Latest / Echoes of the South / Slate Row Houses: The Picture in the Closet

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Slate Row Houses: The Picture in the Closet · Echoes of the South

• 1:21
  Welcome to Echoes of the South. I'm Carrie Genzel. Historic homes don't just pass from one
• 1:28
  owner to the next. Sometimes the stories do too. Today, our investigation brings us to the
• 1:35
  Slate Row Houses in downtown Macon, Georgia. Built around eighteen fifty-five, the Slate
• 1:42
  Row houses were among Macon's earliest row houses, developed to house many of the skilled
• 1:49
  artisans and craftsmen who came to Macon to work on the mansion being constructed for
• 1:56
  William Butler Johnston, known today as the Hay House. Over the past 170 years, These
• 2:03
  homes have witnessed remarkable change. As Walnut Street was gradually raised, what was
• 2:10
  once the ground floor now sits below today's street level. Beneath these historic homes,
• 2:17
  the same natural spring that feeds the nearby Bennett House or Spring House still flows
• 2:24
  today, quietly connecting this historical block beneath the surface. But history isn't the
• 2:31
  only thing that's been passed down here. When homeowner Sabrina purchased her home, she
• 2:38
  inherited a mystery. Inside a closet beneath the staircase hangs an old portrait. She was
• 2:45
  told it had been there for decades, and that whatever she did, she was never to remove it.
• 2:52
  No one could tell her why, Only that it should stay exactly where it is. Joining me
• 2:59
  throughout this series are members of the Echoes of the South investigative team,
• 3:06
  Spiritual Medium Morrighan Lynne and lead investigator Jonathan Morgan. Together, we don't
• 3:13
  go looking for fear. We listen, we observe, we ask questions, and when the opportunity
• 3:20
  presents itself. We're there to help. Before we begin, it's important to remember that
• 3:27
  every investigation is unique. What you'll experience in this episode reflects the
• 3:34
  firsthand observations, experiences, and perspectives of those participating that day. We
• 3:41
  share these moments to document our journey, preserve the stories connected to these
• 3:48
  places. and invite you to draw your own conclusions. Let's begin.
• 4:06
  Sabrina, thank you for inviting us into your home. Now, this is an interesting case for me
• 4:11
  because it centers more around a mystery. Yes. Around a piece of artwork that you
• 4:17
  inherited when you bought this property. Yes. Do you want to tell us a little bit about
• 4:22
  what you were told about the artwork? Yes. And then we'll go take a look at it. Okay. So
• 4:28
  when I was getting the tour of the house, We were opening all the doors and looking in the
• 4:33
  closets and everything. And we get to this one closet underneath the staircase, the coat
• 4:39
  closet, and she opens it up and there is a picture of a woman in there. I'm like, who's
• 4:44
  that? And she says, I don't know. I'm like, why is it in the closet? And she goes, I don't
• 4:50
  know that either. When I bought it, I was told to leave it there. And the person that
• 4:55
  bought it before was also told to leave that picture in the closet. So it's a mystery. We
• 5:01
  don't know what her name is. We don't know. why it's in there, why she's not supposed to
• 5:06
  be moved, but I'm just... And she's been there conceivably for possibly decades. yeah,
• 5:12
  yeah, easily. Now, have you ever like lifted the artwork to see if there's anything behind
• 5:17
  it or on the frame or anything like I'm too scared. Okay. I don't want to touch it. Okay.
• 5:23
  We've left it intact and so far so good. Yes, so far so good. Interesting. Well, we'll
• 5:28
  take a look at that. Morrighan and Jon are on their way here to investigate with me. And
• 5:34
  Morrighan, of course, doesn't know anything about even where she's going. So knows nothing
• 5:39
  about the property. Very excited to see what she picks up on, especially around that piece
• 5:45
  of artwork. I know. I can't wait to see that. I do want to say while we're here, never. in
• 5:50
  my years of investigating has a homeowner prepared a beautiful spread of snacks and we'll
• 5:56
  get to the cupcakes because you've got to see the cupcakes. But this is lovely. thank you.
• 6:01
  I said we're going to have to investigate every week. You're
• 6:07
  I'm
• 6:08
  going to be here for a while, Absolutely stunning. Let's take a look at the closet and the
• 6:15
  piece of mysterious art. Okay, come inside. There you go. There she is. What are your
• 6:22
  secrets? What are your secrets? What is it? And even like the person who hung it, I don't
• 6:29
  even know if it was her necessarily or not, but whoever did decide to put it in there.
• 6:36
  Why? Why? Why? That's so strange. And to tell people not to move her from that spot is
• 6:43
  even stranger. multiple different homeowners. It's one thing if it's just a quirky thing
• 6:50
  that someone liked having that in the closet, but to say don't move it. Yeah, exactly. And
• 6:57
  adamantly. It's like a little library in here.
• 7:29
  And I want to do some temperature stuff. Because
• 7:31
  Yeah.
• 7:32
  of that. This is interesting down here.
• 7:38
  Right.
• 7:39
  This is weird.
• 7:41
  What do you feel there?
• 7:43
  It feels yucky.
• 7:45
  I just feel like cobwebby, energetic s
• 7:48
  Yeah, it was it got stringy.
• 7:50
  Yeah, yeah. this room.
• 7:54
  Shit. It's a little dizzy.
• 7:56
  we're starting here.
• 7:57
  We're starting with the meat. Well,
• 7:59
  This is the meat.
• 8:01
  I feel like it might be.
• 8:03
  Yeah.
• 8:03
  There's definitely something yeah, I wanna let me walk through it again just to slow down
• 8:07
  and
• 8:11
  Yeah, this is interesting. It got like really strong like in the hallway and then
• 8:18
  especially in here, very muddy.
• 8:28
  That's what it feels like, feels icky
• 8:30
  Yeah, it's this way. That's
• 8:32
  I you.
• 8:33
  okay. It's right in here. Is it half half underground, she said, or no?
• 8:39
  Yeah.
• 8:40
  Well ground level is around here.
• 8:42
  Yeah, so this used to be street level, but over the last however many years, 150 years,
• 8:49
  they've raised the street. So now this is subterranean, but this used to be street level.
• 8:57
  But it's not underground. It's just it was
• 9:00
  The streets built up.
• 9:02
  feels heavy, it feels dense. There's a little bit of topsy turvy energy in the room. And I
• 9:07
  feel like this hallway corridor, perhaps someone paces back and forth. It feels like a lot
• 9:12
  of nervous energy, right? That kind of goes back and forth. Not too far into the living
• 9:17
  room, more like one step into it and then they come back in here like they're checking on
• 9:22
  something and coming back or
• 9:28
  When you said that more on this side than this side, I felt like a pressure right here.
• 9:33
  More on this side, though, but both. it was like it
• 9:39
  Like there's somebody maybe standing beside you?
• 9:41
  was a little
• 9:42
  Yeah.
• 9:43
  Yeah.
• 9:44
  not fingers per se, but like a pressure.
• 9:47
  And I feel a little disoriented. Like I know we're just starting and so sometimes it takes
• 9:53
  a minute to ground. But I feel what I feel when I'm like this is I feel overwhelmed and
• 9:59
  I'm a little dissociative. So I can kind of feel this energy in my head so but I know I'm
• 10:05
  not dissociating, so something feels dissociative.
