Transcription
So you've, you know, that the lady who lives every single competition to take knowledge you've won some set of trips to Europe, you've won a house, you've won multiple cars, and you've taught your kids to do the same. Maybe you're written a book that has sold some 3.5 million copies. Now you clean—you're able to do this using a methodology you developed called SPEC. Can you tell us a little bit about the SPEC system?
Yes, SPEC. And everybody should have that on there in their vocabulary if they're wanting material things. SPEC should be a word, a password for you if you're wanting—if you want material things. SPEC is Selected, Projected, Expected, Collected. So let's give you an example. You're there in your—at a showcase, and all of a sudden you see this diamond necklace, hypothetically, alright? You're seeing it. Okay, now you are seeing it, so you select it. Now you project it. How do you gonna project it? You're gonna see yourself wearing it. You're gonna stand in front of the mirror, and you're gonna—and then you're going to be at a social gathering, and people are gonna say, "Oh, a wonderful necklace." This is putting energy into this, and now you have already selected it, you're already expected it because it's here, and then you projected it—rather, you projected it. Now you want it. Now you want it, so you project it. When you project it, that's where you see things happening. And I don't know how it's gonna come about—is your boyfriend gonna buy it for you? Do you win it? Does your husband buy it for you? You have a lot of money and you—but it comes to you because you've now—six—selected it, projected it. Now you can collect it. And it's the gardener's—so the system is called SPEC. Let's start with the S in that SPEC. What does that stand for? That means the SPEC is selected. What is it? Is it a car? Is it jewelry? Is it a trim? What is it? So you first of all you project it—first of all, you select it. You select—what do you want? You select it. The next thing is you project it. What do you do? How do you project it? You make a little scenario. So you want a car, so you see the car, you see the color of the car, you get in the car, you smell the upholstery in the car, you feel the car. So what you're doing, you're projecting it, and you just—it's just a very, very easy technique. Now what you do after that, and you can keep on doing this sitting in your car—now you expect it. When is it coming? When will it be here? I've been waiting—when will it be here? And then all of a sudden—and it varies every time you make a projection, it varies when it comes, how does it come about? It comes about in different ways. Mine mostly came by entering contests.
Halina, one of the—one of the most fascinating stories I came across in your book—what's the story of how you attracted an opportunity to not only meet Art Linkletter on his show, and that was a dream of yours, but to actually win a big prize on that show? Did you tell us that story?
Yes. Yes. Or how—first of all, how can you get on it? When I—when I went—I went to one to see Art Linkletter. We were in row—in there waiting in line. I was one of the last people in—wanting. And so when they—young—got—young man that directed us into the show, there were just a certain number of people that were invited. I mean, that's all the room they had. When he came up to me, he closed the door. He said, "We have no more room," and he gave the tickets to the next show that was being taped in the next studio. And I told him, I said, "I don't want to go to the next—to you. I want to see Art Linkletter." So he—clue—"I'm sorry," close the door. All the other people went to the next studio for tapings. I didn't. I sat right there. About 10 minutes later, he puts his head off the door. "He's still here." I said, "Well, I came to see Art Linkletter." And he looked at me and he said, "Well, just a minute," he said, "I'll see if there's a seat available." He came out. He said, "There's one seat available," and he said, "But it's up there in the balcony, and I guess nobody's coming, so you can have that seat." So he directs me up there. Okay, now I'm sitting there, and all of a sudden Art Linkletter comes out on the stage, looks around. He said, "You know, we're doing our Christmas show, and somebody in the audience today is going to win a fabulous prize," and he looks around and looks around, it says hi to a few people, and then he comes up and he walks up—we had two—walked up—three people, and then—apply for him—three more people, because I'm up here, and he looks at me. "Anything—do I know you?" "I've never been here before." And he said, "You sure I don't know you?" "No, I've never been here before," you said. "Got land." And we said, "Well, you're the one that's gonna win a Christmas break." So I walk on down there, and I'm standing there, and all of a sudden they wheel in this huge, huge box. And I—I don't know—I mean, I think it's a huge television; that's what it looked like. And so there's—you lift up the lid. I lift up the lid, and I jump—a little miniature midgets Santa Claus with the hat and so forth, and he had—kisses me and hands me a $1500 LaCouture diamond wristwatch. That was my birthday present from Art. And then Art looks at me. He says, "Doc Jim." And then during the break—this was very interesting—I then sat on the outskirts there and what's the rest of the show. And then after it's over and they have, you know, that commercials and—not the things that roll out and enough—all of the things—what does it call it? Was a rat bucket, and we're standing there because I'm—I won this huge prize, and Art keeps looking at me and said, "Don't I know you? I know you." Like and it's just so insistent. And I didn't have the heart to tell him what I'd done. So what did I do? Night before—night before I'm wanting to be on the Art Linkletter show, I sit there in my chair and I say, "Art Linkletter, when you see me, you'll know me, and I'm gonna be on your show. Art, here I am—your—but I'm gonna be on your show. I'm gonna wear an orange sweater." Now I asked, did the orange sweater attract—I don't know why he walked up all those steps and get me from the entire audience. I just attributed to—is that projection. This is projection. So I had my Christmas present. All these things you can do, and it gets to be fun, and you'll say, "We're pushing minds around," or "You—the work of the devil." Not so. Believe me, when you do this, they have the opportunity to accept or reject the idea. You always have free will in this area. I look familiar to him because I was there projecting—you, and then orange sweater was my—"I said, 'When you see—when you see me, I'll be on your show.'"
