I Remember Her

by Eric Disco
Jul 17


posted in Initiative and Inhibition

16 responses
Crebral says:

now THATS an advert! :-)

Lee says:

I actually know who Eric’s Susan Glenn is, the one who got away cause Eric’s game hicupped in front of my very eyes.


Crebral says:

Oh what happened, did he fart or something? :-)

Lee says:

That would not have been nearly as bad as what actually happened.

Crebral says:

lol! tell me tell me tell me…… :-)

Eric Disco says:

I’ll try to write out the story, as painful as it is. ;)

It was me and Lee and our other friend. We were bouncing from train to train, meeting hotties. We are getting onto a subway car and I see her through the window. She was standing there. Short dark hair, olive skin, tight jeans. I could barely make her out. But I knew that I had to go over to her.

As the doors open, I walk into the train. I squeeze past some people and finally get next to her. She’s standing in a doorway. I’m standing in the doorway as well, not facing her.

I touch her on the arm and ask her about the zoo in central park. When she turns to talk with me, that’s when I see how gorgeous she is. She’s amazing. Certainly one of the hottest girls I’ve ever talked to in the city, one of the hottest I’ve ever seen.

No worries, I’ve done this a thousand times. I keep spittin my game.

Most girls, when I ask about the zoo, give me a straight answer. This one starts to talk about how she doesn’t like zoos because it’s cruel to the animals. She says she understands how important it is for ecology, but still doesn’t like to see animals that are unhappy.

We talk a while more about this topic and then I switch.

“You look like you do something creative,” I say. “Don’t tell me. I’m gonna guess. I’m really good at this. I’m psychic.”

I tell her to give me her hand. I guess that she does performance art. Something with glue and rubber.

She says that I’m close. She says that she does do some performance, works with film. She’s an actor. And a model.

“Wow, a model in New York City,” I say sarcastically. “What a surprise.”

She turns away from me and looks toward the opposite end of the train.

Then, two seconds later, she turns back to me.

“Sarcasm from a hipster in New York, what a surprise,” she says.

From that point forward it was on. But it’s not a straightforward interaction. It’s a dance. She’s dodging and weaving. And I’m reeling her in.

We’re talking about what I do, what inspires us as artists, flirting, getting sexual, etc.

Then, all of a sudden, her stop comes up. She gets off the train. As she gets off, she turns and looks at me as if to ask if I’m getting off too. I shake my head no and kinda wave bye with a smile.

For some reason, I have this thing with not walking off a train with a girl. I’m so used to just letting girls walk away if they go.

I should have said something like, “I’ll walk with you for a bit.”

It’s kinda tricky because it’s that split second you have to react. Do you go with her, try to give her a card, or just let her go?

There was no way I could have even given her a card in that time.

I was sorta kicking myself afterward, even though I rarely ever kick myself if it doesn’t work out. I talk to a lot of hot girls, so it wasn’t a big deal.

But this girl was like an 11. She was amazing. And I could have easily rolled with it.

So she and I will never be a thing. If I could do it again, I’d do it differently.

At least the end bit.


Paul says:

Your story shows how hi of a level you are operating at. I felt like a physics undergrad listening to a professor talk about his struggles with building a time machine.

Ben says:

Two questions Eric.
One, when you ask for her hand is that basically just an compliance test as well as an excuse to touch her?

And two, when you cut her off after asking what she does is that so that you take back the control of the interaction from her by makin statements instead of asking questions. Thanks.

Eric Disco says:


One, when you ask for her hand is that basically just an compliance test as well as an excuse to touch her?

Yup, exactly that. Here’s more details on the sequence:

Hold Her Hand in the First Two Minutes

when you cut her off after asking what she does is that so that you take back the control of the interaction from her by making statements instead of asking questions.

Right. You want to try to make statements rather than ask questions. More importantly, you want to turn the conversation back toward something about you rather than constantly talking about her. If we’ve been talking about her for a while and she isn’t asking me questions about myself, I’ll say, “So what about me. Guess what I do for a living.”


Alex_B says:

Hey eric how do you establish enough on the train to get her contact info? I’ve had great conversations with girls on the train and their stop will come up and even though we are vibing im not sure where to go with it? Do you ask where they are headed really early in the conversation or what?

Eric Disco says:


The train has a lot of great up sides, like A/C, girls alone and bored, a brand new group of people every 30 seconds, etc. But one of the down sides is tricky logistics.

In order for me to get contact info, I just need to know something about her personally and she needs to know something about me. That’s why I don’t linger for too too long before turning the conversation back over to me after I get personal with her. I do that pretty quick.

Also, when you do go for the contact info, you may need to be abbreviated. It’d be great to ask her if she wants to hang out again, etc., etc. But you may just have to say, “What’s your number, we’ll finish this conversation later,” and hand her your phone to put her number in. Or have a card ready to give her when she leaves.


Lee says:

I was sitting ten feet away when this happened and the desire to dropkick Eric was never stronger in my head than when his face made that half assed sheepish smile as that girl was getting off the train :-)


Charles says:

@ Lee

How would you have done it differently?
Wouldnt following her off the train be showing too much interest/be submissive?

Lee says:


Here is what should have been done differently. First, early in the conversation, find out where she is getting off. The best way to do that is to interrupt your own story. For example: “So I was sitting with my dad and brother and we were… wait, before I start telling you this, what’s your stop?” When she tells you, you can do one of three things. 1) You can say “Get outta here me too.” You now have an excuse to get out at the same stop. 2) You can say the stop after hers, or any stop that gives you sufficient time to do what you usually do. 3) You can say nothing and time the close as the stop comes. Now, do I always do this? No. Why? Because, like Eric, I get caught up in the sarge and forget the timing. If you’re going to forget the timing, try strategy 1. It’s the easiest. But say you fail to do any of these things, what should you do? As she’s getting out, you can say “Hey, this isn’t my stop, but I’m ten minutes early, so I’ll walk with you for a bit.” It even has a built in time constraint. Now, what’s my ideal? My ideal is when they name a stop far enough away so that I know I have plenty of time. I say nothing about where I am getting out, then surprise her by cutting the interaction short and getting out my sooner. That leaves me with all the power.


Crebral says:

As long as you dropkicked him off the train I’m sure he wouldn’t have minded! :-)

Malfroy says:

I approached Susan Glenn, got her real name and number, and after a few days asked her out.

She said, “No!” (And I thought girls can’t say no.)

We will never be a thing now…but I would still do the same thing because I am now ready for the beauties who became goblin when Susan Glenn arrived.