• 10:11
  Yeah.
• 10:12
  The air feels heavy like it's harder to breathe.
• 10:14
  I am having a hard time. Yeah, it's just a lot of pressure in here, like i i and it feels
• 10:19
  like anxiety. It feels like
• 10:24
  Sure. And I know the temperature there's no AC down here. Yeah, there's no air.
• 10:27
  There's no air in here. So we hear you. Thank you so much for coming. Are you are you
• 10:34
  willing to talk with us? Thank you. Can you do that one more time as in to say yes you're
• 10:41
  wanna talk with us? Can you do that one more time? That way we know. You just have to get
• 10:48
  close to it again like you did before. You just have to get close to it again like you did
• 10:55
  before. So if there is someone in here that would like to talk with us, we have a couple
• 11:02
  of different well actually we have quite a few different ways. You get to choose that
• 11:09
  indicator as you did before, you just get close to the antenna, it beeps and lights up.
• 11:16
  I've got this that we use for yes no questions. We've got Jon holding that. You can show
• 11:23
  up on that camera. We've got different other cameras. You can also just speak and I'm sure
• 11:30
  one of our camera microphones will pick you up. So just lots of different ways if you
• 11:37
  wanted to communicate.
• 11:59
  Okay.
• 12:00
  And I am feeling like dizzy. There's it's still a swirl.
• 12:05
  It feels like that boat feeling.
• 12:09
  Little nauseated around it, like it
• 12:12
  It feels... I don't know if it's just because of the laser, but I'm not looking at the
• 12:16
  laser. I'm looking at the bed, which is stationary.
• 12:21
  I'm sitting and I still
• 12:22
  Do you feel it? It feels like a little bit like you're on a boat.
• 12:27
  so I wonder if somebody likes boats. Are you a sailor? Or were you in the Navy? Maybe we
• 12:34
  just start by introducing ourselves. Maybe that would be the polite thing to do, right?
• 12:42
  I w I was just thinking the same thing. Yeah.
• 12:45
  So my name is Mor righan
• 12:47
  I'm Jon.
• 12:48
  I'm Carrie. This is Michael.
• 12:53
  And so we're just here to connect with you and get to know you. We don't mean any harm.
• 13:00
  We're not here to disturb anything. We're just here to chat, get to know you, and see if
• 13:07
  you need any help. Are you open to that? You can use this one if you want. Cause this will
• 13:14
  tell me well how we use this is we ask we ask people to move the needle once for yes and
• 13:21
  two for no. I I'm feel I just was about to say I feel real heavy and like heart attacky in
• 13:28
  my chest. Like gosh. Like heavy tight condensed. Hello there. Are you are you a sailor or
• 13:35
  he likes the water?
• 13:42
  Yeah.
• 13:43
  Are you are you a man? Are you a male? No. Mm. That's not who I was picking up then.
• 13:50
  there's a man in here though.
• 13:58
  Yes.
• 14:00
  So do you live here? Is this your home? Yes. Yes. Does the man live here? Also? Yes. Yes.
• 14:07
  Are you afraid of him?
• 14:21
  Okay.
• 14:26
  Yes.
• 14:28
  That's the man and she's gone.
• 14:32
  He's back.
• 14:33
  I felt him as she came on.
• 14:37
  Feeling this again.
• 14:39
  Right? He's a bully. He's a bully energy.
• 14:43
  And I have a little bit of a headache, but right here.
• 14:45
  Hmm. Yeah, as soon as so you saw me look up because I was like, and then this I felt She
• 14:50
  took off like tight chest, like aggressive. Like when a bully wants to shut you up.
• 14:56
  They're like Don't
• 15:02
  Don't talk to that.
• 15:03
  sorry.
• 15:05
  Yep, yep, yep. And so she knows him but is afraid of him. And he probably won't let her
• 15:11
  talk. Because he's a bully. Yeah.
• 15:18
  or she needs help. Maybe we can invite her to meet us somewhere higher.
• 15:33
  Ooh, it's a big energy. Angry energy. I feel tingles in my hand. I wonder if he died from
• 15:40
  a heart attack 'cause I'm feeling like weird, you know, the symptoms.
• 15:57
  Let's see if I can get a EVP.
• 15:59
  Mm-hmm. So, young lady, are are you willing to come talk with us again? Can you can you do
• 16:06
  this again? I see I have a lot of like maybe what you were feeling, but like right here
• 16:13
  and pushing like
• 16:22
  Right. Is there a way to create like a safe space for her?
• 16:30
  She's back.
• 16:34
  Are you back in the room with us? Can you tell us your name?
• 16:45
  Yes.
• 16:46
  What's your name? Say it out loud for me. Okay, thank you. Do you live here? Yes, thank
• 16:53
  you. Go ahead, baby. Feel like you have a question.
• 17:13
  I'm just giving her some energy.
• 17:15
  okay. That was something outside the big bang.
• 17:21
  And that was like an alarm no.
• 17:23
  That was nice. Yeah. I'll check.
• 17:26
  Do we want to see what that was? That was a big bang outside.
• 17:31
  Yeah.
• 17:33
  Did you make that knock sound? No. Did he make that knock sound? Yes. Was that him
• 17:40
  leaving? It was him slamming the door and leaving. Yes.
• 18:49
  So one of the mysteries of this house, when the homeowner purchased this property and she
• 18:55
  went through the walkthrough, she was told that there was a piece of artwork in the closet
• 19:01
  underneath the stairs and she was not to move or take it out of the closet. She was also
• 19:07
  told that by the previous owner, the person she bought this property from, she was told
• 19:13
  that when she bought the property. So this goes back. decade.
• 19:20
  Can we touch it? 'Cause I go, Well, you know what that means.
• 19:28
  So the question is, is it just lore that has been handed down through homeowner to
• 19:32
  homeowner to homeowner or is there something to it?
• 19:37
  Do they look at it? Can you look at
• 19:40
  Yeah, we're gonna show to you. We just wanna get your read up.
• 19:42
  It does appear to be old.
• 19:45
  Yeah. It's oldish
• 19:47
  oldish. Why was it Let's go. And it's definitely on like a very secure hanging situation
• 19:51
  like someone meant like a nail to the wall like wants to make sure that it doesn't come
• 19:55
  off.
• 20:00
  It's it's not permanent. No, that's that's actually surprising. It's not permanent. It's
• 20:02
  temporary.
• 20:04
  minute. No. Yeah, you can take it off. Yeah. Yeah. But so she's never removed that
• 20:08
  picture. It stays in the closet but she just wants to know if it's just storytelling or if
• 20:13
  there's something to that piece of artwork. To
• 20:18
  What?
• 20:19
  Two
• 20:20
  the closet.
• 20:21
  Wow.
• 20:25
  There's the
• 20:26
  and there's a light on the white pull the string. Yeah.
• 20:33
  Yeah.
• 20:36
  That's it. It's just there, it's not permanent.
• 20:50
  The light just flickered. Are you flickering it?
• 20:54
  The painting.
• 20:56
  So you're touching a painting and the light is flickering.
• 20:58
  Yeah.
• 21:01
  Interesting.
