Speed Seduction 3 Disc Seven

Speed Seduction 3.0 Program Transcript:

Disc Seven Created By

Ross Jeffries The “Guru of Getting Some”

Website: http://www.speedseduction.biz

For the smart guy who refuses to resort to bullying bullying,, begging begging,, buying,, bs buying bs or or booze booze,, in his pursuit of happiness.

Copyright © 2008, Ross Jeffries. All Rights Reserved. Reserved. This transcript may not be duplicated without written permission from the author.

Disclaimer This program may contain viewpoints that may be considered controversial by certain audiences. It is intended intended as a powerful guide for self-respecting, intelligent men who are looking to avoid from "real-hate-shun-ships by default" and instead claim the happiness that they deserve. I, Ross Jeffries, Ghita Services., Inc, and/or SpeedSeduction.biz (or any of our other websites or entities) cannot and will not be held responsible in any way for your actions, and will not be held liable for any and all claims from you or any other third party. You alone are responsible for your decisions and actions, even if they have an impact on others. This information is is meant for "entertainment" purposes only. While this transcript contains information, tips, tools, and strategies that are recommended by us and, in most cases, have succeeded when applied by others, this product and its contents carry no warranty or guarantee (either explicit or implied) that the purchaser or reader will achieve success with women, or in any other endeavor for which they may be used.

Disclaimer This program may contain viewpoints that may be considered controversial by certain audiences. It is intended intended as a powerful guide for self-respecting, intelligent men who are looking to avoid from "real-hate-shun-ships by default" and instead claim the happiness that they deserve. I, Ross Jeffries, Ghita Services., Inc, and/or SpeedSeduction.biz (or any of our other websites or entities) cannot and will not be held responsible in any way for your actions, and will not be held liable for any and all claims from you or any other third party. You alone are responsible for your decisions and actions, even if they have an impact on others. This information is is meant for "entertainment" purposes only. While this transcript contains information, tips, tools, and strategies that are recommended by us and, in most cases, have succeeded when applied by others, this product and its contents carry no warranty or guarantee (either explicit or implied) that the purchaser or reader will achieve success with women, or in any other endeavor for which they may be used.

Ross:

I can give you some sexual metaphor or sexual languaging. I will in a minute. That will be my next module. This is one of my metaphors, a dog fight. Have you guys seen the show “Dog Fights”? Do you get it here in Britain? It’s fantastic. It’s my favorite show. They have dog fights from different eras like World War I. They recreate it with computer animation that’s so realistic. It’s fantastic. I love that show. It’s an interesting metaphor because you have to know the range of your weapon. You have to have the ability to detect the other guy. You have to be able to predict, based on what you know, what they can do and where they’re going to make their turn so you can lead it and be there ahead of them. It’s one of my metaphors. The other one is sparring but you’re not really hurting the other person. Is anyone willing to be on camera for a minute? Come here a minute. I will often do this with women as a game. It’s really cool. Stand over here. Put your forearm out like this. Open your hand and face it that way. Here’s the name of the game, don’t resist. Don’t ever push against me but don’t lose contact either. I’ll say, “Do you want to see something really cool?” This will be within five minutes of talking to them. Put your arm out like this. Imagine putting your mind in your belly. You’ll be able to do this a lot better. By the way, I don’t necessarily have to lead. You can be the one in the lead. I’ll follow you without resisting or letting go in anyway. You’ll find if you loosen your wrist it makes it easier.

Speed Seduction 3.0 | Program Transcript – Disc Seven Copyright  2008, Ross Jeffries. Jeffries. All Rights Reserved. Website – http://www.speedseduction.biz

1

When you start doing this with someone, you begin to develop a rhythm with them because there’s no resistance. I’m not pushing against him but I’m not resisting either. Are you feeling any resistance from me when you push? You can do the leading. Push. Participant:

I led for some moments. It worked.

Ross:

You also get an idea where the person is on balance and off balance. See, you get an idea of where, if you wanted to push, you could push them off.

Participant: If no one is resisting and no one is leading, how can someone lead if no one is resisting at all? Ross:

Come here. Sit down. This is my metaphor. Metaphorically when I meet a woman even though I’m not really doing this, in my mind I’m doing it. I’m getting a sense of where she resists and where she’s open. Put your forearm out like this, relax your wrist and face your hand toward your face. Don’t let go. Take your hand out of your pocket. Don’t push against me either. If you let go, you lose. If you lose contact then the game is over. You can lead, too. I don’t have to be the one to set all the movement. It gets to the point where you can’t really tell who is leading and who is following. You also see where the person is a little off balance.

Participant:

Tai chi, right?

Speed Seduction 3.0 | Program Transcript – Disc Seven Copyright  2008, Ross Jeffries. All Rights Reserved. Website – http://www.speedseduction.biz

2

Ross:

It’s just an adaptation of it. It’s a really bizarre adaptation of pushing.

Participant:

I see what you mean.

