Latest / Echoes of the South / Neel House: The Woman in the Photograph

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Neel House: The Woman in the Photograph · Echoes of the South

• 1:38
  Welcome to Echoes of the South. I'm Carrie Genzel.
• 1:42
  Sometimes an investigation begins with stories, sometimes with unexplained
• 1:48
  sounds, footsteps, or things that move when no one is looking.
• 1:54
  This one began with a photograph. Our friends Sheila and Doug Keane are the
• 2:00
  current caretakers of a remarkable piece of Macon history.
• 2:06
  Built in 1910 for Joseph N. Neel and his family, the home was designed by
• 2:12
  renowned Georgia architect Neil Reed, whose work helped shape some of the most
• 2:19
  distinctive homes and buildings across the state.
• 2:23
  More than a century later, Sheila and Doug took on the enormous task of
• 2:29
  restoring the house, preserving its history while bringing it back to life as
• 2:36
  a home once again. And all along with the house came pieces of its past
• 2:42
  Newspaper clippings, stories, photographs, and one photograph no one could
• 2:49
  explain. Among the materials passed down with the house were two copies of an
• 2:56
  image taken from the dining room toward the foyer.
• 3:00
  And standing there appears to be the figure of a woman.
• 3:05
  No one seems to know who took the photograph, when it was taken, or who the
• 3:11
  figure might be. Even Sheila and Doug, both engineers, initially wondered
• 3:18
  whether what they were seeing could simply be sunlight, a reflection, or
• 3:24
  something else entirely. But the photograph stayed with them, and eventually
• 3:31
  they invited us in to see what we might discover.
• 3:35
  This investigation was also a little different for us because this wasn't a
• 3:42
  house we were all walking into for the first time.
• 3:46
  We know Sheila and Doug. We've all spent time in their home.
• 3:51
  And during a previous visit, Morrighan had already experienced what she
• 3:58
  believed was the presence of a young girl upstairs.
• 4:02
  So we came in with one mystery, the woman in the photograph.
• 4:07
  But before the investigation was over, we would encounter a playful young
• 4:14
  presence, someone upstairs who seemed to need our help, and evidence we
• 4:20
  wouldn't discover until long after the investigation was over.
• 4:25
  Let's begin.
• 4:27
  We are talking to Sheila and Doug Keen and we are in their beautiful home and
• 4:31
  they are going to show us around to some of the the curiosities, the mystery
• 4:36
  that we're here to s to hopefully solve today and just to share a little bit
• 4:41
  of their home with us today before we start our investigation.
• 4:45
  you
• 4:46
  Where to? Where do we start?
• 4:47
  go to the curiosity cabinet downstairs in the basement.
• 4:50
  I love to start with a curiosity cabinet.
• 4:55
  fact as we go the basement was a place that no one really wanted to go to.
• 5:00
  And this was floored in and we had to take it out and allow build back the
• 5:05
  access from inside. You can enter it from the outside, but this was floored in
• 5:11
  and the people that had occupied the place before us really didn't go like to
• 5:16
  go down there because it was like a deep dungeon with a wall.
• 5:21
  I bet I was gonna ask you if it flooded a lot.
• 5:24
  yeah, flooded all the time. time. these original stairs were here and in fact
• 5:28
  up under these stairs had been walled off and there's an area that's now open
• 5:32
  that when we took that wall down was the first time in a hundred and ten years
• 5:37
  that area had been exposed.
• 5:39
  I've actually never been down here. my gosh!
• 5:45
  Look at this!
• 5:47
  So this is a collection of all of the things, not all, but the things we found
• 5:53
  when we were renovating. With the exception of the two hat boxes, those are
• 5:58
  things that I found at an estate sale and other friends gifted them to me
• 6:04
  because they're Joseph N. Neel's retail shop.
• 6:08
  So
• 6:09
  Fabulous. he was the original owner of the house.
• 6:13
  But these pumps were found in the attic. in the box, we don't know the story
• 6:20
  behind them. A broken shovel, some pottery.
• 6:23
  The possum skeleton, when we were renovating our kitchen, we were on ladders
• 6:30
  pulling the ceiling down and all of a sudden that fell on Doug's head.
• 6:36
  And at the time we didn't know it was a possum skeleton so we were freaking
• 6:43
  out.
• 6:44
  in the the skull in the front's actually a squirrel.
• 6:46
  He
• 6:47
  my god.
• 6:48
  stepped in the attic and took some of the insulation and pulled out and had a
• 6:51
  squirrel.
• 6:52
  Squirrel in my eye. A skeleton squirrel.
• 6:55
  Yeah.
• 6:56
  This is really fun.
• 6:58
  And we don't know who was drinking the liquor upstairs, but we found those.
• 7:02
  I was in the attic. We found these newspaper pieces from 1910 when we tore up
• 7:07
  the floor underneath one of the bathrooms which had like 10 feet 10 inches of
• 7:13
  concrete. We found that as in part of the rubble so they would use that as
• 7:18
  part of the insulation.
• 7:20
  Right.
• 7:24
  Right there. The original house had slate roof on the on the dormers.
• 7:34
  That's incredible.