• 21:01
  I'm just touching it like this though. I'm not doing anything to it. Looks more like a
• 21:08
  photograph, right? Very realistic. Understand what the big deal is.
• 21:29
  Yeah.
• 21:30
  If you can take it off, it comes off.
• 21:32
  You have to lift it all the way up.
• 21:35
  Yeah, I took it. looked at it careful. Because I wanted to see if it was signed.
• 21:45
  Just to see if I just want to see if we get any heat signatures.
• 21:56
  REM Pod
• 21:56
  REM Pod's going off.
• 22:00
  is the baby monitor?
• 22:05
  No, it's here. It's downstairs. The REM Pod is going off when you touch the painting. Is
• 22:11
  it possibly connected?
• 22:17
  Is it the woman?
• 22:19
  Do we take it downstairs?
• 22:20
  Is it possible or is that like a piece of like art deco something that it's beeping again!
• 22:26
  I'm feeling dread. And I'm trying to calm down because everyone's like freaking out about
• 22:28
  the
• 22:30
  REM Pods?
• 22:33
  I'm feeling dread and we should not take it out of the space.
• 22:37
  Well then d last night. Then last night.
• 22:40
  I don't I don't like it. My head feels thick and swimmy.
• 22:43
  That's what she's saying.
• 22:45
  been that far out of the closet in decades. So that's the lot.
• 22:49
  I feel like I should go, yeah, like put it back.
• 22:52
  So you think that there is something...
• 22:54
  Yeah.
• 22:55
  And do you pick up anything at all around it?
• 22:59
  all intents and purposes she's lovely, it she's I mean it's a pretty picture.
• 23:05
  Feels pretty sassy.
• 23:06
  It's not like it's not like a I don't know, it's not a big deal. It just feels like it's
• 23:11
  not a big like to look at it it's not a big deal.
• 23:17
  Why feel a sense of dread?
• 23:20
  I don't know. Is there someone's ashes behind the cardboard?
• 23:28
  didn't even think of that. It's very, did you look at the back? Do people do that?
• 23:38
  Like, See I like, want to lift it.
• 23:45
  But I can tell
• 23:58
  Sometimes people are
• 24:00
  I was gonna do
• 24:01
  like Victorian era. I get like my head feels thick, like pressure.
• 24:25
  So there's something to it?
• 24:30
  But it's
• 24:34
  But it's got I think it's got DNA in it, somewhere. There's DNA But, who's and why?
• 24:46
  Let's go sit on the sofa for a second. She doesn't like being in here, so I'm it may not
• 24:53
  go long. She let me move through it 'cause psychosomatically your mind will start filling
• 25:00
  in the gaps. So I'm like, I'm I don't know, so like am I over reading it, am I overacting?
• 25:07
  But I let me just kinda go through what I go through what I know. What I d what I trust is
• 25:14
  my body. My body, I pulled it out, well I opened the door and I'm like, that's not a big
• 25:21
  deal. Whatever, so what? Blah blah blah. So I was like, this is er everyone's
• 25:28
  overreacting. Pull it out, walk a little bit, and then I I felt dread. And even right now
• 25:35
  I feel shaky. Like I can feel a little bit of panicky, a little bit of like anxiety. of
• 25:42
  just not being in a safe space. So it feels like that's the safe space. It doesn't like
• 25:49
  being out here. I do feel like there's DNA somewhere in this. Cause this is a photograph.
• 25:56
  This isn't painting. Because it's behind glass. So it's a photograph. But I don't
• 26:03
  understand. This so then it was it was framed with DNA. Cause this is not this is the
• 26:10
  original paper or original enough. Because this is not it di it wasn't removed, added and
• 26:17
  then placed back. Right.
• 26:42
  Right.
• 26:47
  I I feel like I'm getting pulled away. Like I feel like I'm a little bit leaving my body
• 26:54
  and I I am stating my boundaries right now. I'm not channeling whatever this is. So you're
• 27:01
  gonna have to talk to me directly. So I'm asking the spiritual energy that is on this
• 27:08
  framework, this artwork, I'm asking that this spiritual energy just speak to me directly.
• 27:15
  Just tell me what you need me to know. I will put you back, I promise. I will not harm
• 27:22
  you. Show me what you need me to see. Tell me what you need me to say. It feels it feels
• 27:29
  anxiety based, like the closet is safe out of the way. I don't know why though. It feels
• 27:36
  It's a binding. Somebody's b bound to it. Somebody, trying to decide if it's by their will
• 27:43
  or if it was against their will, trying to feel into that space. I can't see it 'cause
• 27:50
  it's protected. So I don't know if the spirit so it I saw a glimpse of the magic. It feels
• 27:57
  like someone is they binded the spirit to this. It doesn't feel it's almost like they
• 28:04
  don't wanna be here but they don't mind that they're here. There's like this weird
• 28:11
  ambivalence that like maybe it was against their will but they don't mind it or something.
• 28:18
  It's weird. I but the magic is protecting it. I can't see it. So let me just go keep
• 28:25
  going.
• 29:35
  Okay.
• 29:39
  Okay. So I need you to I'm just gonna ask my guides to confirm that for me. Is that what
• 29:46
  I'm seeing? Is that is that the truth? Okay. Okay, this is what I get. Whatever it is,
• 29:53
  take it, leave it. I see a little girl, she died. The mother is inconsolable and wants to
• 30:00
  die with her. So somehow the mother bound the girl to the picture and then bound herself
• 30:07
  to the picture. So it's both of them. So it's it's sort of that interesting feeling of
• 30:14
  like I don't want to be here but I don't wanna go. So that's more the mother's energy. The
• 30:21
  daughter, I feel like the daughter might have hair, it might have the daughter's hair in
• 30:28
  it. That I Just show me how that, show me that part. 'Cause you know how I told you my
• 30:35
  guides work with movies and stuff. So remember what's the movie? The one where the
• 30:42
  daughter gets thrown off the cliff. We just watched it during Halloween. The daughter got
• 30:49
  thrown off the cliff.
• 31:05
  Lady and White.
• 31:06
  The lady in white. And that's the flash that they showed me. So the mother's looking for
• 31:09
  the daughter and then they found each other, right? And so there's something about mother
• 31:13
  daughter energy about this.
• 31:17
  Is there a way for us to help both of them to cross over together if they want to?
• 31:25
  It doesn't feel
• 31:26
  Oh
• 31:30
  No. No. She's fine the way it is. She doesn't want you touching it. Leave it the fuck
• 31:35
  alone. Like it's that energy. Like that felt really strong. And that's more the mother
• 31:41
  than the daughter. And I don't even know what's here. I think it's more psychosis of
• 31:47
  'cause I don't
• 31:53
  Do we know what the tie is with the artwork? Like why that? Is it just something she had
• 31:58
  or is there some kind of significance to the image or the woman in the image?
• 32:04
  Or is it symbolic?
• 32:05
  Yeah.
• 32:09
  symbolic of like what she wanted her daughter to be.
• 32:27
  She's not showing me anymore. I don't know. I don't know what it is about this. Cause I
• 32:34
  don't think it's her. I don't think it's the mom. Yeah, it's getting real It's getting
• 32:41
  jumbly now 'cause I feel like she's angry and isn't cooperating anymore.
