
it will  a c t i v a te  h er anti-slut defense or  c ause  h er  to  g et buyer's remorse, or
b o t h.
F u r t h er  c o m p l i c a t i ng  m a t t e r s,  if  t he  w i n d ow  of  o p p o r t u n i ty  is  o p en  a nd  y ou
mi ss it,  it  s e l d om  o p e ns twice for  t he  s a me bi rd.  S he  m ay  go  h o me  a nd
b a c kwa r ds  r a t i o n a l i ze all  t he  r e a s o ns  w hy  it  d i d n 't  h a p p e n.  S o,  in  t he  i n t e r e s ts
of  p r a c t i ce  a nd  r a p id  i m p r o v e m e n t,  w h en  in  d o u b t, just  e s c a l a t e.  E v en  if
y o u ' re  w r o n g,  it will still  i m p r o ve  y o ur  c a l ibr a t ion.
T h e  M y s t e r y  M e t h o d
2 02 S 2:  L a s t - M i n u te  R e s i s t a n ce
Last-minute resistance is a hor r ibl e, uncont rol l able fear built right  i n to  the
circuitry of  m o st  w o m e n,  a nd it is your  job to ease her  t h r o u gh it. Ha v i ng sex is a
m u ch larger risk  a nd  i n v e s tme nt for a  w o m an  t h an it is for a  m a n,  and LMR is
her last  r i ng  of de f ense before  t he  P o i nt  of No Re turn.
LMR threshold differs from girl to girl,  a nd  even for a specific girl her  L MR
thr e shold will  c h a n ge  d e p e n d i ng  on  t he  c i r cums t anc es  and  t he value  of  t he  m an
she  is sleeping wi t h.  H e re are  s o me  c o m m on trigger  p o i n t s:
O v e r c o m i ng LMR
" Y o u ' ve  h i j a c k ed  my  b r a i n . . ."
Of t en  it  is  t he  c a se  t h at  y o ur  r oma n t ic  int e r e st  d o e s n 't feel qualified  e n o u gh — she
believes  if  she gives  it up  t oo easily,  y ou will simply  m o ve on afterwards.  T h is  is
w hy it's  so  i m p o r t a nt  in A3 for  h er  to feel that her efforts  a re  suc c e eding  a nd  that
she is winning  y ou over. If this  e l eme nt is missing, not i ce  that girls will freak  o ut
just  p o or  to sex, saying  t i l i n gs like,  " W hy me?  W hy  do you like  m e ?"  and  "I  d o n 't
even  k n ow  y o u . . . "
If you' re lacking  in this key  e l ement  and  n e ed  to  c o m p e n s a te quickly  in a logistical
bind,  u se "Baby I just can't stop thinking about you" languaging to  inocul a te against
h er LAIR be fore you escalate.
• Ki s s ing
•  T o u c h i ng br e a s ts
•  T op  r emo v al
• Bra  r emo v al
•  P a n ts  r emo v al
• Panties  r emo v al
• Finge r ing
•  O r al sex (giving or receiving)
1. "You've  h i j a c k ed my brain..."
2. "We should stop..."
3. Play solid game in the first place
4. Persistence
5. Freeze-outs
6. Just go to sleep
T h e  M y s t e r y  M e t h o d -
2 03 'We should stop..."
T he pr ima ry  t e chnique in  t he  L MR arsenal is token resistance, usually verbal in
nature while simultaneously continuing to escalate physically.  "Baby, we  should slow this
d o w n . . . "  W h at  is  t he  p u r p o se  of  t h i s?  W h at fantasy  d o es  it fulfill  f or he r?
T he ideal scenario involves a br ave, intelligent  h e r o i ne  engaged  in witty  r epa r t ee
wi th a cruelly  t aunt ing prot agoni st (with a he a rt of gold.) Sexual  t e n s i on is
building  b e t w e en  t h e m. At  s o me  p o i nt  they will lose all  c o n t r ol  a nd ravenously
c o n s u m m a te  the ir flirtation. It's not her fault. She was  o v e r t a k en by forces
entirely  b e y o nd  h er  cont rol.  F o r c es  of  N a t u r e.
T o k en  r e s i s t ance is necessary to make  t h at feeling real. If you don't resist, she will.
N o t i ce  that  if she gives  t o k en resistance,  the be st  r e s p o n se  is  to just agree wi th her
and  even voi ce  it yourself.  If  y ou disagree,  y ou are only giving her  s ome t h i ng  to
p u sh against.  D o n 't give  h er traction  by way  of di s agr e ement.