• 7:34
  So in the attic we found pieces of slate like this.
• 7:38
  periodically still find find when we're working in the yard
• 7:42
  I bet because they fall off. We have a slate roof on our house, yeah.
• 7:46
  Well I've never seen that before. What a treat.
• 7:49
  Yeah. That's really cool. Morrighan will be very fascinated with that.
• 7:54
  So when we bought the house we got limited information from the Federated
• 7:59
  Garden Club and so this manila envelope was part of it and it gives you a
• 8:05
  little bit of history on the house, some newspaper articles and then we got
• 8:12
  these two photos and it's just a color photo and a black and white photo and
• 8:18
  it's in this room looking there and this image which looks like the image of a
• 8:24
  young girl in this area here.
• 8:27
  you
• 8:28
  And no one really knows the story behind it.
• 8:31
  We don't know the story behind it. Some of the ladies said, yeah, we think it
• 8:36
  was just a woman or a girl ghost.
• 8:39
  But we we we don't know. Like it's no big deal.
• 8:41
  Yeah no big deal. I'm just looking to see like in the afternoon.
• 8:45
  This tent looks like it's afternoon to me.
• 8:48
  Yeah. And the sun goes down over here.
• 8:52
  any kind of because are these these look like the original windows.
• 8:56
  Do you get any kind of like light prisms or any kind of is it I'm just trying
• 9:01
  to think of like w where exactly is is she would be there.
• 9:06
  Right here, yeah, in this area.
• 9:08
  So I gotta tell you, yeah. Certain times of year, in fact I was I got a
• 9:12
  picture somewhere, but I won't look it up now.
• 9:15
  If you are in that room in there and walking this way, the sun sets right over
• 9:19
  there. Yes. And this room closed.
• 9:22
  It does. I've been here and
• 9:24
  It just closed and when you stand off over there and look through here, it's
• 9:28
  like this powerful light coming through the door here.
• 9:32
  And so certainly it could have been a reflection, it could have been anything.
• 9:37
  What's interesting though is like it's not to me like a streak.
• 9:40
  Like it looks
• 9:41
  you
• 9:42
  like a human form.
• 9:44
  A human form with an arm.
• 9:46
  Almost like she's showing something or she's like welcome.
• 9:50
  Right? Yeah. That's what's interesting to me.
• 9:53
  I love that. I love so you know, with that of the South, it's not just
• 9:58
  necessarily a haunting or people saying, I think there's something in my
• 10:03
  house. It's the mystery of things. And of of looking at things like this and
• 10:09
  do we we don't even know when this was taken.
• 10:12
  Because it's a copy.
• 10:14
  It's a copy, yeah. And I don't have the original.
• 10:17
  Right.
• 10:18
  And think about like, hmm, like what is that?
• 10:21
  Like who is that someone? Is it light? Is it it does look very much like a
• 10:27
  female to me. it's very fascinating. And I love that they just passed that
• 10:33
  along like it was newspaper
• 10:36
  embedded.
• 10:37
  articles, the female apparition some plans.
• 10:41
  Exactly,
• 10:42
  Now one thing I have to say, because I'm not from Macon and and I've had the
• 10:46
  privilege of being in a lot of beautiful historic homes, is that it's not
• 10:51
  uncommon that people say things like that.
• 10:54
  I we I was at a barbecue recently and someone said, I have a female ghost in
• 10:59
  my house. Like it was like a roommate. I said, J they actually live down the
• 11:03
  street. but it's very interesting to pass that on.
• 11:07
  What did you think the first time you saw it?
• 11:10
  we're both scientific minded people, engineers.
• 11:14
  And so we immediately thought, it's just, you know, the sun, the reflection,
• 11:21
  something like that. And, when we bought this house, we
• 11:26
  you
• 11:27
  understood there was a very, this is a female home.
• 11:30
  This is a woman for sure. And she has a spirit and she has a vibe and she has
• 11:35
  an energy. And so when we spent more time in the house.
• 11:39
  probably me more than Doug, if we do have some sort of spiritual presence or
• 11:44
  ghost, it's definitely a woman. Sure. Yeah, now that looks like a young girl,
• 11:49
  so maybe it's a younger female form. I don't know.
• 11:52
  But we originally thought, that's just a reflection.
• 11:55
  It's nothing. Yeah.
• 11:57
  But it kinda sat with you. Yeah, yeah. I you know, we've spoken before and I
• 12:02
  and I've told you about some of our experiences in the in other historic
• 12:06
  properties downtown Macon and and we've definitely encountered homeowners, in
• 12:11
  former homeowners in properties, and typically there is this sense of pride in
• 12:16
  that and and more can can speak to that more so 'cause she's the one that
• 12:21
  connects. But even at the eighteen forty two inn, definitely we were s we got
• 12:26
  that hay house we did have that. Very very Very much the pride and of like let
• 12:31
  me show you around. And it's very interesting.
• 12:35
  You feel that love within the home that that that's still there.
• 12:39
  And I think that you all have done so much to restore this beautiful property
• 12:44
  that you continue to add to the spirit of the house.