• 33:03
  Will it help to recognize her and make sure she knows that we respect her and we're not
• 33:09
  trying to disrupt her? We're not trying to take you away, we're not trying to separate
• 33:15
  you.
• 33:22
  She has just a severe lack of trust of anybody. There's just like no trust. It doesn't
• 33:29
  matter what you're saying. and she's so embedded in her psychosis is what it really feels
• 33:36
  like. I don't think she was well. 'cause that word psychosis keeps coming up and she
• 33:43
  responds when I say that, so I don't think she was well. And that could have been fed like
• 33:50
  hysteria, you know, fed and then they really believed they were hysterical. But I do feel
• 33:57
  like there was some imbalances but also there was no understanding of like bipolarism or
• 34:04
  anything like that back in back in the day.
• 34:15
  and no tolerance for grieving.
• 34:16
  It feels like bipolar, it feels like it feels like that back and forth. The the grief or
• 34:23
  the joy and the grief and the happiness and the you know. does anything else you want me
• 34:30
  to know? I w I'm putting you back, I promise. We're gonna
• 34:38
  Can you tell us your name or your daughter's name so that
• 34:42
  You you need to stop talking.
• 34:44
  Okay, sorry.
• 34:46
  She's very angry. Just stop. Like I can and I think she really wants to channel, but I do
• 34:51
  not want to channel her. Yeah. Sorry.
• 34:57
  I I love you.
• 34:59
  Okay. I can feel her rising in
• 35:06
  She's just like
• 35:08
  Doesn't Trust men. She's done. That's the best I got. I don't know what it is about the
• 35:15
  picture. It might have just been her favorite. It might have been in the room. It might
• 35:22
  have been a part of you know
• 35:30
  It might have represented something to her.
• 35:32
  Joy and you know, 'cause it does it is pretty interesting. I was expecting like a haunted
• 35:35
  picture. It's
• 35:39
  Like it'd be like
• 35:41
  like real benign, real like, But there's some sort of DNA on it. In it, like in in between
• 35:48
  the the slats of paper and stuff. I feel like her daughter had blonde hair.
• 36:01
  So it would not surprise me if she opened it up. There's blonde hair in there. Sorry.
• 36:07
  We really wanted to channel. I could feel that. But I don't like channeling human spirits.
• 36:11
  Yeah. Not when they have psychosis.
• 36:15
  Right.
• 36:15
  Especially. Yeah.
• 36:19
  Well, so there is something to the lore of that piece and leaving it in that closet.
• 36:39
  Can't catch my breath. Yeah, I feel like it's down here. Yeah. It is very fascinating.
• 36:46
  Cause honestly when I opened the door I was like, seriously? Like what's the big deal?
• 36:53
  Then then I tried to take it out and I'm like, Put it back.
• 37:10
  Also just the lights flickering and then the camera flickered and like I thought well
• 37:15
  that's a coincidence possibly like maybe the air came on.
• 37:21
  Yeah.
• 37:22
  we've had a lot of electrical stuff happen tonight.
• 37:26
  Yeah.
• 37:28
  So fascinating. I've never heard that, but it it's not unheard of. Like she could have
• 37:32
  just loved it and just wanted to like be with it. It could have been her very favorite
• 37:36
  thing, you know?
• 37:40
  Yeah, for sure. It definitely looks old from the paper on the back.
• 37:48
  just can't I c I'm so like I want more. I wanna know I wanna know the ritual because I can
• 37:51
  feel
• 37:55
  She had been associated with one of the workers that lived here?
• 37:58
  No, I don't think so, necessarily. Just to think of like there's been so many people that
• 38:05
  have come through here. It's so old, it's dated like 1855 to 1860. So initially it was the
• 38:12
  artisans and workers, then once Hay House was finished in it took on a different life.
• 38:24
  It no, 'cause this this is more like f late forties dress. Isn't it? Is
• 38:32
  Yeah, like 20s, 30s.
• 38:33
  it twenties, thirties?
• 38:34
  Please.
• 38:35
  but the no
• 38:35
  That doesn't mean that's when it could just be something that someone bought at a vintage
• 38:39
  shop. Like, you don't know what it was acquired.
• 38:43
  For whatever reason it ended up in that closet.
• 38:47
  I feel like she okay catch my breath.
• 38:51
  feel like She's afraid that someone's gonna miss mess with it and then it's gonna unravel
• 38:56
  and then she'll she and her daughter will get lost. So
• 39:02
  Okay
• 39:03
  she wants to protect that. It doesn't the picture it doesn't matter, but it's protecting
• 39:07
  the binding. And if people like wanna reframe it or clean it up or, you know, r then then
• 39:12
  it'll unlock the magic, it'll unlock the ritual and then she will have lost her daughter
• 39:16
  and so she wants to stay in that space.
• 39:21
  to be protected and to be safe.
• 39:24
  Yeah. Yeah, that's that's how I feel that. So it's just more about like just leave us
• 39:29
  alone, let us be.
• 39:35
  Yeah, we're
• 39:37
  Yeah. Well thank you very much.
• 39:39
  It will give the message that it should stay there.
• 39:42
  Mm-hmm.
• 39:46
  Yeah.
• 39:47
  So thank you for that.
• 39:49
  Yeah. We'll do that. All right.
• 39:57
  Hello, we're coming upstairs. I don't know about you but I felt this room.
• 40:08
  Yeah, I'm game. Ooh, she
• 40:14
  that me but she needed some energy yeah. So while Jon's setting up, if anyone's in this
• 40:21
  room you can use this right here to talk to us. You just touch it and this will light up
• 40:28
  and we'll know you're here.
• 40:47
  Yeah.
• 40:49
  So we usually ask one for yes, two for no. So we've talked to you already tonight. Are you
• 40:56
  the woman from downstairs? Yes. Yes. Hello there. So you're allowed to move to the
• 41:03
  different floors. You just can't leave the building, is that correct? Yes. Do you do you
• 41:10
  move in all of these buildings? Can you go to different buildings like the neighbors? Yes.
• 41:17
  So it's just the building you're still doing. The whole building. Yeah. no. Th there's
• 41:24
  parts she doesn't go into, but she can. Do you ever go outside? No. Is that because you
• 41:31
  don't feel s no. She's gonna know how to She's like She's
• 42:02
  Ha ha ha.
• 42:03
  like, I don't like it, I'm going right downstairs.
• 42:06
  Okay. That was a hello downstairs. It actually sounded like a there was a hello on the
• 42:13
  radio as well. Yeah, h high pitch.
• 42:26
  Hello there.
• 42:27
  Can you say hello one more time? Just to let us know it was really you? Speak to us. Wanna
• 42:34
  say hello again?
• 42:43
  Oops.
• 42:44
  Yeah, we're here. Sound like you said, are you there? Can you tell
• 42:50
  Yeah, we're here.
• 42:53
  us your name? Yeah. Same voice in the background, you can barely hear it. Yeah.
• 43:08
  It's like a woman's voice.
• 43:15
  Can you speak up? Speak up for us?
• 43:26
  Are you the woman from downstairs?
• 43:37
  Do you live here? Okay. know you're in the room with us.