Ross:

Go have a seat. You can actually play this game with women, too. It’s like a physical metaphor for rapport. In my mind, this is what I’m doing. I’m getting a feel. Where do they take the lead? If I come here, will they resist and push against me or will they flow with it? If they flow with, I’ll go there. Then I’ll move them there. That’s one of my metaphors, too. Push hands. It’s sort of like a tai chi game where I’m sparring with them a little bit. Have you ever watched two really good boxers who deeply respect each other? The first couple of rounds they’re not going to come out with everything they have. They’re going to test the other guy and see what they’re rhythm is. They’re trying to loosen the other guy up to see where he has an opening. Also when I’m teacher, I’m shaking people. What I’m really doing that first hour Friday night is shaking everybody. In my mind, I’m shaking everyone. I’m shaking you with laughter and dropping little tidbits about what you’re going to learn. I’m shaking you by hitting you over the head with a huge concept. I’m shaking you because I want to loosen you up. I want to take the grip of your habitual way of thinking and loosen it and loosen it and then back off. Then I come and shake you again. You’re a little looser. Then I back off. I shake you again. Then, boom, once I have you really shook where it’s at a critical mass, I’ll hit you really hard. Everything that got in the way will drop.


3

Another metaphor I have is one you’ve heard me say three or four times this weekend. What have talked I about? It has to do with mountains and snowballs. Participants: Avalanche. Ross:

One of my metaphors is an avalanche. What have I said to you about avalanches?

Participant:

You don’t get to keep .

Ross:

That’s right. What else did I say? I talked about knowing where to tap. That’s one of my metaphors, too. You have all this plumbing you have to fix. You have a little hammer. If you know where to tap, you don’t have to worry about having a huge hammer or hitting it over and over. You just know where to tap. Part of my metaphor of dealing with women is knowing where to tap. Where is the tapping point? The metaphor I gave you about avalanches, I said to create an avalanche you don’t have to shake the whole mountain. Do you? Am I really talking about avalanches and mountains? What am I talking about? Instinctively you know when I say, “In order to create an avalanche you don’t have to shake the whole mountain,” what am I talking about?

Participant:

You’re talking about the right part of a woman’s mind.

Ross:

I’m talking about having a huge impact with women aren’t I? You don’t need to shake the whole mountain. You just have to know where to start


4

that snowball rolling. Through its own momentum, natural law, initial mass, right direction and gravity, it will shake the mountain on its own. This is my metaphor for speed seduction. Mystery method wants you to build a fucking snowman from the bottom up and roll it to the top of the hill. That and dating, they want you to build that fucking snowman and push it by demonstrating your value until you get to the top of the hill. Then you get to make an ice cream cone and lick it. No. You help them form that initial snowball and give a little push. As it goes down the hill in the right way, it will create the avalanche from its own mass. In effect, women’s own responses are the snowball. Your initial little bit of sarging is like that little tap. Then it rolls down through her levels of the mind and creates the avalanche for you. Does that make sense? That’s another example of a metaphor. I’m not really talking about avalanches. Dog fighting, this little tai chi game, sparring, and avalanches are all metaphors I’m presenting to you so you get it before you get it. Participant: How can we find our own metaphors like you found? Ross:

Look at your dreams. Write your dreams down. Over time you will see common themes. One of the common themes in my dreams is my car. I’ll dream that I can’t find my car. Where’s my car? Now that I have OnStar, you can call OnStar and they’ll locate your car for you. It’s not like OnStar is going to stop working in January.


5

For me that’s a metaphor. What is my car? A car is my drive. When I lose my car, I’ve temporarily lost my enthusiasm or motivation. I have to fight it. Watch your dreams, but there are some really good books you can get. I recommend a book called Phoenix: Therapeutic Patterns of Milton H. Ericson by David Gordon. It’s not about metaphor per se but you can see

Ericson’s metaphors at work. David Gordon also has a book called Therapeutic Metaphors: Helping Others Through the Looking Glass . I

recommend that book. Participant: Have you read Jung’s Memories, Dreams, Reflections ? Ross:

I also recommend a book because it does deal with metaphors. There’s a book called Hypnosis and the Treatment of Depressions: Strategies for Change by Michael Yapko. He would be appalled at hearing me mention

his name at one of my seminars. Here’s a really good one. What am I thinking? The king of metaphors of all time is Carl Jung. Get any book by Carl Jung. I recommend Man and his Symbols by Carl Jung. You ought to know him. He was fucking Austrian.

Participant: Swiss. Ross:

Was he Swiss? Carl Jung had plenty of books on symbology. His whole thing was about the collective unconscious. Get any book on mythology you want. Get Joseph Campbell’s books on myth and mythology. When you look at myth, those are essentially metaphors that come from the deep unconscious.


6

A lot of Yapko’s trance inductions contain metaphors for healing. He talks about those metaphors. Participant:

A more entry one for Jung is the direct one Memories, Dreams, Reflections.

Ross:

He said Jung wrote a book called Memories, Dreams, Reflections .

Participant:

It’s an easy entry model before you get Man and his Symbols.

Ross:

Who would have ever thought you would teach guys about Jung, mythology and the collective unconscious to get laid? It’s quite powerful. You see how they’ll go anywhere I take them because they see the connection. Do you not? I’m quite happy with this. This is the perfect thing to show you this morning as an example of real powerful patterning that doesn’t quite exactly fit the model I presented to you and required no effort. It just rolled out of my head. Some of you are still a little bit confused because I was talking about dissociation. What did I mean by that? Does anyone have something you need cleared up around this topic of dissociation? It’s not something I planned to discuss. You don’t need to know it. Did you not get that?