• 12:47
  And and I know that I've been to a number of really wonderful gatherings here
• 12:52
  that are full of community and love and appreciation, and I think that just
• 12:57
  keeps. feeding into the spirit of the home.
• 13:00
  So I you all I think play a lot into that as well, right?
• 13:04
  Your spirit in the energy you put into it again contributes to the feeling of
• 13:09
  the home.
• 13:10
  Yeah.
• 13:11
  I think you just think about all the the life that's come and stood on the
• 13:15
  stairs and gone up and down those stairs. It just definitely feels like a real
• 13:19
  an artery to the house. you know, in terms of the energy and it's been so
• 13:23
  documented over the years and holds such a special place within the Macon
• 13:27
  communities. Like you said, there's so many big milestones that have been
• 13:31
  celebrated. Yeah.
• 13:32
  people got married here and had their reception here, and that was even after
• 13:36
  the Joseph N. Neel family lived here. So this has been a place where there's
• 13:41
  been some really momentous moments in people's life.
• 13:45
  Yes. And so That's why I feel a lot of joy in this house.
• 13:48
  Well
• 13:49
  And I think we we mentioned this earlier too that outside of yourselves, it
• 13:53
  was only one family.
• 13:55
  That's right. We're only the second family.
• 13:58
  That's so unique, you know, to have that. and so that's really special as well
• 14:02
  because it's really re retained that energy of a family home.
• 14:06
  It wasn't chopped up and turned into although it was the with the garden club
• 14:11
  for many years, but they did.
• 14:13
  But they kept it pretty much in
• 14:16
  And all of the remaining children from the Neel family, we've met, think all
• 14:21
  of them. We have. And they've been here since we renovated.
• 14:25
  wow. Which is really special as well.
• 14:28
  So we feel a responsibility, and we did from the moment we came here to
• 14:32
  maintain the history of this house, preserve it for as for what it was.
• 14:37
  But not only for this home, but as part of Macon's history and heritage is
• 14:43
  that we wanted to keep this home as close as we could to what it was when it
• 14:48
  was built and maintain that same history and heritage and keep it going.
• 14:53
  Let it be a place where where people want to come in.
• 14:57
  you think about how the whole the whole home comes alive 'cause that's what it
• 15:01
  loves. They love to be they love to be full of life and music and laughter and
• 15:06
  celebration. And i it always feels like they're sad when they're empty.
• 15:10
  When you walk into them and they're not being used and they're empty, it
• 15:15
  always feels a little sad, like they're just they're waiting for the next
• 15:19
  chapter. You know, and and certainly you've you've started a new chapter here
• 15:24
  and it's it really has come back to life. She Has it come?
• 15:28
  Fact.
• 15:30
  So this is our staircase where many brides came down and got married.
• 15:36
  This is our lovely indoor planter area that we only discovered a few months
• 15:43
  ago.
• 15:44
  I know.
• 15:47
  Doug Manley is the one that rebuilt this, but it's quite sophisticated for the
• 15:51
  day. It has a drain that drains outside and the piping was still in place and
• 15:56
  we always wondered what was that pipe on the outdoor and it was for this
• 16:00
  planter that had been covered up for I don't know how many years because the
• 16:05
  Federated Garden Club didn't know that was there either.
• 16:09
  Now isn't that ironic though?
• 16:11
  Yes it is. Yes it is.
• 16:13
  Well,
• 16:14
  It was just like I was talking in the basement, it was almost like we had
• 16:18
  exposed something that had been covered for 50, 60, 70 years.
• 16:21
  Yeah. And in fact, when I took the top off, there were still some of the old
• 16:26
  bricks that they had put in there to stack plants in.
• 16:29
  There was some of the old metal potter, potting plants that were in there.
• 16:33
  It was made out of the original heartwood.
• 16:35
  Wow. And it was lined in tin that had been soldered and again with a drain in
• 16:40
  it. So someone had really thought through that.
• 16:43
  I love it. It's it's amazing and look at how happy the plants are.
• 16:47
  Well and it was a perfect place to have a plant, to for plants to be in front
• 16:50
  of this massive
• 16:51
  Sure, yeah.
• 16:55
  Now we'll go up to the attic. You can feel the warmth.
• 17:00
  It's getting warm.
• 17:02
  This was what we understand was the headmaid's room and you can see it's been
• 17:06
  finished off.
• 17:07
  it has.
• 17:08
  And you can even see if you come on in, Cheryl's, it's got even some
• 17:13
  decorative molding around the door. It was done pretty nice.
• 17:18
  There was probably a bed in here and maybe a deck.
• 17:20
  And a window that they could get painted.
• 17:22
  This year, can you imagine? And then she would go down those stairs and the
• 17:26
  back stairs and go to work.
• 17:28
  and never be seen.
• 17:29
  This is the only one that that opens. That
• 17:32
  up here.
• 17:32
  I've gotten open, but you can actually
• 17:35
  Look how cute that is.
• 17:36
  That's a cute window. you get the
• 17:40
  Yeah.
• 17:40
  helicopter. That's the helicopter.
• 17:49
  Adorable.