• 44:01
  Yeah,
• 44:05
  We we have Yeah we have this device this radio you can talk to us you wanna talk to us
• 44:22
  I heard what is that? The woman.
• 44:26
  Can you say that again?
• 44:32
  No.
• 44:35
  Yeah. Do you like having fun?
• 44:48
  Hearing a black man's voice. Yeah. Like a yeah, like like with with his like funky
• 44:55
  See you
• 44:56
  So a day.
• 44:57
  I'm very good.
• 44:59
  Dig it!
• 45:01
  Which I love.
• 45:04
  Like you would. Like you
• 45:08
  It's the same voice.
• 45:10
  Same voice.
• 45:11
  No.
• 45:32
  No, no, no.
• 45:35
  Yeah.
• 45:46
  Everybody be careful.
• 45:49
  That was multiple words.
• 45:50
  Maybe it did s switch. The energy changed.
• 45:54
  Something's shifted in the room.
• 45:56
  Everybody be careful.
• 45:58
  So who's in a room with us?
• 46:01
  Why do we need to be careful? That was something I didn't catch up.
• 46:08
  Panicky.
• 46:10
  Why do we need to be careful?
• 46:12
  Yeah.
• 46:14
  But is it saying that we need to be careful or are they talking to each other?
• 46:18
  Maybe.
• 46:19
  Are are we in danger, like us in this room?
• 46:28
  It might be the bully guy. Cause it changed and it's that same. It's that same pressure.
• 46:33
  And it and it did, it like swept through and it changed. Everybody that was in here moved
• 46:39
  out and then that energy came in.
• 46:45
  Hmm. S Did the mean man from downstairs come up?
• 46:56
  I wanna know what your name is.
• 46:59
  Hmm. Getting a little pain in my right ear a little
• 47:03
  Wanna know what your name is? What's your name, dude? Unless you're scared to tell me.
• 47:22
  I think he's scared.
• 47:24
  Mighty two.
• 47:27
  Well miss
• 47:28
  Might be too scared to talk to us. I mean if you bully women all the time, I guess you're
• 47:34
  not very strong.
• 47:41
  What's your name?
• 47:46
  The same voice.
• 47:47
  Same voice.
• 47:49
  I I heard Robert, but I don't know.
• 47:55
  What? I heard it. After you said that
• 48:00
  This is going off the
• 48:02
  REM Pod is going off.
• 48:04
  One downstairs.
• 48:05
  Robert
• 48:07
  You can, I don't have my glasses on.
• 48:09
  It is, it's the one.
• 48:12
  Yep.
• 48:13
  Mother May I?
• 48:14
  Yeah.
• 48:16
  I don't have my glasses on, but...
• 48:20
  Robert, are you downstairs? You could be. Wow, I just got chills. Robert, come upstairs
• 48:27
  and talk to us. Yeah.
• 48:37
  No, I think he's here and she's warning us.
• 48:46
  What's your name?
• 48:48
  We know his name, it's Robert.
• 48:51
  I just said Michael.
• 48:53
  Yeah. He's mocking you.
• 48:55
  He's mocking you.
• 48:56
  you're gonna mock Well I'm not afraid of you. How's that? I've dealt with much worse than
• 49:00
  you.
• 49:04
  Easy now. Michael. We have to leave and she has to live.
• 49:08
  Yeah. So long you're wrong!
• 49:15
  Okay.
• 49:16
  What do you say?
• 49:17
  Okay. Here.
• 49:17
  Bye.
• 49:18
  Yeah.
• 49:21
  you want us to leave? I didn't. And you want us to leave?
• 49:34
  talking to the lady downstairs. Are you still with us? Can you touch the device on the bed
• 49:40
  one more time?
• 49:47
  I think her name is Agnes.
• 49:49
  Agnes, is that you downstairs? Was that me? Agnes, do you know who Robert is? Are they
• 49:56
  gone?
• 50:09
  See if she's still here. You remember this? Are you here, honey?
• 50:21
  Agnes, come on back upstairs. Robert, go okay. We don't want to talk
• 50:32
  Yeah, go.
• 50:33
  about
• 50:33
  Robert.
• 50:34
  it. Bye Robert. See you later. Mind your manners.
• 50:38
  Yeah.
• 50:40
  Yeah. Go home, Robert.
• 50:51
  like I am home.
• 50:56
  It's a lady up here, can we talk to you again? Is your name Agnes? Is Agnes or Agatha? I
• 51:02
  couldn't quite lock in.
• 51:08
  That was a woman laughing. That was a woman laughing.
• 51:11
  It's
• 51:12
  a lot.
• 51:13
  not supposed to do it for that long. It's like like how many milliseconds
• 51:17
  Scanning a hundred and fifty milliseconds.
• 51:21
  Different.
• 51:21
  Did it again, same woman.
• 51:23
  Yeah.
• 51:25
  Because it's it's shifting channels so fast it's not supposed to laugh a long
• 51:29
  That was on.
• 51:29
  Wow.
• 51:30
  time.
• 51:31
  Yeah, but it was the same laugh Same voice
• 51:37
  Agnes, is that you? Is your name Agnes? I'm sorry if I'm getting it wrong.
• 51:44
  Is she happy that we told Robert to go home?
• 51:49
  Agatha? Okay, who's laughing? Who's the woman we keep hearing? What's your name? Can you
• 51:56
  say that again?
• 52:05
  Mm-hmm. Mm-hmm.
• 52:10
  Don't snap at me? Alright. Are you the lady we were talking to downstairs? One? Yes. Is
• 52:17
  your name Agnes? You shush. Is your name Agnes? Yes.
• 52:29
  Yes.
• 52:31
  Are you the one laughing? Did we hear you laugh? Is that your laughter? Yes. We love it.
• 52:36
  That was so you're we're so happy.
• 52:41
  Well that's
• 52:42
  Is it because Robert ha has to mind his manners now? Does that make you happy? No.
• 52:52
  Is it because we told Robert to go home? Jon. Jon's. Jon Jon's. Jon Johns. Yeah. Yeah.
• 53:07
  He said yes.
• 53:08
  That's me. That's me. Hey Agnes.
• 53:14
  honey, do you feel a little bit better?
• 53:19
  Nice, nice. No, not this
• 53:22
  Yeah.
• 53:22
  went downstairs.
• 53:25
  that's going off.
• 53:27
  So one is the
• 53:30
  There's one downstairs in the living room.
• 53:33
  So when we heard the her voice when we heard her voice there, Jon was holding that talking
• 53:38
  her in the basement. Yeah. Yeah. And she just said, Jon.
• 53:43
  Yeah. Yeah.
• 53:47
  I love the
• 53:48
  I you.
• 53:49
  Just just gone from here. Not gone, gone.
• 53:54
  Yeah. That was a really happy one.
• 53:58
  that said your name in it.
• 54:01
  Kind of mouth.
• 54:05
  Well, I've had my name come up on things. Yeah.
• 54:10
  Yeah.
• 54:12
  pronunciation.
• 54:14
  Yeah, but it it was it was not good people.
• 54:16
  well they all but they all know her.
• 54:18
  Say that's why they're like that
• 54:21
  She's on the poster.
• 54:26
  That's three eight of you.
• 54:29
  S.