Participant:

To try to simplify it is that any experiences we had we often recall and remember from our own line of sight but within our own body. Dissociation is simply trying to remember that experience by stepping outside our body and watching ourselves.


7

Ross:

Yes. That’s one definition of dissociation. One definition of dissociation is how you view imagery in your mind. You can view imagery like you’re looking out through your own eyes so you don’t see your body. That’s associated. Dissociated imagery is where you see yourself. You actually see a picture of yourself watching the experience. That’s one aspect. The way, in which I was referring to it, you’re actually taking on another person’s perspective. In the dream, for example, when I tell her that I’m having the dream from the perspective of the woman, she now has to imagine that she’s a woman in the dream having the dream. It’s like a triple dissociation. When people are dissociated, it creates a profound hypnotic affect. Anything you say tends to slide in. Notice, it was not my intent in doing this. It just naturally rolled out of how I know to do things. I should also say something else. I opened up this seminar by telling a story about a bear. Remember the two granola-loving guys and the bear? I said you don’t need to outrun the bear. This is an extreme example of patterning. I tend to learn and explore at the extremes. I want to push the envelope. Here’s another way you can find out people’s metaphor. Say, “Give me three of your favorite movies.” Invariably, they’re not just favorite movies because they like the action. Whether they know it or not, those movies have metaphors that deeply touch them. “Star Wars” is loaded with mythology and metaphor.


8

One of my favorite movies is “The Right Stuff.” Did anybody see it? It was a movie about test pilots. One of the things they talked about constantly was push the envelope. The envelope is the flight performance. It describes what the aircraft can do. This is an example of pushing the envelope to the extreme. It’s taking that aircraft to the bare limits right before its wings will tear off. You don’t need to do this. All you have to do is know how to fractionate among the vibes. We’re going to get into some vibes and patterns this afternoon. All you have to do is know how to control your energy and know a little bit more than the average guy. You’ll do really well. You don’t need to conk them over the head with my quadruple dissociated dream pattern. Participant:

I’m starting to think you could put me in a nightclub and as soon as the beat comes in, I can’t pronounce or remember one word. You can give me that song a hundred times. I still don’t know the words because the whole beat thing takes over. I’m thinking the beat is pushing the energy up to 11. Credits are now sort of addicted and standing there, pushing it back down so I can process this knowledge.

Participant: That was the cocaine dowsing it. Ross:

Do you want to see me fuck with this guy a little bit?

Participants: Yes. Please. Ross:

Come here. Stand right over there. Count two squares down. Move your foot over. Stand right there. Now, this guy is an open book because he’s


9

doing this. Notice his gestures. Tell me again about being in the club. Go ahead. Participant:

If I go into a nightclub and something like “Club Tropicana” by George Michael comes on. I have a friend with me.

Ross:

Watch this. Stop. I want you to imagine telling this story but don’t let any sound come out of your mouth. Here’s what I mean. It would be like this. Look here. Do all your gestures and talk but don’t actually let a sound come out. Move your mouth and everything. Just do it. That’s right. Keep going. You know where he’d have a great job? As an interpreter for the deaf because he’s so fucking expressive. You notice what he does with his gestures. What is he doing here? He’s taking these images and pushing them all around. Here’s what you do. You’re going (Ross does something). You have all of these images and you’re pushing them all fucking over the place. It’s confusing other people because, unconsciously, they’re in rapport with you. They’re trying to follow all of your pictures going (Ross does something). Pretty soon, “I feel nauseous. Blah.” Watch. I’m not making fun of you.

Participant:

No. I’m enjoying it.

Ross:

Yes. I know. See he likes the attention. What I would like you to do is practice telling the same story that keeps all your gestures right here. You can talk out loud now but keep your gestures right here. Tell the story.


10

Participant:

If I go into a nightclub, it doesn’t matter where the nightclub is, when it comes to spelling and reading, I’m not very good. When music comes on that I like, I can never ring up the radio station and tell the DJ to replay the song. I don’t really know the words in the song because the energy and the beat take over and hit me hard in the feelings and emotions. I switch into autopilot. The actual words go straight out of my head.

Ross:

Was it easier to comprehend what he said?

Participants: Yes. Ross:

People want to understand you but you’re (Ross does imitation). I’ll give you a hint about people. People don’t just have their images in their head. People subjectively, whether they’re aware of it or not, project their images out here. When they’re trying to follow you, you’re inadvertently grabbing their images and scrambling their ability to follow you. You’re scrambling them by how fast you’re going, the level of intensity you’re putting in, and by taking their images and moving them around when they’re trying to understand you. Not only do you need to fractionate with the level of intensity, but keep your gestures here. Let me give you a clue. Any gesture above your shoulder is going to confuse people. Tell the story as much as you like but keep your gestures no higher than your shoulders. Tell it again.

Participant:

Like I was saying, the story is basic. Even from school as a little boy, the teacher can talk but there’s other stuff going on in my head. It might be music or a movie. If I’m at home listening to the radio and a good tune that I like comes on, I would look to hear that song again. It really gets me


11

going. The actual words of the song and the name are gone out of my head. Ross:

Easy to understand him, right? I want to make a distinction. I’m not teaching him alpha male body language. This is not real shitty dunderheads or misery method. I’m teaching about what your gestures do for you energetically. You notice how it’s easier for you to stay calm when you keep your arms no higher than shoulder, isn’t it? The minute you raise them up here, it actually takes your energy out from the rest of the body and puts it up in your head. Watch. Start telling stories for me the way you used to. Go. Tell a story about something really exciting the way you used to. Tell a story about being in a club and the music is moving you.