• 17:50
  you
• 17:51
  Well, I think this puts us in a really w that we've got a lot of history,
• 17:56
  we've got our mystery. I know Jon and Morrighan are already looking at the
• 18:01
  photo. Okay. and you know, this is a little bit of a different type of
• 18:06
  situation because we know you personally and we've all been in the house
• 18:12
  before. So it's it's a little bit of different than than a lot of our
• 18:17
  investigations. but we're excited to dive in and see see what we can discover
• 18:22
  and and find out.
• 18:24
  We're going to upstairs bedroom. Alright, we're two.
• 18:45
  but let's go in that room just see what see what's what.
• 18:51
  Yep. I do want to come back into this space, but don't have to do it right
• 19:00
  away.
• 19:01
  Alright.
• 19:03
  this is their private space, right? Their bedrooms.
• 19:04
  Yeah. And this would have been the these were the rooms for the
• 19:09
  Original.
• 19:11
  family, the husband and wife.
• 19:14
  Mm-hmm.
• 19:17
  Interestingly if I something
• 19:18
  Bang calls.
• 19:18
  out. Yeah. Maybe this is nothing I always love an investigation, but
• 19:24
  For some odd reason, I wanna get out of here.
• 19:28
  Like I don't wanna
• 19:30
  Kill.
• 19:31
  Wait, the remote coming.
• 19:34
  Yeah. temperature and proximity.
• 19:39
  wow. It's both.
• 19:42
  So something's making me
• 19:43
  Like I I just
• 19:44
  just wanna leave.
• 19:45
  A little dread.
• 19:46
  But is it because we're in the private
• 19:49
  No, it felt it worked since the minute I got here.
• 19:53
  So that REM pod that is the proximity hitting like it like it is.
• 19:58
  It's like a level one with like you said the temperature change.
• 20:03
  So we'll give it a moment, see if it's just still trying to find baseline.
• 20:09
  But that was pretty pretty high. That was a pretty hard hit.
• 20:14
  Let's let's find a I think that one room where the Run Put is is more of a
• 20:18
  sitting let's
• 20:19
  Yeah.
• 20:20
  sit in there. Okay. Sit and just relax a little and settle down.
• 20:23
  Okay.
• 20:24
  Yeah. All right.
• 20:33
  That's not supposed to be doing anything.
• 20:37
  A little I need there is some kind of
• 20:38
  Why?
• 20:39
  Yeah. Let's go ahead and sit down and I'll come back and move it.
• 20:45
  I got my hands full.
• 20:47
  You Thanks
• 21:05
  Alright, we'll try that. And then this one I'm just gonna test it real quick.
• 21:13
  Okay, good, good, good.
• 21:16
  This one where you are. yeah. Like right there in that hallway.
• 21:20
  No, what do we say about there there were we don't even know, probably
• 21:25
  hundreds of weddings or
• 21:27
  Yeah.
• 21:30
  So there's that energy.
• 21:33
  Yeah, I can filter through things like that pretty fast because that's
• 21:37
  residual memories. Right. That doesn't have anything to do with the space.
• 21:42
  So I can I can filter through that pretty quickly.
• 21:46
  but then when you get down to a lower level there's more of the long
• 21:51
  Bye.
• 21:52
  term memories, like the lived experience, right?
• 21:54
  The family. And it's interesting that there was a house here before it 'cause
• 21:59
  I'm like, I know they said it's only one family, but I feel like somebody else
• 22:04
  Okay, whatever. But I could feel more layers than of course 'cause the land is
• 22:08
  also historical. Yeah. But yeah, there was I could feel another layer in
• 22:13
  there, I just didn't have words for it. Yeah.
• 22:16
  you
• 22:18
  But the the ambiance of it, right? The joy and the celebrations, like yeah.
• 22:24
  That's sort of the first layer of awareness, which is beautiful.
• 22:30
  And I think
• 22:31
  love it.
• 22:32
  that's what they're picking up on too when they say that they
• 22:34
  house has
• 22:35
  a spirit where they love the the woman of the house, they keep calling it she
• 22:40
  where there's a lot of joy here, a hundred percent, right?
• 22:44
  And then you get to the lived experience layer and there's a little bit more,
• 22:49
  it means lived life, right? There's joy and grief and loss and
• 22:54
  Which one?
• 22:55
  The one on the chair on the left.
• 22:58
  Yeah, that's a pretty hard hit. And this temperature is going off as well.
• 23:05
  So they're both going off.
• 23:08
  And that was silent for a long time, so we know it's not wiring.
• 23:12
  you
• 23:14
  Talking about lived experience, joy and
• 23:18
  you
• 23:18
  And I think we're tapping into sort of a consistent general fear when we do
• 23:24
  these in these residential spaces because family have privacy.
• 23:30
  Yep. And I think there's a just an underlying worry that
• 23:35
  Proximity in there is going off with the temperature one going off in here and
• 23:42
  there's no vent for the AC to be kicking on.
• 23:46
  So both doors we have something coming in.
• 23:51
  you
• 23:55
  So again, these are this is a level that guests, right, typically are received
• 24:02
  in. If you think about the the just the the time period of the house, right?