Play Solid Game in the First Place
H er  emot ional circuitry  is designed  to select for a high-va lue  m an  w h om  she
t rus ts  and is  p a i r - b o n d ed to her. If your game is tight, LMR will be greatly
r e d u c ed  as  an  i s sue. So  examine your ba s ic  g ame:
1. Are you a healthy,  ambi t ious, socially  comfor t able pe r son?
2. Do  y ou  c o n v ey a lack of ne edine ss  at all times?
3.  H a ve you othe rwi se  d emo n s t r a t ed value, via pr e - s e l e c t ion,  l e ade r -of -men
switch (social intelligence  a nd social proof ),  emo t i o n al stimulation, frame
cont rol, etc?
4. Has  she  c h a s e d,  and othe rwi se  i n v e s t ed  in  t he  int e r a c t ion?
5.  H a ve you  b e en  compl i ance testing? Do you  h a ve  k i no escalation  a nd
compliance?
6.  D o es  she feel  t h at  she has  e a r n ed  y o ur interest? (Have  y ou  d e m o n s t r a t ed your
" g r owi ng  p a i r b o n d"  for her, us ing qualifiers  and  o t h er  IOI s ?)
1.  H a ve you built  c omf o rt  and  t rus t,  a nd a sense of  c o n n e c t i o n, over seven
h o u rs  and several  v e n ue changes? Do you  h a ve jealousy?
Ne a r ly always,  if  o ne  is self-critical,  i t 's possible  to trace  b a ck  to  o ne of  the se
p o i n ts  and  d e t e rmi ne  w h at  is causing  t he LMR.
- T he  M y s t e r y  M e t h o d -
204 Pe r s i s t ence
If you  r e a ch  h er LMR  thr e shold, do a slight tactical retreat and then
continue.  F or  e x amp l e,  s t op trying  to  r e m o ve her shirt; just  m a k e - o ut  w i th her
for a bit longer,  t h en try the shirt again. Of t en  t he issue is just  that  she  n e e ds
m o re arousal- Pr a c t i ce  b e c o m i ng  a t t u n ed  to a  w o m a n 's  f e edba ck dur ing foreplay.
F r e e z e - O u ts
If  the  L MR  s e ems insurmountable, just do a freeze-out:  t u rn on  the light, snuff
o ut  the candle,  c h e ck your email, go  to  the ki t chen  to make a  s andwi ch, or pull
o ut a checkers  b o a rd  and challenge  h er  to a  g ame.  T he  p o w er of this  is  in its
sincere delivery.  If  y ou we re sulking,  t h at  w o u ld show  that you  w e re affected.  B ut
y o u ' re unaffected. Just switch off the  a rous al circuitry like it's no big deal  a nd
freeze her  o ut sexually,  t h en  t ry again  in  t en mi n u t e s.  F r e e z e - o u ts are  d e a d l y.
Just go to  S l e ep
If all else fails, just go to sleep  w i th  h e r. A few  h o u rs later, the  two of you will
awaken  a nd  h a ve sex.#
S 3:  S ex
# Credit to Sinn, who discovered and field-tested this tactic.
T h e  M y s t e r y  M e t h o d
2 05 Waypoints
W h e n e v er  t he  v e n u s i an artist  o p e ns a set  a nd begins  t he  g a m e, he  is likely  to
e n c o u n t er  t he  s a me waypoints  on his  journey  f rom me e t ing  to sex.
S o me waypoints are:
T h e  w a y p o i n ts  a re  i m p o r t a n t  b e c a u s e  t h ey  m u st  a ll  o c c u r  a t  s o me  p o i nt
in  e v e ry  s e t.  If  y o ur  g a me  i s n 't  w h e re  y ou  w a nt  it  to  b e,  f igure  o ut  w h i ch
w a y p o i nt  is  g i v i ng  y ou  t he  m o st  t r o u b le  a nd  t h en  focus  y o ur  p r a c t i ce  e f for ts
in  t h at  a r e a.
St icking Points
E v e ry venus i an artist has sticking points, wh i ch are  p a r ts of his game  that are
currently  c aus ing  h im  t roubl e.  E v en  t he  b e st venus i an artists  h a ve sticking  p o i n ts
and will be eager  to discuss  t h em  in  o r d er  to discover  n ew  ide as for  o v e r c omi ng
t h em.  In fact,  if  s o m e o ne  is ever  r e luc t ant  to discuss his sticking  p o i n t s,  then
likely  t he  p e r s on is  n ot a venus i an artist at all,  b ut a keyboard jockey.