Participant:

It’s difficult though because I’m afraid I’m more persuasive and communicative like this.

Ross:

Now we see rapid personal change Mr. Skeptical Reporter who thinks I’m a scumbag. That’s pretty amazing. He didn’t have to sit in therapy for 15 years and cry about his mommy. “I’m this way because I witnessed a sexual act between my father and a goat.” It charged my body with all of this manic energy. It wasn’t a goat. It was a sheep. Get it right. Here’s the thing. Do you have nephews or nieces? I bet you’re the favorite uncle. Is that true?

Participant: I like playing on the trampoline with them.


12

Ross:

Yes, of course. Are you the favorite uncle?

Participant:

Perhaps.

Ross:

He’d make a fun, fucking nutty uncle wouldn’t he? He’d be the ultimate. I want you to have the ability to turn this on when it’s appropriate. The name of the game is not about being calm or manic. The name of the game is choice and freedom. I seriously, on my word as a teacher, want you to have the choice to be up here and crazy when you’re dancing. I don’t want you to be here. I want you to be crazy and spastic. That’s why we love you. You’re our little Irish spaz. If it was appropriate and you want to make this yours, how would you go back to being all nutty? Show me. I’m not being facetious. Go ahead. I want you to turn it back on.

Participant:

If before I identified this stuff, I’d be talking with my hands like Tony Montana in “Scarface.” She says to me, “We can be friends.” I’m just like a sweetheart, “No fucking away. I want more.” I get talking fast when I get the feeling of the killer bees on television.

Ross:

There he goes. He’s starting to speed up. I don’t want to take his choice away because his energy is delightful. You’re the kind of person who could walk into a crowded room and light up the party. Why in the world would I want to take that away? That would be like defacing the Da Vinci. I don’t want to do that. I want to give you the choice when you want to persuade people and make a connection to be here. Do you understand? Show me how you talk from here.


13

Participant:

When some girl says to me, “We can be friends.” I say, “No. I want more.” Friendship has no real meaning four or five years down the line, where is she? That night you could have had more than a friend her reason is gone.

Ross:

That’s perfect. He just went from utterly incomprehensible and completely a whirlwind of confusion generation to being perfectly persuasive. Did you get what he said? He’s actually charming, witty and utterly persuasive when he controls it. That’s fractionation for you, the ability to be able to fractionate your speed and intensity. You can speed it up and slow it down when you want to. I know as a teacher, often times, what people come in and ask for is not what they really need. What they’re asking for is being conditioned by the stuck way they’re seeing the problem in the first place. They want to keep the blinders on. They just want to be able to look over here instead of over here. My job as a teacher is to say, “No. That’s not what you really need to change. You need to change here.” That’s why I get paid the big bucks. Does that make sense? That’s a profound change for him. A good drill for you is to practice slowing down, speeding up and where you put your gestures. Energetically, he’s also more grounded here. Isn’t he? He presents himself as grounded, hard to push over mentally or physically and some of him is solid and steady. A woman could walk with him, hanging on his arm and feel totally safe walking down the street knowing they’re not going to get pushed over by anything that happens.


14

When you present here, it’s being very solid and grounded. That’s almost a little mean. Put a smile on your face. That is solid, friendly, grounded and open now. That’s got all the vibes mixed together. He’s listening so he can receive. He can be vulnerable, strong and playful. He has it all right there. When we wants to turn it up to be playful, he just moves his arms up like that and speeds it up a little bit. He’s there. Here’s the really cool thing. This isn’t just going to have profound impact with his sarging with his getting women. It will, but this will improve his ability to communicate with every human being in every situation. This is what he really needed. Here’s what he’s going to write, “Jeffries was sucking on seed and using foul language the entire time.” He’ll be fair to me. You’ll kill him if he doesn’t, right? Who’s your buddy? Participant: R.J. Ross:

That’s right. Let’s have a hand for our favorite Irish spaz. Hold on. This to me is the biggest reward of teaching. It’s to say, “I know where to look.” Do you know what else made this possible? I’ve got his personal metaphor. My ability to get his personal metaphor told me it was about the physicality of the whole thing. He’s almost getting it. Things are slipping through his fingers being right out of his grasp. It told me that the intervention I needed to make had to do with his movement and his energy not something else.


15

All of these skills lock in and play together. Some of you are thinking how can I have that level of awareness? How can I do that? Pay me a lot of money, study with me and I’ll show you. You had a question. Participant:

What about most of us who are kind of shy and don’t feel effective, contrary to him? We’re talking to a girl or anybody like you said with him. We feel shy and losing attention.

Ross:

Hold it right there because I have loops open. Let me close some loops. Are we done with the dream? Are we all satisfied that we’ve analyzed that dream and we understand? Then I went on to metaphor and gave you some resources you can use to learn more about metaphors. I talked to you about my personal metaphor. Do you want to take a five minute pee break?

Participants: Yes. Ross:

Take a five minute pee break.