• 24:09
  or perhaps time period before. So we're in a very private area of the house,
• 24:16
  as strangers. That can be a little
• 24:20
  Are you just playing with me now?
• 24:22
  I think it's the girl.
• 24:23
  I think she's playing with us now. Now that's temperature.
• 24:34
  And there's no vent. And now that one's hitting.
• 24:43
  Yeah, they're they're playing with us. That's true.
• 24:53
  Is that you, our the young girl that we that we met the first time we were
• 25:03
  here? You give me an indication on one of those Really cool toys.
• 25:12
  Are you playing with the the toys here? Making it light up for us?
• 25:25
  Do you not like us talking about your your home life?
• 25:31
  Yeah, that's
• 25:33
  Over here.
• 25:34
  out of respect, just so you know. We're here simply to hear your story and See
• 25:44
  if you need anything. Is that okay that we're here?
• 25:52
  It's okay that you're playing with it. You're not in trouble.
• 25:57
  We we we we thought it was funny. Yeah, you can just play with them.
• 26:04
  Thank you.
• 26:05
  Yeah. Yeah. Yeah, she's playing with them.
• 26:09
  It's okay to play. So there you go.
• 26:14
  This is her and she's touching.
• 26:14
  temperature.
• 26:17
  That's a proximity.
• 26:19
  Yeah.
• 26:20
  Can you grab it like even more? Like maybe shake it?
• 26:30
  Do you get a sense of an age range?
• 26:35
  for her. Yeah, she feels anywhere from like twelve to thirteen, kind of that
• 26:40
  on the cusp of you know, teenager but not yet.
• 26:44
  So still childlike.
• 26:46
  Yeah. You can focus more on Jon because they haven't this one.
• 26:54
  Yeah. So the temperature again? Yeah.
• 26:56
  Yes.
• 26:57
  See there's no vents in that hallway. And the temperature will move if it's
• 27:04
  like one degree. Yeah. No sound.
• 27:08
  And no one else is moving around? No. Maybe she's agreeing with what you're
• 27:13
  saying.
• 27:14
  I feel like she's like already likes us and knows us.
• 27:17
  Like this isn't a nervous thing, this is like a excited thing.
• 27:22
  That's what I was picking up on.
• 27:23
  Like she's like, What are you doing? This is cool.
• 27:26
  Yeah and we've all been here before. We're friends with She and Doug and we've
• 27:30
  been here many times.
• 27:32
  Yeah. Yeah, she it felt very excited, excitable energy, like wanting to play.
• 27:40
  I wanna mark it. I I actually felt like she touched my hand.
• 27:43
  really? I did. I felt a little tickle, like a physical tickle.
• 27:46
  I
• 27:47
  She was like, Hey.
• 27:49
  feel like this is her room. Whether it was her bedroom or her playroom, this
• 27:53
  room feels like hers. It's where I ran into her when we were walking.
• 27:58
  yeah, they're right there.
• 28:00
  That's the other room. Jack and Jill bathroom.
• 28:04
  So I we walked through and I walked she was standing inside this room and I
• 28:10
  walked through her. That's why I wanted that there because I do feel like this
• 28:18
  is her space. Put one put the temperature on the floor in front of
• 28:24
  Mm, yeah. There we go.
• 28:31
  So we can see if what temperature is shifting, that would be kind of cool.
• 28:35
  so it'll go red for heat and
• 28:37
  And blue. Mm-hmm. And
• 28:40
  Mm.
• 28:42
  there we are.
• 28:44
  Maybe put that one by that picture on that table.
• 28:49
  So we're putting this up here, see all the rainbow?
• 28:54
  Brought some new things in here for you.
• 28:55
  Yeah, this little light here, I'm just gonna put it on the ground.
• 28:59
  And this is like motion, so if you touch it, it'll light up.
• 29:04
  Alright honey, we brought some new things in here.
• 29:05
  So
• 29:06
  Yeah.
• 29:09
  you gotta do is touch how you've been touching.
• 29:12
  What do you think?
• 29:13
  Just touch them.
• 29:18
  So again, like this little ball here, if you can see it, it's right in front
• 29:24
  of us. If you can touch it, it's gonna light up.
• 29:28
  There's no sound to it though, not like the other one in the hallway.
• 29:34
  Then we have one up here on the table. It has like a rainbow color.
• 29:39
  So if you brush up against it or move your head, your hand over it or put your
• 29:46
  hair on it or just touch it, it's gonna light up for us.
• 29:50
  And the one in the hallway, that is a temperature of the ball is hitting.
• 29:57
  That one's cool.
• 29:59
  Mm-hmm. So just wanna make a note, when you went downstairs and you we we
• 30:05
  heard you talking to her, I got hit with something right here.
• 30:10
  And it's like there's an adult that's keeping us in our place.
• 30:15
  We can play with the child, but nothing else.
• 30:18
  And then so there's like a guardian or a gatekeeper that won't let us see any
• 30:25
  more than it's gonna let us see.
• 30:28
  So not a nanny for the child, it's something else for the other things.
• 30:33
  It's like a family member that's like you don't
• 30:37
  Mm, family.
• 30:38
  want us to know family secrets. So
• 30:40
  Gotcha.