• 54:30
  But singing from like another time it like
• 54:34
  Right? Like it's from the twenties or something. Like da da da.
• 54:39
  Like it's like not something that would come up on the radio
• 54:42
  Yeah.
• 54:43
  Like the picture.
• 54:44
  Like the picture you think it's her no
• 54:50
  No, I don't I don't think she wants to be a part of this.
• 54:55
  She's already... She's like, don't
• 54:56
  My closet, I'm good.
• 54:57
  So let's get into what we discovered. There was a lot going on. It was really fun. excited
• 55:02
  because I wasn't... I'm like, I don't know. I don't know what's here. I don't know.
• 55:07
  Fine.
• 55:08
  We started in the garden apartment. We started downstairs. that was where we were drawn to
• 55:15
  go first. And so we dove right in. Immediately, Morrighan, you had mentioned that you kind
• 55:22
  of felt an energy kind of in that hallway leading into that bedroom in the back. And Jon
• 55:29
  set up your laser grid. And we have the REM pod. we started getting communication with
• 55:36
  Yeah. With someone.
• 55:38
  Almost immediately.
• 55:39
  Yeah. How for how much of it do you want me to share?
• 55:42
  You can share it all, yeah.
• 55:44
  So different energy down there and sometimes when it's basement esque spaces it's heavier
• 55:48
  already because it just tends to be closer to the ground. Yeah. So just taking a minute
• 55:53
  and moving that aside, I felt the energy of someone pacing in between the hallway right
• 55:58
  there. Yeah,
• 56:03
  just pacing back and forth.
• 56:05
  like they they stayed mostly in the bedroom but then would pace come out into the living
• 56:11
  room and then turn around and go back and so I didn't quite understand what that was. Then
• 56:17
  we connected to we all s Carrie started feeling pressure in her head. I started feeling
• 56:23
  like almost heart attack feelings, like not hardcore but tightness, tingling and so I
• 56:29
  think we stumbled upon a man's energy. Okay. And he was a little bit more of a bully kind
• 56:36
  of guy. Rough. Yeah. And we connected to a female energy and she was afraid of the guy.
• 56:42
  And so he wouldn't Yeah, he wouldn't let her talk. And it's almost as if she didn't want
• 56:48
  to leave without him, but also was afraid of him. And so it's like this weird domestic
• 56:54
  kind of thing. and when he found out that she was talking, then he came in and like shut
• 57:00
  it down and it was pretty aggressive. It was
• 57:07
  And then.
• 57:08
  I think at one time it all happened all at once. One of our devices was going off, the
• 57:12
  thing that is on the bed was going off.
• 57:16
  Battery diet on the laser light.
• 57:18
  And then Michael's camera started messing up, like everything all at once. Like get out
• 57:20
  Get
• 57:23
  Alright, get out of here.
• 57:24
  Out is what it felt like. Yeah. So, you know, we were like, Okay, well, we're good and
• 57:28
  we'll be back. Yeah. Yeah.
• 57:33
  Yeah, so that was fun to kick off. We were like, okay, so we came up here. And
• 57:40
  Sorry.
• 57:41
  we came up here and Jon and I were talking about the piece in the closet. So we were
• 57:46
  really intrigued to see if there was anything that Morrighan was going to pick up. And I
• 57:52
  actually did, I don't know if you've ever taken it off the hook, but I actually took it
• 57:57
  off the hook. The paper and everything does look quite old. There wasn't any markings of
• 58:03
  any kind or signatures or anything because I thought maybe did someone sign it or write
• 58:08
  anything on the back, but we didn't see anything like that. So then we sent Morrighan in.
• 58:14
  but don't touch it and don't take it off and and I'm like calm
• 58:17
  Like what are you talking about? Like no big deal, right? So I opened the closet and
• 58:20
  there's this picture. And my first reaction is like, Seriously? Like that? What's the big
• 58:23
  deal? Yeah, I know, that's what Right.
• 58:27
  Okay.
• 58:28
  So I'm like, I don't understand. And then I go to I just was gonna touch it, right? 'Cause
• 58:31
  don't take it off, don't take it and I go to just touch it just to kind of see if I can
• 58:35
  get a feel. And the closet light starts flickering and then Michael's camera starts
• 58:38
  flickering. Sure as I touched it.
• 58:42
  Right.
• 58:45
  the REM pod went off down here.
• 58:47
  Yeah.
• 58:50
  Yeah.
• 58:51
  was very very interesting that that all happened at the same time because if it's one
• 58:55
  thing you go okay well maybe the lights flicker because did the AC come on.
• 59:00
  Like
• 59:00
  But all of those things happen at the same time that are independent of each other. the
• 59:05
  RemPod in the basement went off as well. Are you serious? Oh my god, can't believe this.
• 59:10
  Yeah, yeah. So we thought, well, Morrighan was like, let's dive in.
• 59:15
  I'm like I and I I said, Is it okay that I take it off? So I took it off the hook and then
• 59:19
  we we thought we would take we thought the downstairs was connected to the picture. So I
• 59:23
  was like, Well, let's go down there with the picture. Maybe we'll get a stronger
• 59:27
  connection on what it is. Yeah. And as soon as I pulled it out of the closet and I was
• 59:31
  standing in that little hallway by the stairs and we were discussing it, I got this
• 59:35
  overwhelming sense of dread. Like, do not take it down there. And I was like, Yeah. I'm
• 59:39
  just gonna put it
• 59:44
  I don't know.
• 59:46
  And then I felt ridiculous 'cause I'm like, This is ridiculous. Like
• 59:51
  That makes sense because every time I've like gone in there something keeps telling me
• 59:55
  don't touch it. Don't try to do anything with it. Don't do anything. Just leave it there.
• 59:59
  Even my cousin is like, no you should bring her
• 1:00:03
  She brought out.
• 1:00:04
  in the s**t. I'm like absolutely not. I am not doing that. I'm leaving her there. I don't
• 1:00:08
  know why. That's what I've been told. That's what I'm gonna do. Well she definitely wants
• 1:00:13
  to be in there. But Morrighan did get more information.
• 1:00:18
  So after a few moments, I'm like, I am not satisfied with that information. I want more.
• 1:00:24
  Because that's I like, no, let's figure this out. And so I took it back off the hook and I
• 1:00:30
  said, let's go sit and let me just like hold it and meditate with it and see what I c if I
• 1:00:37
  can get any information from it. So we come in the living room and sit down and w what I
• 1:00:43
  get for whatever it's worth. Yeah. And it's weird. It's okay. I get a mother daughter
• 1:00:50
  energy is is bound to the p to the picture. Okay. So what that means is there w what I saw
• 1:00:56
  and I actually feel a little shaky saying this, so I feel like Yeah. it feels like the
• 1:01:02
  daughter died and the mother was so grief stricken that she I feel like there's DNA in
• 1:01:09
  there, like hair or something, but there's on the picture in the like in where the slats
• 1:01:15
  are, like the backing. I feel like the mother wanted to die with the daughter and she had
• 1:01:22
  both their spirits bound to that picture. I don't know why, I don't know what the picture
• 1:01:28
  means, I don't I don't know any of that. I don't feel like
• 1:01:35
  they just both really liked it. Maybe they knew the person that was in the picture.
