DWD Hilton Head
JANUARY 26 - 31, 2002
DEBRIEF

 

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PH
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PH:

Ton Robbin

 

It's on day one of Date With Destiny, Hilton Head.

TR: - you start.

PH:

TR:
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TR:
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TR:
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Unbelievable I honestly think you were the most powerful you've ever, ever,
ever, ever been just from the minute you walked on stage your level of
ownership [sounds like, "where it seems you have that blatant leadership and
you had the [unintelligible] of father mode."] Sage [unintelligible] to that. But it
was so great because there was a Warmth to it. So there's like a knowing and a
strength to it, but a warmth to it. And I just thought it was perfect. What?

[Sounds like, "It's just a frame and everything inside it was I thought was so
good up front And just building the walls"], you know, from the get go 1 just
thought was great. It was done with a, like I said, just a great combination of
states, I mean from the [sounds like, "truth part is the that that's part of the
whole thing up, never, it was just the most powerful first day that it was."] You
just got, you know what it was, the first clay content was more than we ever

have.
Right.

And because of the shares I think it just -- It took it a couple levels deeper
because of some of the therapies that you did.

I agree

But I think they got it. [Sounds like, "You know they come to the distinction,
you know, head, heart, or head, emotionless body 

That's correct.

They really got it, And doing that at the end of anchoring was perfect, perfect,
perfect, perfect, Billy was great. The music was --

Oh Billy goes off!
So Good!

 

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dcidla quick open frame and the first one was Luis, the Love, Love, Loves Me
11' .

Oh, that was beautiful! Wasn't that beautiful?

It was perfect.

Thank you. She was, she had love on her values list, but her rules for love, or
her associations to love are all just and unbelievably horrible, hostile, and
painful, and so I was thinking, okay, you know, rather than go into the why
and the where for, and all that. Rather than creating a new value structure, just
change her association; just change the anchoring with it. And I knew it I was
going to do it, since it was so severe, I had to go for something else, so I first
looked for a reference since it's around relationship that was intimate. So I
looked for a sexual reference, but then I clarified the sexual reference as not
only being sensual, but one that was truly loving 'cause I knew that's what
she needed. the 'olt of exual state and 

eve thin else l'v en honed it do refined it wn to
where the ensual but wher th re was area vin lace. 501
could use that and fortunately there was such a reference for her. And that really
just anchored it, [sounds like, "babe"], by massive breaking her pattern, by
doing the unexpected, by doing the sexual aspects, how to touch her breasts,
an 

[Inaudible] humor,

I used humor through that piece. I also used, you know, mind reading, you
know, from the perspective of -- not so much mind reading, but-- I need another
term for that, when I know sh--that I'm not supposed to know, which is

sometimes just luck.

Intuitive, or?

No, it's sometimes just luck. Sometimes, sometimes it's true, if like it's not the
middle thing, but sometimes it's just -- I got a 50/50 chance if it's like, you know,
if I say, you know, you know, if I want you to say the jack of diamonds, I could
say, you know, there's two types of cards. There's face cards and there's number
cards, you know, which one do you think of? And then they say, you know,
"Number cards." I say, "So that leaves face cards, doesn't it?" You know, I just
move them where I want 'em to go. So I used more of that kind of a technique
with her. So I used her breasts and I said, "Start with that," when I said,
"'cause that one's less sensitive than the other one, isn't it And then she said,
I said, "Which breast is more sensitive?" She said, "My right breast." I said, 
know." And I just watched her face. It just freaked her out that I knew which

one of her breasts was more sensitive.

[inaudible] really cool!

So, anyway, went through the process of having her associate. And I first had
her do it in a humorous way, which was really great, 'cause she couldn't do it
in a loving way. So I had [sounds like, "made these"] funny tones and I said,
nu know, "Love. I love, love. Love loves me." And I just did it as an
incantation. I did it in humorous ways, silly ways, dumb ways, and then I said,

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 and 1 said, "Now reach over and get your

.. I
Nowletsgoforthereal oy 

right breast. And now I want you to do it in a loving way.
her to do that So I let her wait, I let her wait; I let her process, process. I

softened it. I shaped it And then i went back to the humor piece just tor a 
and then 1 had Billy put on the music

moment, just enough to get momentum, I I
of Ghost, of the Righteous Brothers, Unchained Melody, but she still wasn 
it up, 'cause I thought, okay,

responding. so then I pointed to Billy to point 
she's probably conscious about how it sounds, you know, for her to be saying

this in a loving place. So I increased the music, which would increase the
emotion inside of her while I said to her, "Now just say it louder." So the

combination of those two, first saying it soft then louder, then she just got
louder, and louder, and louder until she whipped herself into a frenzy, and

then it was like the girl the other day, she owned it. It was in her body.

[lnaudible] the very last time she said, she goes, love, love. I love me."



TR: Yeah, I know that. But she said something else, too. There was another piece
besides love me." She said -- There were a couple -- She did, she did two
things, the love me", but she did something right before that. But, anyway, it
was beyond -- It was so - It went beyond anything you expected as far as that
was concerned, and it was beautiful. She was crying, you know, tears coming

down her eyes.

[Inaudible] play along, which made it so great. She was so innocent and ready to

play along. What was also great, too, is you explained it when it was -- when
on were done. You explained kind of what you did and why it worked and



why you did it that way, which I think was great because it's something that
people can do themselves. You know, like so much of what you do on stage is
like whoa! You know, I'm never going to be able to go home and do that.

PH:

TR: That's true. That's true.
PH: But that's something I can figure out and [inaudible].

TR: 'Cause I explained the association, this is what I did, and so forth. I also, later on
today, explained like, you know, I was great piece I gave them somewhere in the
middle of the day, today. When the guy was trying to come up with the answer
to a question about whether or not, you know, what was different on my
values list and he kept stalling and I talked about when you don't know, you
know, you know the answer, and then he had the answer, and then I showed
you the answer. And I talked about when I don't know what to do, that's when
I know what to do, and I gave him my belief system, and then I gave him like
the middle thing, like when the hell's that come from. I don't know. You
know, I said, you know, all I know is I know. All I know is I know and the
wayl know is I just put myself in state. I commit to do something and then I
figure out how, you know. And people go, "Oh, isn't that cool? Isn't that
amazing? How'd he do that?" You know, and I said, "How I did that is I just
put in state, 'cause we all have innate intelligence, that innate, you know,
information. It's not me, it's everybody," you know, which is a great belief
system. I watched eyeballs popping, you know, all over the place.

 

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