• 30:41
  I do feel it's an older woman and she did say you can play with the child but
• 30:46
  nothing else. And so it's like that's all we're all we're given permission to
• 30:51
  do.
• 30:52
  And nobody was moving.
• 30:54
  Right. She likes that.
• 31:11
  It's somebody protecting the family secrets.
• 31:13
  Family, okay.
• 31:15
  A matriarch? cat ball. Which, you know, I
• 31:23
  That's fine. Totally. I mean it's something it's something we've come up
• 31:28
  against before and we've I just want to say to the woman we we mean nothing
• 31:35
  but respect. We're here to share some space with you.
• 31:39
  Yeah. We're here to hear any stories you want to tell or or just keep you
• 31:45
  company for a little while. But she is stern.
• 31:49
  She's like, You better be glad that's what you you're getting that.
• 31:55
  So you're not in trouble. You can come back and play.
• 32:00
  Play with the lights.
• 32:03
  You still here, honey?
• 32:07
  I'm hearing chirping, that's proximity.
• 32:09
  heard that that was very light. Very light.
• 32:11
  Hallway?
• 32:12
  Just in like hallway.
• 32:15
  Temperature? Uh-uh. proximity? No.
• 32:19
  now it's
• 32:22
  It's not this one.
• 32:24
  Yes it is.
• 32:26
  it's
• 32:26
  That's
• 32:28
  With that one too, the red light's on.
• 32:30
  It went to seventy five degrees. It was at seventy-six.
• 32:36
  I was just about to say
• 32:37
  that's proximity. That's the first time that one did proximity
• 32:41
  I'm trying to say something and she keeps answering.
• 32:44
  I think her name is Abigail.
• 32:46
  Abigail.
• 32:47
  I keep hearing Abigail and I'm like I s I said I'm I'm thinking it's and then
• 32:51
  it went off and then and I'm starting to say it again and it went off.
• 32:56
  Yeah.
• 32:57
  Well thank you. It's really great to meet you, Abigail.
• 33:01
  Thanks for coming back.
• 33:04
  Yeah, thank you. Appreciate that. I just had to have a talking and now she's
• 33:09
  allowed to come back.
• 33:11
  Yeah. Thanks for coming back into the room.
• 33:19
  So we know your name, so do you wanna know our names?
• 33:22
  My name's Morrighan
• 33:24
  I'm Carrie
• 33:25
  I'm Jonathan.
• 33:26
  This is Michael. I'm Michael.
• 33:33
  Thank you. Yeah. Thank you, Abigail. Hello.
• 33:38
  It's really nice to have you come back into the room with us and and like
• 33:48
  interact with the devices, interact with the the toys and be back in here with
• 33:58
  us.
• 33:59
  Okay.
• 34:00
  There was a definite environment shift
• 34:03
  Okay.
• 34:04
  in in that moment. Yeah. In that silence.
• 34:11
  Hmm.
• 34:14
  I haven't been in the attic. Do we want to go in the attic while we're here?
• 34:17
  We can
• 34:18
  Yeah, you might get different energy up there.
• 35:01
  Study.
• 35:03
  It gets worse. Yeah. It's it's moist.
• 35:10
  my gosh, it's hard to even catch your breath up here.
• 35:13
  Shut the work
• 35:14
  The door.
• 35:14
  is the air.
• 35:20
  Is that the room? Yeah.
• 35:23
  So what's the job with the room?
• 35:25
  It's where it was someone's quarters. Someone's
• 35:27
  We're doing
• 35:29
  either the cook or the housekeeper. I just don't like it up here and it's not
• 35:39
  because of the heat. It's just so sad.
• 35:44
  I'm gonna I'll put this in the middle.
• 35:51
  This room.
• 35:58
  it's awesome.
• 36:00
  Yeah.
• 36:02
  Nice. Good little baseline.
• 36:05
  Makes me sad.
• 36:07
  This room makes you sad. You okay? Mm-hmm.
• 36:20
  Yeah. You know the the feeling of like when you're just existing?
• 36:25
  You're just existing. Right. And like just praying for the day you can just
• 36:32
  not exist anymore. That's what it feels like.
• 36:37
  Right.
• 36:39
  Sorry that was me. Alright. Yeah, it's definitely warm up here.
• 36:52
  So do you feel that there is still like someone here that's just existing?
• 37:08
  It may not be an actual spirit, it might just be like an imprint.
• 37:14
  This feels like
• 37:16
  That's temperature change. Although it should find a baseline.
• 37:22
  'Cause it's It's different. It's hot. Yeah.
• 37:30
  Eighty six degrees.
• 37:34
  Mm-hmm.
• 37:39
  Whoever was in this room was religious enough and this I'm just gonna say it
• 37:44
  the way I feel it. Was religious enough not to commit suicide, but really,
• 37:48
  really, really didn't want to be alive. Mm-hmm.
• 37:52
  Yeah.
• 37:53
  And so there was enough religious belief, enough of
• 37:56
  Thank you.
• 38:01
  Enough of that. It's got its baseline already, so it should have already
• 38:21
  settled. Am I talking about you?