(After break) Ross:

They’re whole motto is to serve is a great honor. I believe that. To be in service to people with my unique talent in a way that sets them free in a way they could never find on their own, that’s a great honor.


16

You notice the ring. Do you know where this comes from? Supposedly the story is that when the English and French would have battles, the English would occasionally capture the French archers. Just to spread terror, they would cut off this finger. Participant:

It’s the other way around.

Ross:

They would cut off these too? Okay, this is a symbol like my fingers are still….you didn’t get me. Fuck you. I was told this is a French thing. It comes from the French archers saying, “See, I still have this finger.” I think that’s not true because the Germans have this expression, the . Isn’t this how you say fuck you in Germany?

Participant: No. Ross:

No. This is it in Israel. Do you know how you say fuck you in Israel? “Trust me.” That’s for the Jew haters. The ADL told me to tell that joke. I’ve given money to the ADL. It’s a bunch of bullshit that you bought into. You have to watch your ability and propensity to believe in something because it’s controversial. It’s a good way to fool and trick you. You had asked the question about shyness. You said, “What do you do for those of us who are shy?” Watch how language glues the problem back onto you. It is not that you are shy but that through the way you process that, you’re recreating it in every moment. Do you understand? Just through doing this drill you can learn to have equanimity and full complete awareness of that experience. It will cease to be anything that blocks you. We’ll go back through it later in the day. You’re still hungry for


17

language. I’m going to give it to him. Then it’s simply a matter of going out, talking and having some idea where to steer the conversation. Participant:

Usually I lose trust in myself being effective.

Ross:

Then you’re focusing on the wrong thing. Stop. Listen to what he’s doing. He’s retelling the story of his limitation. Tell me or someone else or yourself this story and you’re reaffirming your belief in your limitation. You do it simply by how you language it and by the fact that you’re bearing testimony in your belief in your god of shyness. Let me give you commandment, “Thou shalt not worship at the altar of your limitations. Thou shalt not worship your mistakes. Thou shalt have no other god but me.” It’s sort of a form of internal idol worship to worship at the altar of your mistakes and say, “I am this, I am that.” You’re giving public testimony, “Yes, I am shy. I can’t do this. I get distracted.” If you want to language it, you can say, “Up until now it has been my experience that I,” and watch how you language it. If you language it wrong, you just glue it back to yourself. This kind of languaging goes on all the time when you talk to yourself about it. How many times have you had an internal conversation with yourself about the limitations you have with women?

Participant:

All the time.

Ross:

Would you say 5,000 times?

Participant:

It’s maybe 500,000 times.


18

Ross:

You’ve repeated 500,000 the mantra, “I am shy.” Now do you wonder why you act and feel shy? Fuck, you programmed it in, dumb ass. The fact of the matter is that this is how human consciousness works all of the time. We’re always chattering to ourselves. I guarantee that beautiful woman is having a conversation with herself about something that’s been going on for years. The name of the game is not always being quiet in your mind. The name of the game is having the freedom, choice and ability to go there when you want to. If you have the choice and the ability to get quiet in your mind when everyone else around you is noisy, who do you think will have the advantage in terms of picking up the right information?

Participant: Me. Ross:

Some of you have been complaining, “I didn’t come here for the meditation stuff.” Well, learning to have the choice to get your mind quiet when you want to enables you to see things that are invisible to other people. They’re just too noisy to pay attention to them. Ninety percent of what I do is knowing where to pay attention and what to ignore. That’s it. The language is impressive and powerful. Don’t get me wrong. I’m not knocking language. Language is the naughty key to all that naughty sauce. It’s great, but it’s really only 20%. If you imagined the world of Speed Seduction to be like a big globe, Antarctica or maybe South America would be the language patterns. There are other bits. There is controlling your energy and knowing what to pay attention to. There is knowing how to be quiet in your mind and


19

knowing what to ignore. There is knowing how to utilize what she says. Those are the bigger pieces. Ross:

The staff at this hotel is so beautiful. There are all of these lovely Polish ladies. Where are you from, dear? She won’t tell me, but her ears are turning bright red. See the color changes. Look how red she turns. You know what happens when you blush? You feel the blood rushing through your body. Sometimes it rushes places where you don’t really want to talk about. I find that’s a general rule for me. My point for you is to watch how you’ve been telling yourself all of these stories and buying into it. When you can create a place of quiet in your mind, you can watch the stories going by without buying into them. It’s not that you’re going to shut the stories down. You’re going to find a way to look at them without buying into them. You’ll take all of the emotional energy that’s running them, clean it up and redirect it in a better way so that’s there is no more emotional energy powering the stories. Then they’ll say, “Uh-oh, we’re out of gas.” You don’t even have to try to turn them off or fight them. Trying to turn them off or fight them, there is too much momentum. If you’ve done 500,000 repetitions, that’s a lot of momentum to try to push against. We don’t want you to do that. There is a better way to handle that. Let’s get back to the saucy language. Do you like it? We have some important items left to cover. Who got laid last night? Raise your hands, you little aces who got laid. James, you’re dressed nicely today. Your boobs look better. This guy doesn’t have a camera. You can talk to him and tell him your stories.