• 1:01:38
  Possibly I don't know and she wouldn't tell me that part, but it is ritual magic to bind
• 1:01:43
  the spirit. And the reason she likes the closet is because she doesn't want anyone
• 1:01:48
  cleaning up the frame and and removing the ritual.
• 1:01:53
  Make
• 1:01:54
  She likes the closet because she doesn't want to be bothered. She wants to be left with
• 1:01:56
  her daughter.
• 1:01:59
  I can totally respect that. I love that. That makes me happy. I'm happy to hear that.
• 1:02:05
  It's not healthy. It's not healthy, but it's what she wants and I honor that.
• 1:02:10
  We did ask if she needed anything or wanted anything. I asked like can we help them cross
• 1:02:15
  over? Is there anything that we can do? But there wasn't. That's not what she wants.
• 1:02:21
  And then she wanted a channel and Jon kept saying, Well, does she want this and does she
• 1:02:25
  want that? And at one point I think she was a little bit in and I know I looked at you
• 1:02:29
  like sharp 'cause she was like, You need to stop talking. Yeah.
• 1:02:34
  To you.
• 1:02:35
  Yeah. 'Cause I was I wanted to ask a few more questions and you know, I'm I'm I'm kind
• 1:02:40
  with with my voice and but she did not like a man's energy, a man's voice. It's like you
• 1:02:45
  know, like she like really responded harshly.
• 1:02:50
  Like he needs to shut up.
• 1:02:52
  This makes sense if her and her daughter were so that connected.
• 1:02:57
  Well, you can be connected to your daughter. There she has male trauma. She's got some
• 1:03:00
  sort
• 1:03:04
  if that's the reaction she was getting. She's got mail. Also,
• 1:03:08
  Yeah.
• 1:03:09
  like as you're saying that, I'm thinking like it could also be that, you know, as she was
• 1:03:13
  grieving her daughter that maybe her husband or a male figure or a doctor had said to her,
• 1:03:17
  like, you need to get over it.
• 1:03:21
  I'll
• 1:03:21
  Maybe.
• 1:03:23
  be some problem.
• 1:03:24
  Like, you know.
• 1:03:26
  Yeah, I do think that she had a psychosis. I do think that she was bipolar or something
• 1:03:29
  like that. And
• 1:03:32
  Obvious.
• 1:03:32
  then what's that? The mother. The mother. And obviously in that time there w no
• 1:03:37
  understanding. And so I think that led to her I don't know if I I'm assuming it was
• 1:03:42
  suicide, but I don't know exactly because she shut it down and she wouldn't let me see
• 1:03:47
  anymore. She was like, Stop, that's enough. I wanna go back and leave me alone.
• 1:03:53
  She lived here.
• 1:03:55
  I don't know that. I do not know that. It's
• 1:03:58
  just wondering like...
• 1:03:59
  connected to the picture, that's the only part that I know. So the
• 1:04:02
  The picture could have been somewhere else and then...
• 1:04:04
  Migrated. Okay. It's the DNA behind it and then there's if I think that if you took it
• 1:04:09
  apart, like some people will take old backing and and clean the frame and re you know,
• 1:04:14
  they'll re frame it 'cause keep it and she's afraid people are gonna do that and it'll
• 1:04:19
  unbind it and so don't
• 1:04:24
  anytime I came close people ask me anybody I'm gonna respect it. I'm not gonna even.
• 1:04:32
  Every time I took it out I would feel dread. I would feel Yeah.
• 1:04:36
  Yeah.
• 1:04:38
  But
• 1:04:36
  that you you did it
• 1:04:38
  and also too because I'm like I'm not gonna immediately believe. Like I wanna know and I
• 1:04:43
  was like, wait, I actually really feel afraid of taking this out. That's we
• 1:04:48
  That's how I feel.
• 1:04:49
  so I'm like, Let's put it that No I
• 1:04:52
  Very funny.
• 1:04:53
  Yeah.
• 1:04:56
  Yeah.
• 1:04:57
  I that was like I don't know if you thought that was weird but I thought that was weird
• 1:05:00
  too when you were like I don't know if I should take this out because normally that's when
• 1:05:03
  you're running towards something if
• 1:05:07
  If something happens and I'm like, I don't wanna do this, that means we gotta do it.
• 1:05:11
  So I'm like
• 1:05:13
  I live here, so I'm like, I don't wanna shake the energy up. Like I don't wanna disturb
• 1:05:16
  anything.
• 1:05:20
  Disrespect it.
• 1:05:22
  I'm just like, I feel at peace right now. I just wanna keep things peaceful. I feel like
• 1:05:25
  she just wants to be left alone. It's not like anything where normally I would say is
• 1:05:28
  there something that you can do to sort of honor her or acknowledge her, but I don't know
• 1:05:31
  that she really wants that. think she just.
• 1:05:35
  Yeah. And I don't even know that her daughter is bound to it. I think she thinks it's
• 1:05:39
  bound.
• 1:05:43
  she is done.
• 1:05:44
  But she believes it and that's enough. Yeah. So I don't actually feel the daughter's
• 1:05:48
  energy on it. Okay. I think the daughter had blonde hair, so if you ever did open it, I
• 1:05:53
  think there's blonde hair in there. But I don't think the daughter is bound, but I get
• 1:05:58
  that she is because she believes her daughter is bound. So she doesn't want to of course.
• 1:06:03
  Yeah.
• 1:06:04
  And we're and we're always open, like if they want help we help them, but she doesn't want
• 1:06:08
  help, so she's good. Okay. That's the second time in my career that's happened where
• 1:06:12
  they're like, Nope, leave me alone. Okay. Okay.
• 1:06:16
  They don't
• 1:06:18
  Yeah.
• 1:06:19
  So validating. Yeah.
• 1:06:22
  There is something built to it. It's not just a story. Now it's interesting for me, I go,
• 1:06:27
  well, did she live here or was that moved from somewhere else? And how did the story get
• 1:06:32
  passed down? Like how did someone know that there's something with that picture?
• 1:06:38
  Sure. Could have been the original person that did the binding.
• 1:06:43
  Yeah, I'm wondering like how and how long is that long has it been in here? don't know. to
• 1:06:47
  get their hands on that in the first place? You know what I'm saying? So now you know if
• 1:06:52
  you ever leave you're gonna have to tell your realtor or the new homeowners that to leave
• 1:06:56
  that there. It's a lot.
• 1:07:01
  It'll be like twenty
• 1:07:01
  And they'll be like
• 1:07:04
  six and a
• 1:07:06
  All the other buildings are gone.
• 1:07:09
  Just the closet. There's there's like, like, like,
• 1:07:11
  Like there's like flying cars.
• 1:07:14
  there's like, like, like, like, there's like,
• 1:07:16
  And she's just as happy as anything.
• 1:07:20
  La di da
• 1:07:22
  I do think it's really interesting that upstairs we heard what kind of sounded like 20s or
• 1:07:28
  sort of that music that sounded like from another time.
• 1:07:34
  Robert. we got the name Robert, which I we think was downstairs.
• 1:07:38
  yeah, so tell me more about downstairs and the bully, because I never go down there.
• 1:07:42
  Yeah, that was the the the older man that was very gruff and very like stern. evidently he
• 1:07:47
  came upstairs to talk to a shut it down.
