 I don't know what to say, just say whatever, just keep talking, you know. I like shoes, they're pink and purple and you know, you need a structure. So what I did was I broke out the most effective forms of how to plow properly. The first form is how to follow your own leads. In everything, in any conversation, you got to listen for the leads of both the girl and yourself. The lead is the main point of the sentence being said, or the main topic or idea, all right? Ideally we want the girl to invest and say something and we can hit her leads. In this case, we have to follow our own. So if I said, oh my God, you remind me of my friend Ashley, it's uncanny how you look just alike, what is the lead in that sentence? It'd be Ashley, all right? That's the main focus of that sentence. So now I know that she's not giving me anything, so I'm going to follow that lead and I'm going to transition with something based on Ashley. Be like, you probably have her temper too because she was actually born and raised in Ireland, I can see a little bit of Irish in you. All right, who can tell me the lead here? Irish. Irish. So now you can go it again, Ireland, right? To be fair though, I've never been to Ireland myself. I've been to London though and I learned some cool slang while I was there. And so on and so on. Now I can go to London and I can go with slang. Then I can go with other trips of Europe. I can literally talk to a wall forever following this. I can just keep on rattling. This is how you keep rattling and it seems socially acceptable because you're just going off the lasting set. Now that's not the goal. The idea is I don't want to be talking to a wall. I want this girl to be investing back. I want to get her open up, right? I got to fix this comfort issue. So one of the other ways I'm going to do it is use checking questions and then I'll just answer them myself if really needed. I can literally just ask a question and then answer it, right? So something like, we're going with classic line, right? I want to talk during something. But like, oh, so are you the bad girl of the group, right? Old ass line. You don't need her to actually respond to that, do you? She has to be like, yes, I am the bad girl. Or no, I'm not, right? You don't actually need a real response. All you have to do is like, oh, see? I can tell you already, it's like looking your eye. You got that bad girl look. You just answer your own question. So we're constantly following our own leads. We're throwing questions out there. If they don't give it, we answer it ourselves. The last thing is we're going to make assumptions about the girl, both as co-reads, again, such as good girl, bad girl, right? You're this, you're that, you're the friendly one. Oh, you're the ball buster of the group. I can see it already. And we can do assumptions interpreting her reactions or feelings of things, right? So let's say, for example, I'm talking to a girl, and I said, oh, you know, the cool thing, I just got back from Universal Studios, and I did that Harry Potter ride. It was so awesome. And she looks at me, she's like, right? Gives me nothing. I'm going to assume a reaction from her. I'm like, I know, I know. You're thinking I'm a dork, whatever. OK, but I'm going to tell you right now. I can see you have a dorky side, and you also. Don't try to hide it, don't try to be a baller with me. I'm assuming reaction. She gave me nothing, but I can just act as if she did. I see in your face, I see in your eyes, I can tell, I know what you're thinking, any of these ground into our assumptions about the girl. This is how we can just keep talking over nothing. Thou shall talk with nothing. All right, commandment number four. Thou shall not call them out for being indifferent. So many guys just have a need to do this. I don't know why, but they really feel this strong need to be like, you're being indifferent. Why are you acting that way? All you're going to get is a girl being like, because I am. Sorry, but she's just going to fall into it. She's going to agree with you, all right? So, actually, before, Thou shall not call them out for being indifferent. Why do you guys think that is? Why should you not call them out for being indifferent and point out the pink elephant in the room? That violates command number one. Correct. Good man. And violates command number one. You don't see it, remember? You don't notice she's indifferent, so why would you call it out? All she's going to do is agree with you. We don't see it. We don't acknowledge it. All we're banking on, as of right now, for the first four commandments, is we are going to keep talking in a way that, even if she gives us nothing, and constantly project that friendly social vibe that she's going to act as a chameleon to and take on. However, with that said, you will address bitchiness. Or runeness. In two ways. You're going to use humor or corrective frame control. So for humor, I'll give you an example that my buddy, Sin, came up with back when it was really funny to do with him. Say to a girl, like, wow, that was amazing. All right, I was like the bitchiest thing I've ever seen. All right, do it again, but this time, like, amp it up by 10%. All right? Oh, come on. No, see, that was awful. You suck at this now. OK, I can tell you actually a sweetheart. I will tell you who's really ruthless, though. Megan, oh my god, she's a man eater. All right, so that's a humorous way to address it. Now, if you notice what else I did was I avoided frame battles by transitioning away from humor, corrective response, by transitioning away from it immediately. I didn't stick with that because, again, I don't want an argument to take place. I don't want a frame battle to happen. I want to dress it, move on, before she can do anything about it. So you listen to it again. I go, wow, that was amazing. All right, do this again, but amp it up by 10%. There's a humor. Then I go with, yeah, that was horrible. You're actually really a sweetheart, forcing that frame on, saying, you're friendly. You're like me. You're just a sweetie. And then I get off of it entirely. You know who's really bad, my friend Megan. She's ruthless. I'm off the whole thing now. Now I'm talking about a totally different topic, OK? The other one is corrective frame control. This is a fun one. It's my interpretation of it. It comes from an old friend of mine, Adam. He was just here speaking with you guys. So when a girl says something rude, you go, wow, that's rude. Do you really feel like every guy that comes to talk to you is hitting on you? I mean, come on, surely you're not that conceited. I get it, though. I get it. Most guys are way too aggressive when they talk to girls. I honestly don't know why guys can't just be themselves and be normal. And then you'll find girls are actually really friendly. All right, think about what I just did there, right? I literally called her out on the rudeness. I said, that's rude. Do you really think that way? I know you're not that conceited. So if she agrees she is that way, now she's in a bad frame. Then I go on. Then basically I go on and tell her, I agree with you. I see what you mean. You know, I'm mirroring you. We see eye to eye. But at the same time, if guys just act like me, friendly, they don't want anything from you, they're just normal. Again, basically implying this is me. Girls will act friendly, which means she will start acting friendly. I'm canceling these bad frames. I'm putting on new ones. That's a big thing. It's kind of a very advanced topic. I understand. But frame control is really a passion of mine. It's showing, these are problem frames I'm getting rid of, and I'm going to implement new ones. To handle indifference, you're going to have to learn that. It's the only real advanced technique with this. So never come out for being indifferent, but do not accept bitchiness or rudeness. You have certain boundaries. You have how you expect to be treated, and you will handle it that way. But indifference, you don't see it. Because we just don't expect it. We don't ever expect it. All right, commandment five. Thou shalt mirror body language investment. We're going to watch how she's moving, where she is around us. All right. So.