20

Someone told me that he told someone the Paris Hilton joke. She said, “Really? I didn’t know that Paris Hilton was in a boat wreck.” That’s called a dumb ass chick. I had an experience years ago. I was in the Coffee Bean and Tea Leaf in Marina Del Ray where I live in California. This woman walks in wearing purple shoes, purple pants, purple shirt, purple eyeliner, purple lipstick and carrying a purple gym bag. I said to her, “Excuse me but the spirits are talking to me. Yes, thank you, Spirit. The spirits are giving me a message. They’re telling me that you like the color purple.” Her response was, “You’re good.” She meant it. She was some dumb ass porn star. What was her name? Porn stars tend to move into the marina when they retire. She was a retired dumb ass porn star. I think she called herself Fantasia. There was another one I met. There’s an Asian porn star. Her real name is Nancy. She calls herself “Cum Eesha.” I see her around. Her biggest joke is that a few years back she was in the Disney parade as Snow White. They didn’t know her porn star history. Items yet to cover are, “Why Ross Jeffries is the world’s best genius. How do get a 14-inch penis like you, Ross.” Examples of patterns are, “Blammo, blow job, Discovery Channel cue.” You want some more pattern examples? Participant: Yes! Ross:

That’s wasn’t very enthusiastic. You don’t care.


21

Participant:

No. I mean yes!

Participant: Will you have victims back today? Ross:

I left my phone in my room. At lunch I’ll call Lilly and see if she’ll come in. She’s really cute. We should do openers. Here are some examples of how to use observations and intuitions and examples of accelerators. Do you guys want to hear the Discovery Channel pattern?

Participant: Can you show us the gay approach? Ross:

I’ll show you the gay approach. Let me address a few of these. He’s asking about the cube. First of all, before we take notes, the cube is an example of a game, story, quiz or demo. It bellows to the miscellaneous category of jokes, poems, stories and games. The point of the cube is this. The cube, by the nature of how you discuss it, will create a trance. It’s a series of visualizations. You get women to visualize. They’re very active visualizing. It’s creating something of a trance. It also requires her participation and it’s an incredible opportunity to introduce other themes and to do embedded commands and suggestions. Here’s the thing about any of these tools, whether it’s the cube, the joke or a story or the blammo pattern or handwriting analysis. It’s anything like that that you’re doing. The whole point is to start generating these states.


22

If for example you’re doing something like the cube and you see that she’s starting to get really sexual and talking about sexual topics, don’t go into other things. Develop that response. Don’t get stuck in the formalism of the equation. If the safe is already swinging open, don’t worry that by theory you need 10 different digits in that combination. If you see that the safe door is open after two, fuck the theory. Always deal with what’s right in front of you. With any of these things, don’t think that you ever have to complete any of these demonstrations. If you’re doing the twin brothers scenario, which we did yesterday, today I need you to put it in context. I’ll show you when to do twin brothers and what to follow it up with. Today rather than doing too many more individual patterns, we’ll do one or two. I want to start putting things in a flow chart so you see where and when to do them and in what context. Would that be useful? That’s exactly what I’ll do. I know that’s what you want. Had I done that Monday night, you wouldn’t have seen the value. Listen to me! You Germans are constantly interrupting. Stop it. My point is when you’re doing these things is this. If you’re doing the twin brothers and she looks at you and says, “I want to kiss you,” don’t continue with the twin brothers. Many of you in the beginning get so stuck in the formalism of the pattern that you’re not paying attention to what’s right in front of you. They’re all designed to do something. If you get the job done early, then chuck it.


23

The cube is an example of a kind of visualization game. We’ll get to openers just before lunch and then for an hour after lunch we’ll focus on openers. Then for almost all the remaining time I’ll give you some flow charts. We’ll talk about where to start, where to go next and what to do. We’ll give you two or three charted out flow charts so you can begin to have an actual pattern for training wheels that you can drive on. The cube is something I will typically do on the second day. Let’s say I meet someone and we have a nice conversation and we arrange to meet a second time, almost always I will meet at a Starbucks first. We’ll sit at Starbucks for about an hour and then we’ll move to another location. I’ve been talking about changing locations since before these other kids’ testicles descended. It’s nothing new. That’s a classic technique. Guys who are naturals with women know that. Move a woman among different locations very quickly and it gives her the sense that she’s spent much more time with you than she actually has. It creates comfort. I’ll save the cube for the second meeting. I’ll start out being funny and asking some questions. Then we’ll move into it. With any of these things like the cube that’s a more formal sit-down kind of thing, you say, “I have this really cool visualization game. It’s a really fun way to get to know people. If you’re interesting in learning about yourself, I’d like to play this with you.” You add that little qualifier, “If you’re interested in learning about yourself.” In a sense, she has to metaphorically raise her hand and say, “Yes, I’m interested in learning about myself.”


24

Rather than me go through the cube with any kind of detail, I want you to get the purpose of it. It’s a really fun game. It’s a fun little quiz that gets her to participate. It’s a way to loosen her up and to learn about her. It also requires that she visualize. It’s actually pretty accurate when you learn to do it. In the process of her visualizing, it enables you to introduce some interesting themes and move in some interesting sexual directions. It works like this. First of all there is a book you can buy called Secrets of the Cube. I think you can download it online illegally, which I don’t

recommend. Did you ever see that “South Park” episode about musical piracy? This is Brittany Spears. She was hoping to have a $20 million mansion, but because of online downloaders, she had to settle for the $15 mansion and it doesn’t have a helipad. I’m afraid by Christmas there will be no Santa by helicopter. “We didn’t understand! We didn’t know!” That’s how evil always starts, son. People don’t understand. You say, “Imagine a desert.” You have her describe the desert. What color is the sand? What’s the texture of the sand? You have them imagine a desert, a cube, a ladder, some flowers, a horse and a storm. Depending on how they describe it, you give them answers back. Rather than go into it here, it’s much better covered in the book. I recommend you get the book. Here’s an example of how it works. I’ll say, “Imagine a desert.” She’ll say, “My desert has pink and yellow sand.” I’ll say, “Is there water?” “Yes, there’s water.”