W h e n e v er  y o ur  g a me reaches a  n ew level, you will be  c o n f r o n t ed  w i th  n ew
challenges  and  n ew sticking point s.  T h is proc e ss  is  n e v er  e n d i ng —  t he frustration
often only  inc r e a s es  w i th skill,  and  m a ny will  n ot  h a ve  t he  p a t i e n ce  to practice  t he
venus i an arts  to mastery.  To  t h o se  w ho  d o,  go  the spoils.
•  O p e n i ng  t he set
•  H o ok  P o i nt (Flurry  of  I O I s)
• Locking-in
•  " So  h ow  do you all  k n ow
each  o t h e r ?" (optional)
•  I n t r o d u c t i on of playful  k i no
•  " W o u ld you like  to join  u s ?"
(optional)
• She qualities herself or
othe rwi se chases you.
•  I sol a te  the target for
comfor t -bui lding
• Compl i ance  t h r e s h o ld
• Kissing
•  T i me bridge
• "Your friend  and I like
each  o t h e r,  a re  y ou cool
wi th  t h a t ?" (optional)
•  B o u n ce  to a C2  loc a t ion
•  B o u n ce to a seduction
loc a t ion
•  O v e r c o m i ng  L MR
T h e  M y s t e r y  M e t h o d
206 Ch a p t er Eight  R e v i ew
It usually takes four to ten hours of comfort
building before a woman is ready to have sex.
This is known as the Seven Hour Rule.
Kissing is a comfort builder. Through practice
it is possible to isolate and kiss girls consistently
within twenty minutes of opening the  s et
The C2 location is any comfort building
location that is separate from the meeting
location and the sex location.
Moving from one comfort location to another
is called jumping. There are two ways to
jump: the bounce and the time bridge.
Bouncing is the act of leaving one venue and
going to another one at that time.
If you bounce, get her number first. That way
you won't appear to be settling for the number
later if the bounce doesn't work out.
A time bridge is an agreement to see each
other at a later date. This is an optional move
in your game that you play only if you cannot
follow the standard game plan of bouncing her
for food and eventually sex.
Having solid game is more important than
getting numbers. Solid game makes for solid
numbers.
It's important to be practicing your game and
getting lots of phone numbers. When you have
five or ten numbers to call, you are much less
likely to worry about Jacking it up. No single
number ever becomes that important to you,
which is exactly the right attitude.
After you get her phone number, stay and talk
for a few more minutes.
Get in the habit of going through your
numbers and calling  them up just to chat or
invite girls to whatever run activity you are
currently doing.
Many girls will flake when you call them. It's no
big deal. Just keep working on your game and
keep up on your calling rotation. The game is a
combination of skill (which requires practice) and
luck (which requires  r andom chance.) Both are
greatly increased by playing the numbers.
If you are getting numbers, but not sex, it's useful
to practice dating in a structured way. Design a
date plan that you can repeat over and over again
for the practice.
Build the most useful logistics into the date.
Design in the seven hours. Design in the venue
changes. Design it so she ends up at your place.
The C3 location is a comfort building location
within the sex location, such as your living  room
or Jacuzzi.
A sex location is marked primarily by its privacy
and should be in close proximity to a C3 location.
Usually this is your bedroom.
Once you go from C3 into S1 (foreplay), you have
crossed the point of no return. She will get
buyer's remorse if you do this  too soon, before
enough comfort has been built.
Last-minute resistance is a fear that women
experience just  p o or to having sex, similar to the
way that men experience approach anxiety. It is
your responsibility to ease her through this.
Often LMR is greatly increased as a result of
weaknesses in your game. By improving your
game, you also reduce LMR as an issue.
Other techniques for combating LMR are token
resistance, freeze-outs, and persistence.
Waypoints are points in the game, such as
opening or isolating, that must always be present in
any set that leads to sex.
Sticking points are parts of your game that are
currently causing you trouble. All venusian artists
have sticking points.
T h e  M y s t e r y  M e t h o d -
2 07 Congratulat ions!
Y ou  h a ve  f i n i s h ed  t he Mys t e ry  M e t h od  V e n u s i an  A r ts  H a n d b o o k.  Y ou  a re
n ow  a r m ed  w i th  s o me  of  t he  b e st  i n f o r m a t i o n,  t a c t i c s,  s t r a t egi e s,  a nd
k n o w l e d ge  t h at  t he  s e d u c t i on  c o m m u n i ty  h as  to offer.
W e ' ve  p ut a  l ot  of  o ur  h e a rt  a nd  s o ul  i n to  thi s. A  c o u p le  of  us  h a ve  q u it  o ur
j o bs  or  t a k en  l e a v es  of  a b s e n ce  to  r e s e a r ch  a nd  p e r f e ct  this  m a n u a l. I  t h i nk
w e ' ve really  d e l i v e r e d,  w ay  a b o ve  w h at  we  c h a r ge  for  thi s.