• 1:07:52
  Shut it down. He doesn't like that we're poking around.
• 1:07:56
  Mm.
• 1:07:57
  But he's fine.
• 1:07:58
  Just don't poke around but also don't tell me what to do. Right. We've had a lot of weird
• 1:08:02
  electronic issues that we don't want that we don't want to
• 1:08:07
  Yeah.
• 1:08:09
  They don't want us poking around. And sometimes that's just a matter of like leave us
• 1:08:13
  alone, we're fine. Don't we don't want you to know more.
• 1:08:17
  They're happy with the status quo the way things are stop asking questions we like Sabrina
• 1:08:21
  we're doing our
• 1:08:25
  She lets us be that's right about you.
• 1:08:27
  Yeah, I don't care.
• 1:08:29
  I staged my place in the beginning. still have a stage if we need a stage. There we go.
• 1:08:35
  Sage doesn't really do anything, by the way. Okay.
• 1:08:39
  It's okay.
• 1:08:40
  Hey, it's okay. I am a full disclosure person. I wanna make sure
• 1:08:45
  think that it does? Like why does that, does that come from the church? Because they sage
• 1:08:48
  in the church. Or is that just some kind of silly thing that we humans living, the living
• 1:08:51
  thinks actually does something?
• 1:08:55
  Sage does do something, just not what we think it does. Okay. So Sage upli so Sage is
• 1:09:00
  attuned to the tone of D sharp, which is the third eye tone, and it lifts the energy. And
• 1:09:05
  so if there's heavy energies, it will uplift it, but it doesn't get rid of spirits, it
• 1:09:10
  doesn't get rid of dark beings. It's
• 1:09:15
  really like clay.
• 1:09:17
  it doesn't cleanse like that. It cleanses like heavy emotions if you've been grieving or
• 1:09:24
  like Those kinds of things. So it will cleanse just it's not a cleanse all. Yeah.
• 1:09:31
  It's crazy that this all happened here. Well, I'm glad that we got a little bit of the
• 1:09:35
  story about the artwork in the closet. Because that was the main mystery that we were
• 1:09:39
  trying to see if we could get some information on. Yeah, because nobody knew anything.
• 1:09:44
  Nobody was like, I don't know. That's what they told me. I went with it. Like that it's
• 1:09:48
  gone through different homeowners and people have just gone, I don't know. I'm just going
• 1:09:52
  to keep it in the closet.
• 1:09:57
  Pass on the information.
• 1:09:58
  That's right.
• 1:09:59
  Yeah. you know, when people inherit these properties, they inherit the stories. And so I
• 1:10:05
  thought, well, let's see if we can unravel this one a little bit. we definitely got some
• 1:10:11
  information about it. It still makes me wonder more.
• 1:10:17
  I know, I want more information.
• 1:10:19
  Another question. What about Agnes? We're going to have to do another one and find out who
• 1:10:23
  Agnes She seemed happy, right?
• 1:10:28
  Well she liked that we bullied Robert because he bullies her.
• 1:10:33
  Okay. Was she the one that was?
• 1:10:35
  She's down so
• 1:10:36
  Yeah.
• 1:10:38
  And she said that she moves around through the different homes, but there are certain
• 1:10:43
  places she doesn't go, and she doesn't go outside.
• 1:10:48
  So she f she moves in the building, but some sh yeah, she does. I said, So do you visit
• 1:10:52
  all of them? And she said no. I said, but you could and she said yeah. So she just doesn't
• 1:10:56
  go to some places. Yeah.
• 1:11:00
  She probably likes the female energy. She just got chills again. Yeah. I'm she likes to
• 1:11:06
  hear she seemed fun. I liked her laugh. I liked her laugh. Yeah. I really did. That
• 1:11:13
  She was like laughing.
• 1:11:15
  reminded me of you a little bit.
• 1:11:19
  See she told you to shut up.
• 1:11:24
  I felt like she got a kick out of it. she did too. We heard her multiple times. Yeah.
• 1:11:28
  Yeah. And then she confirmed her name. So, yeah.
• 1:11:33
  So funny.
• 1:11:35
  Awesome. It's really wild like doing these investigations because you do really like you
• 1:11:42
  get to see the personality, right? It's not just this like flat, you know.
• 1:11:49
  Yeah.
• 1:11:50
  You really do kind of get a sense of who they may have been. And you just think about like
• 1:11:55
  all the people that have passed through these doors from, you know, when it was
• 1:12:01
  constructed to. Gosh, know, the artisans and musicians and different people that came
• 1:12:07
  through all of these places. I mean, I can't believe that you told me that this place,
• 1:12:13
  that apartment was level with the street. It was when they built it. Isn't that crazy?
• 1:12:19
  Cause it's so below that now. Yeah. Yeah. Yeah. then also that the spring that is
• 1:12:24
  underneath the Bennett House, the Spring House on Georgia Avenue, runs underneath this
• 1:12:30
  property as well. Well, there's a spring in that guy's driveway next door. Oh, wow.
• 1:12:36
  always, it's always got a dripping. that's part it. what's going on? Like, what is that?
• 1:12:42
  they didn't use it for water in these, because I looked that up, because I'm like, did
• 1:12:48
  they all, because that's what the Hay House, that was their water source. It was also the
• 1:12:53
  water source for the Macon Water Authority early on. And, but they didn't use it for water
• 1:12:59
  in here, but it does run. Well, that makes sense. If your neighbors driveway, it's
• 1:13:05
  probably, there's always water. So that's also like, can, I mean, there's a lot of
• 1:13:11
  different theories around water and yeah. Yeah.
• 1:13:17
  Yeah, a a steady current current of energy like that.
• 1:13:21
  Can bring, bring energy through and
• 1:13:25
  Yeah.
• 1:13:25
  just how, how things are so connected.
• 1:13:27
  Every historic home has a story. Some are carefully documented. Others are passed from one
• 1:13:27
  owner to the next, becoming part of the house itself. After we wrapped our investigation,
• 1:13:27
  I couldn't stop thinking about the portrait that brought us to the Slate Row houses in the
• 1:13:28
  first place. So I did a little digging. It turns out the image is a vintage Selz Shoes
• 1:13:28
  advertising print from the early 1920s, originally created as a promotional calendar
• 1:13:28
  before someone carefully trimmed and framed it as artwork. That gave us a little more
• 1:13:29
  history. During our investigation, Morrighan believed the spirit of a woman was connected
• 1:13:29
  to the portrait, not because of the artwork itself, but because for reasons we may fully
• 1:13:30
  never understand, she had become attached to it. Although these posters have become
• 1:13:30
  collectors items, what we still don't know is how that story began. Who first realized
• 1:13:30
  there was something unusual about the picture? Why it was passed from one homeowner to the
• 1:13:31
  next with the warning never to move it. Those are questions history hasn't answered. At
• 1:13:31
  least not yet. If today's investigation reminded you of a story connected to your own
• 1:13:31
  home, your family, or your community, we'd love to hear it. You can submit your story or
• 1:13:32
  request an investigation at EchoesOfTheSouth.com Until next time, I'm Carrie Genzel. Stay
• 1:13:32
  close.