25

I ask her, “What’s the shape of the desert?” She says, “There are rolling hills.” I’ll say, “The desert represents your view of life. Water represents emotional support. You’ve got some really good emotional support. You know what it’s like to stop and feel deeply connected to someone and really feel that sense of being supported.” I use the cube as an opportunity to embed commands and suggestions. I’m not just going to give the interpretation straight out of the book. The book will give you interpretations which are all well and good. I’ll weave in all sorts of commands inside of there. When you become interested in what it would be like to feel excited about learning embedded commands, you might realize that the learning process is taking place. When people picture your dream lover, my face doesn’t automatically spring to mind. James:

I used that on this girl who was a complete lesbian.

Ross:

You need to speak up. James, I give you permission to yell like you’re at a soccer match.

James:

The first time I used this I came up with this on the fly. It was a girl who was a devout lesbian. She sat there. I actually saw her going into a trance, picturing her ideal lover. She was talking about a girlfriend at the time. But my face was right there. Her exact response was, “Hmmm, I don’t know.” She was actually picturing my face.

Ross:

When people picture your ideal lover, my face doesn’t automatically spring to mind. Then here’s what I would do. I would say, “When people picture


26

your ideal lover, my face doesn’t automatically spring to mind,” but bring them together. You got that immediately. When you picture the wildest night of sex, clearly, I don’t spring to mind. But sometimes people just think things differently. Did you wind up banging her? James:

No, I didn’t. I did not have the confidence.

Ross:

But you have banged lesbians.

James:

Well, the one was just absolute bonkers. She wanted me to tie her to the bed.

Ross:

Are you getting this reporter? He banged a lesbian. She wanted you to tie her to the bed and? Did she give you the ropes?

James:

No, it was duct tape.

Ross:

Excuse me a minute, yes, you too can be a lesbian banger and have her demand that you duct tape her to the bed when you go to www.SpeedSeduction.biz. I want to tell you about my 100%, absolute satisfaction, money-back guarantee. If I’m not 100% absolutely satisfied with your money, I’ll send it back, guaranteed. And now we’re back to our program. That’s good. We were at the point where she’s buck naked and wanting to be duct taped to the bed.


27

James:

I was in the bar playing around with her. I was using connection pattern. She said, “Can I show you something.” I said, “Yeah, sure.” She lifted her skirt. She had black knickers on. She said, “See that tattoo there?” It was a little tiger. She said, “That’s pussy eating pussy.” I thought, “Right.” I swear to god she pulled up her knickers and it was dripping. I thought, “What the fuck?”

Ross:

Are we getting his voice on tape?

James:

Even before that she was telling me what it was like when she had an orgasm and stuff like that.

Ross:

You know what we need to do? We need to do an interview with him from the back of his head, just for the testimonial. Would you be willing to do this from the back of your head?

James:

Yes.

Ross:

She’s dripping wet. She shows you that she’s dripping wet.

James:

I was acting like her best friend. It was just like two girls talking about two different sexual fantasies.

Ross:

Two girls talking, right, except one of them has a woody that could wreck a building.

James:

We started to talk about my sexual fantasies.

Ross:

Hold on a minute. Eric, do you think you’re as good looking as he is?

Eric:

Not quite.


28

Ross:

Are you serious? Do you think he has a better body than you do?

James:

The jeans I was wearing were a 3 pound pair of jeans.

Ross:

I don’t want to see. I’ll tell you what, lift your shirt and show him. I’m serious.

James:

I’m not lifting my shirt!

Ross:

Just lift your shirt and show him. Show him! Show him! I’m turning to stone! No, show him! No, not me! I’ve turned to stone, he is the gorgon Medusa. You’re better looking than him. Let’s see, her panties are dripping.

James:

She pulled them back and said, “What do you think of that?” I’m sitting there thinking, “What the fuck do I do now?” I started kissing her. Basically I ended up taking her home and stuff.

Ross:

You took her home, what’s the “stuff” part?

James:

I stayed there. It would have been too expensive to go home by taxi. I stayed in the same bed and she started to tell me all of her fantasies. She said what she wanted to do. She said, “R-A-P.”

Ross:

It’s not R-A-P, it’s R-A-P-E. “Rap” is music. Dude, it’s not R-A-P-E if she’s saying, “Please do it.” It’s a fantasy.

James:

She said to put tape over her mouth. Even if she was trying to stop me I should make sure that there was absolutely no stopping. I was to basically just use and violate her.


29

Ross:

What did you do? Did you just lie there?

James:

No, I didn’t lie there. I fucked her. I kneeled on top of her and pushed her down. I put duct tape around her hands and legs. I fucked her.

Ross:

Were you thinking, “Thank you, Ross Jeffries!”?