So I'll  a sk again —  P L E A SE  d o n 't  s h a re  thi s.  O b v i o u s l y,  y ou  c an  do  w h at  y ou
w a n t,  b ut  p ut  y o u r s e lf  in  my  s h o e s . . . if  y o u 'd  s p e nt  m o st  of  y o ur  a d u lt life
d e v e l o p i ng  a nd  p e r f e c t i ng  s o m e t h i n g,  a nd  w a n t ed  to  s h a re  it  w i th  t he  w o r l d,
y ou  w o u l d n 't  w a nt  o t h e rs  s t o p p i ng  y o ur ability  to  m a ke a  l i v i ng  o ut  of it.
A nd  if  y ou  h a ve  c o me  a c r o ss a  " s h a r e d"  or  " f r e e"  v e r s i o n,  b ut  y ou  t h i nk  it
was  w o r th  t he  p r i c e, pl e a se  p u r c h a se a  l i c e n s ed  c o py  o n l i ne  h e r e:
h t t p : / / w w w . . m y s t e r y m e t h o d . c o m / ! X I ^ l - P r o d u c t s . a s p x ? a c t i o n = g o t o & c a t i d =2
W e ' re  n ot a  F o r t u ne 500  c o m p a n y.  W e ' re a  c o u p le  of guys  t r y i ng  to  m a ke life
b e t t er for  o u r s e l v es  a nd  o ur  f ans.  W h a t 's  m o re —  if  y ou  b uy a  c o p y,  y o u ' ll  be
eligible for free  a nd  d i s c o u n t ed  u p g r a d es  to  t he  n e xt  v e r s i on  w h en  it  c o n i es
o u t,  e t c .,  e t c.
L o v e,
Mystery
h t t p:  //w w w . m y s t e r y m e t h o d . c om
2 08 What's next?
O n ce  y o u ' ve  g o t t en  i n to  this ma t e r i a l,  y ou  a re  p r o b a b ly  w o n d e r i ng  w h e re  y ou
c an  go for  m o re  i n f o r m a t i o n.  H e r e 's  w h at  we  h a ve  so far:
•  O ur full  p r o d u ct  l ine  c an  be  b r o w s ed  h e r e:
•  T h e re  is a  c o m p a n i on 5  D V D  s et  t h at  i l lus t r a t es ma ny  of  t he
c o n c e p ts  in  t h is  b o ok  a nd  p r o v i d es fresh  i n f o r m a t i on  as well.
W i th 5  h o u rs  of  f o o t a ge  f r om Mys t e ry  a nd  L o v e d r o p,  it will
a n swer  a ny  q u e s t i o ns  y ou still  h a ve  a nd s h ow  y ou  h ow  to  e x e c u te
t he  t a c t i cs  d e s c r i b ed  h e r e.  C h e ck  it  o ut  ( inc luding free  s amp le
clips)  in  o ur  D V D  v i d eo  l ibr a ry at:
http://www.mysterymethod.com/MM-Products. aspx?ac t ion=goto&cat id= 1
•  T h e re  is  no  s u b s t i t u te for live  s emi n a rs  a nd  w o r k s h o p s.  C h e ck
o ut  o ur  u p c o m i ng  s c h e d u l e:
http://www.mysterymethod.com/ProgramSchedule.aspx
Y ou  c an  t a ke a  s emina r,  or a  s e m i n ar  a nd a  w o r k s h op  (wh e re  y ou
go  o ut  to  b a rs  a nd  cof f ee  s h o ps  w i th My s t e ry  M e t h od
i n s t r u c t o r s ),  or  e v en a  spe c i a l ty  p r o g r am — like  h ow  to  u se magic
to  a t t r a ct  w o m e n,  h ow  to  b u i ld  an  ident i ty,  or  h ow  to  s e d u ce
strippers and hired guns.
•  C o n s u l t a t i o ns  w i th My s t e ry  M e t h od  i n s t r u c t o rs  a re  a l so  p o p u l a r.
F or  e x a m p l e,  p e r s o n a l i z e d, 1-1  t e l e p h o ne  c o n s u l t a t i o ns  a re
available as well as  f u l l y - c u s t omi z ed 1-1  p r o g r a m s.
http://www.mysterymetod.com/TrainingPrograms.aspx?action=goto&prog=tel
• Wr i te us!  W e 'd  l o ve  to  h e ar  h ow  t h i n gs  a re  g o i ng  a nd  h ow  we  c an
h e l p.  E m a il  us  at i n fo @ m y s t e r y m e t h o d . c om
2 09