The book—hello—you also mentioned how you are able to teach some other people in line for this show to also use their—their money to win.
Okay, after the Art Linkletter show, when they tape in Hollywood, they tape in different studios, and they had lots of shows there that were giving prizes. I mean, they had—I don't even remember the titles or the names of them. So I got into the next show, and what they were doing—at random—in people from the audience and asking questions, and then some way a dial went off or whatever, and the dial spun, and then you could get the—win that prize. When I got into that studio, all I could think about was I had talked to my mother earlier on the phone, and she said, "That's—what would you like for Christmas?" And she said, "I've got this little 12-inch television, I'd like a color—be colored television." So when I got in there, I thought, "Here's an opportunity to bring my mother a colored television." Now this is—takes a little—I don't know what happened. All I know is I'm sitting in the front row, and there's two—there's a mother and a daughter beside me. Okay, this wheel goes around and so forth, and he chooses me and something in the audience or whatever—I don't remember the particulars—but they do the dial, and it comes up with the color television, and I said, "You know, they take your name and the word—do you want mail 2," and then I send it to my mother. So that was fine. And so this woman sat beside me with her daughter—"Just—I never want anything in my life." And I said, "Well, what do you like?" And she says, "Oh, my refrigerator's on the blink. I'd give anything." And they had refrigerators, stoves, televisions, lawnmowers, everything out there. I know we had to go out for lunch, and in this cab—at that time there was a cafeteria, and you could graze for an hour, and then you'd come back to the studio because they might have had difficulty getting that studio full of people, and it was during the day and so forth. So—and it wasn't September, so there weren't that many tourists out there. So we go back, and I said, "Well, we're sitting there," I said, "You really want that refrigerator?" "Yes, yes." "I sir, willing to play a game?" "I answer—what kind of a game?" I said, "Let's project that refrigerator—that you win it. I said, 'I will give you energy and everything. Don't think of another thing. Just think of your refrigerator. Don't think about—they're gonna invite me, they're gonna ask a question, they're gonna do the dial, and something else is going to come up because somebody's—have to go—it has to be this, this, this, and this—end result—end result is what you want, and all you want is that refrigerator.'" Okay, and so here are three of us—I—I'm doing nothing but seeing her win the refrigerator. She's game for it. She said, "If I can win that refrigerator—" Uh, why cuts—"I said, 'Don't say you never want anything because here you have an opportunity.'" And the daughter said, "Yes, I work with it." Well, now we go into the studio, and there's not that much seating, and so they're dividing us up—here—he puts me down here, and they're up there in the rafters, and she's looking down at me, and that keeps saying three—jury-rigged—effective because I wanted to hold that thought, and the second or third that they picked out of the audience, they go up there and they point to her and they asked the question, and then they roll the thing, and it comes up the refrigerator, and she won. So after we got through—coming up—and she said, "Oh, I'd like to have you around," she says, "There's lots of things I'd like to win." And I said, "You already have the technique. You already have the technique." Some time it works just on the moment, some time it works on the moment, some time it takes a little longer, but there is no failure—that can be a delay in results, depending what you're looking for, especially if you're entering contests, it may take five or six weeks before they notify that you want, so you have all that period in there to be projecting. Yes, anybody can do this. I've had a number of students here that never had anything, and all of a sudden they want something, and I—and I have—I should keep all the testimonials. I had one of the most exciting testimonials—listen—this young man called me from California—"Mrs. Hansal, if I was there, I'd squeeze you—I stood for—" She said, "I am a student here, and I'm limited on funds, and my mother subsidizing me, and I—" She keeps saying, "What are you doing with all this money? Or spending?" Do you know what she got me for? I go home for Christmas, and I'm expecting a big check. What does she give me? She gives me a copy of your book, and she tells me, 'Why don't you follow the principles in this book?' And she says—and earn your own money." She also gave him a hundred stamps and envelopes and cards and because I have a detailed description in the book how to enter contests. And then she said—she said—he said, "I went up there, and I was ticked at my mother." She said—"So I read your book, and here I'm looking at the stamps and I'm looking at the envelopes, and then I get to thinking—I read your book again, and I thought, 'Well, if she can do it, maybe I can.'" And he says, "I wanted a new car, but," he said, "I wanted $25,000 because for the summer months I wanted to go to Europe." So he said, "I then entered," and he says, "I was amazed how many contests they have in magazines. I went to the library and read all these contests available, and I chose the ones—like you said—the ones that I won—that only—the ones that were offering cars and money," and he said, "I want you to know—I have my car, and a week later, $25,000. Thank you, thank you, thank you. If I was there, I'd embrace you." [Music]