James:

Yes, actually.

Ross:

If anyone would have told you that you’d be pulling a beautiful lesbian from a bar, duct taping her to the bed and fucking her brains out, would you have believed it? How much money did you spend on her?

James:

Nothing, I think I might have nicely bought her a drink once.

Ross:

Hold out your hand. No spending money.

James:

It’s was only $1.50.

Ross:

There is no excuse for any of you.

James:

The thing is if guys find out you’re doing stuff like that, they don’t like it. One guy was a supermodel. He turned up on the doorstep one day. He said, “You better stop hanging around with such-and-such a girl.” My mom and dad answered the door. He was pissed off that I was getting results like this.

Ross:

Fuck him. Does that lesbian live here still?


30

James:

That was the thing. She gave me her phone number and said, “Call me.” I didn’t call her. The next week I got the foulest look off her in the club. I should have probably called her back. I wasn’t sure how to play the ground.

Ross:

You see other people are accountants and dentists. I turn virgins into ducttaping lesbian bangers. You’ll have to tell us all of the different patterns you used on her. Don’t do it now. Would you like to hear his story and have him tell you word for word how he pulled this lesbian in the bar? Who doesn’t want to hear it?

Participant: When I pulled a virgin it was really quite funny. I was online. She had a boyfriend for six months. He was pestering her, “Let’s sleep together.” She wouldn’t do it. I developed a pattern called the “naughty girl versus the good girl.” There is that line between a good girl and a naughty girl. That’s the line of temptation. I said, “You’re a good girl.” She said, “Yes, I know.” I said, “You never think about doing the naughty stuff? You know the stuff your mother would never approve of? The things your mom and dad will never find out about? I know that isn’t running through your mind. I know you’re not even feeling how good it would be.” Ross:

He using negation. He’s saying, “I know that’s not the case. I know you’re not feeling that. I don’t you don’t think about those naughty things that you’d never want mom and dad to know about.”

James:

And I know you’re a fucking liar as well.

Ross:

You said that to her?


31

James:

Yes. I said to her, “You’re a fucking liar, aren’t you.” That led into phone sex. When I met up with her, within an hour we were in a hotel room. We ended up doing it and I popped her cherry within an hour. Some guy had just spent six months trying. I thought, “How the fuck did I do that?” Sometimes I don’t understand why every guy isn’t doing this.

Ross:

How old was this girl?

James:

She was 19 or 20 years old, around that age.

Ross:

How old are you?

James:

I’m 22 years old.

Ross:

You’re a youngster too. How much money did you spend on her?

James:

None.

Ross:

Who paid for the hotel room?

James:

I was going to. I did a run off on the hotel. I didn’t pay for it.

Ross:

You ran out? He de-virginized a teenager and didn’t pay for the room. Let’s give him a standing ovation. You are my right bastard speed seducer of the year! The nominees are James and James! Congratulations! They’re after you for defrauding an innkeeper then?

James:

Technically no, I didn’t fill out the forms. They can’t come after me legally.

Ross:

How did they even let you have the room if you didn’t fill out the form?


32

James:

They just said, “We’ll have you fill it in tomorrow.”

Ross:

Wow, I’m so proud of these men.

James:

Do you want to see the text message where he says, “Please contact for payment of room received last night.”

Ross:

When was this? When did you bang her?

James:

It was probably about two to three months ago.

Ross:

I don’t need to see the text message. Have you been in touch with her sense?

James:

Yes, about an hour afterward she said she didn’t want a relationship.

Ross:

Give him another standing ovation! You would help my business tremendously if you would be willing to show your face on camera and give that testimonial. We just made $1 million.

James:

Do I get a cut?

Ross:

I’ll give you a little cut, right across your face with a straight razor, mother fucker. Who here thinks that James did it on his looks? You’re all bunch of mean bastards. Who thinks their not good looking enough to do this? Do you really objectively think that James is better looking than you? Is he better dressed than you?

James:

I’ve got that sleek, smooth body.


33

Ross:

You’re a good living example. Oh god, don’t show me those hairy arms. I will puke up my breakfast and also my dinner from last night and the lining of my stomach. You want me to move on, but I’m having fun. I’ll move on. When you do something like the cube, you want to use it as an opportunity to embed commands and suggestions. I like that. When you think of someone you want to have wild sex with, my face doesn’t pop right to mind. However, sometimes women have told me that sometimes things will come up in a way that makes them think of things differently. Let me give you something off the top of my head. When you do something like the cube, you use it as a vehicle to embed suggestions and commands. He asked what embedded commands were and I never demonstrated them. Also in the cube they say that there’s a horse. Describe the horse. The horse is actually her ideal lover. You tell her, “The horse represents her ideal lover.” You just anchor it to yourself. One way I do anchoring is if when I do the twin brothers, if she says she likes a great kisser, someone who makes her laugh and someone with great hands, I’ll say, “When you’re with someone who’s a great kisser, someone who has great hands and someone who makes you laugh, where do you think that could lead?” You see it? Guys, it looks like this. I look at my hands when I do it. Why do I look down at my hands? I’m directing her attention. I say, “When you’re with someone who’s a great kisser, makes you laugh and has great hands, where do you think that could lead?”


34

Speed Seduction 3 Disc Seven

Recommend Documents