• 38:30
  That was me.
• 38:34
  If there is somebody here we we wanna know who you are.
• 38:36
  We would like to meet you.
• 38:40
  Alright, just got baseline here.
• 38:44
  So the in the thing that Jon is holding is something that we use to have a
• 38:49
  conversation with where you can move the needle.
• 38:52
  One for yes, two for no.
• 38:54
  Yeah.
• 38:55
  Hello there. Are you the woman that takes care of the house?
• 39:01
  Are you the cook? Yeah. Is this your room?
• 39:06
  Is this where you would sleep? Yes. Yeah. Am I feeling you correctly?
• 39:13
  You have a very strong faith, but you're not really wanting to be here
• 39:21
  anymore. Is that correct? I'm so sorry, honey.
• 39:26
  Would you like to come with us and we can show you a way home?
• 39:33
  Are you ready to rest? It was a little yes.
• 39:37
  Yes. So we're gonna walk downstairs. Do you wanna walk downstairs with us?
• 39:45
  Get out of here. Can she go down Yes,
• 39:50
  That was a yeah.
• 39:51
  okay. Yeah, so I'm just letting you know we know how to get you home, okay?
• 39:54
  So when we walk downstairs, we're gonna open up a door for you so you can go
• 39:58
  home and rest and be with your family.
• 40:01
  Yeah.
• 40:04
  It is okay that you leave, the family doesn't need you anymore.
• 40:09
  They told me it's okay for you to retire.
• 40:13
  Yeah.
• 40:14
  Yeah.
• 40:15
  It's okay. They said that she's gone. Let's go downstairs.
• 40:19
  Really quick.
• 40:24
  Is your name Anna? Or Anna? That's okay, you can come down.
• 40:31
  The owner said it was okay. And it's okay that you're here with us.
• 40:40
  You don't have to go into the kitchen. Was there a way that I would get into
• 40:50
  the kitchen that would be different? Okay.
• 40:55
  I can feel that. It is okay, you have permission.
• 41:02
  This is your going away party, so you get to use the main staircase.
• 41:11
  Come on in. I want you to come talk to me just for a minute and I'm gonna open
• 41:21
  the door and we'll get you a a bus ticket home.
• 41:27
  Okay? Come on honey.
• 41:30
  I'm standing here and I've
• 41:32
  Looking at you and then
• 41:33
  shifted to the left a little and there's an angel in the window.
• 41:42
  Come on, honey. I promise you have permission, you're not gonna get in
• 41:59
  trouble. Are you there?
• 42:05
  Thank you for your service. We
• 42:07
  Yeah.
• 42:08
  really sincerely appreciate everything that you've done for this house and for
• 42:13
  this family.
• 42:14
  Yes, You get to retire with pride. You did a great job.
• 42:23
  The children have grown up.
• 42:26
  Is that you, sweetheart?
• 42:28
  Yeah.
• 42:29
  One for yes, two for no. It's okay. I promise you're it's okay.
• 42:34
  Okay. Are you ready to go home, see your family and retire and sit on the
• 42:40
  porch and drink sweet tea? Alright, so I'm gonna call a friend and they're
• 42:46
  gonna open this door right here, okay? And you're gonna be able to go home,
• 42:52
  right? So my friend's name is Archangel Michael.
• 42:56
  We're gonna ask Michael to open the door and you grab your suitcase and he'll
• 43:02
  take you to your bus stop, okay?
• 43:05
  Big yes.
• 43:06
  Yes. Thank you so much, honey. It's okay, you can rest now.
• 43:13
  So if Michael, if you would open that door.
• 43:18
  No, it is okay to rest. It is okay to go home to your family.
• 43:25
  There you go. Yeah. There you go.
• 43:30
  Did she go?
• 44:08
  So it was a worthy thing or a I haven't earned it yet.
• 44:12
  So there was a whenever we're complimenting her, she was just like, No, no.
• 44:18
  I did get it she was a black lady, tiny little thing, like tiny little body,
• 44:24
  like this, and she had her little suitcase and packed her bag.
• 44:29
  She packed her bag.
• 44:31
  Mm-hmm.
• 44:34
  Yeah, good.
• 44:35
  Sweet.
• 44:38
  Yeah, I felt it was very important to to reassure her and let her know that
• 44:43
  she did amazing job. She's like everybody appreciated her, the kids, the
• 44:48
  house, the family.
• 44:50
  I'm glad you did. Yeah. 'Cause there was a service oriented obligation thing,
• 44:55
  like I don't want to let the family down. So that's why I kept saying, like,
• 45:00
  no, the family said it's okay and
• 45:03
  Yeah. It's
• 45:05
  Yeah, time to go home.
• 45:07
  it's incredible in these old homes.
• 45:09
  Like
• 45:10
  And not even we haven't come across it as much in our investigations, but I've
• 45:16
  heard it from homeowners about spiritual activity that seems to be tied to
• 45:22
  service to people that are still spirits that are still doing their job.
• 45:28
  Right. It was their entire identity. Right.
• 45:31
  Right, and that's it. 'Cause you would think it's like your work here is done,
• 45:36
  like go home, but there's that's they that was everything.
• 45:40
  she died in that room. She died in her sleep.
• 45:45
  I just saw that, sorry. Just saw that.
• 45:51
  Mm.
• 45:52
  So she just woke up like it was another day.
• 45:56
  Did she know that she did you read me?
• 46:02
  I wonder why I was using that language. She needed language like it's okay to
• 46:07
  retire, get on the bus, go see your family.
• 46:10
  Well she slipped away and her working.
• 46:11
  Yeah, she was still
• 46:15
  I wonder how long ago that was and if someone replaced her, she must have been
• 46:20
  like, What are you doing in my room? Hmm.
• 46:24
  Yeah. Feels like a late forties. The timelines are iffy for me, like I don't
• 46:30
  know if in reference to her birth or her death or her life, sometimes it's a
• 46:36
  little iffy but it's around that era. Yeah.
• 46:39
  No, sh and she didn't I felt like it wasn't worth holding on to her to get
• 46:45
  more information. No, no, and I knew no no no I'm just saying like let's get
• 46:52
  Our number one thing is always to be of service.
• 46:54
  It's not
• 46:55
  It's not
• 46:56
  to interrogate who may be here. It's to be of service we can get information.
• 46:59
  But it's not like
• 47:00
  So that we do like to see
• 47:05
  tell us your whole life.
• 47:07
  Priority is them. Service service.
• 47:12
  And and now I understand because she didn't know she wouldn't have been able
• 47:16
  to answer much anyway. She wouldn't have talked to us.
• 47:20
  No, 'cause she didn't know.
• 47:21
  She doesn't know us.
• 47:23
  By mistake, although we don't typically but
• 47:26
  Well I mean like she wouldn't have talked to people of the house.
• 47:30
  She would have been silent. So she wouldn't have answered our questions
• 47:34
  anyway. Right. Even as a tangerine. Right.
• 47:37
  Wow. Well that was efficient.
• 47:39
  That's lovely.
• 47:41
  I can kind of envision her with her suitcase like going out the door.
• 47:45
  Yeah, she is really cute.
• 47:47
  We came into this investigation with one central question.
• 47:52
  Who was the woman in the photograph? And we left without an answer.
• 47:58
  But somewhere along the way that question became only one part of the story.
• 48:05
  We encountered a young presence Morrighan identified as Abigail.
• 48:11
  And later I discovered that Abigail was once used as a term for a ladies maid,
• 48:18
  raising an entirely new question about whether we'd been given a name at all
• 48:25
  or role. And then There was Anna. What struck me most about that experience
• 48:32
  wasn't simply that Morrighan connected with someone who seemed unaware that
• 48:39
  she had died. It was how much the expectations of Anna's life still seemed to
• 48:46
  define her. Even after death, she appeared concerned about being somewhere she
• 48:53
  shouldn't be. About people entering her space and eventually about whether she
• 49:01
  was even permitted to use the main staircase.
• 49:05
  There was something incredibly moving about watching those rules finally fall
• 49:12
  away. She didn't need to work anymore. She didn't need permission.
• 49:18
  She could simply go home. And had the investigation ended there, that would
• 49:25
  have been enough. But it didn't. Because sometimes the most extraordinary
• 49:32
  moments aren't the ones we recognize while they're happening.
• 49:37
  during evidence review we discovered what sounds like footsteps as Anna was
• 49:44
  being encouraged to come downstairs. And then Jon found something none of us
• 49:51
  knew we'd captured. As an orb moves through the foyer, another figure seems to
• 49:59
  emerge with it, near the very place where the woman in that original
• 50:05
  photograph had been captured. We believe what Jon captured is an apparition of
• 50:12
  a woman. Who she is, we still don't know. We don't even know whether her story
• 50:19
  belongs to this house or perhaps to the property and the home that stood there
• 50:26
  before it. We came here because of an unexplained photograph, and somehow we
• 50:33
  left with one of our own. If you've had an unexplained experience or would
• 50:40
  like to request an investigation, visit EchoesOfTheSouth.com Join us as we
• 50:47
  continue uncovering the stories, the history, and the mysteries that echo
• 50:54
  throughout the South. Until next time, stay close.
• 50:59
  we have a lot to unpack here, and I want to dive right in.
• 51:03
  So while we were investigating the Neel House, we definitely experienced
• 51:09
  things there. And we got a lot of REM pod hits, we got temperature changes, we
• 51:15
  got a lot of activity, but then As I was editing and Jon was doing evidence
• 51:21
  review, it got better. So
• 51:24
  So much better. my god.
• 51:26
  much better. So I'm gonna start with what I discovered during my editing
• 51:31
  process, which is a moment that happens upstairs in the sitting room in the
• 51:36
  front of the house where we're speaking to the young girl who Morrighan you
• 51:41
  identified as Abigail, which is another revelation in terms of that name.
• 51:47
  That I realized as I started doing more research, because we also we also
• 51:52
  encountered an Abigail at The Big House at a previous investigation, a girl
• 51:57
  around the same age who was upstairs in what would be the you know private
• 52:02
  quarters, bedrooms, et cetera. And it seemed odd to me that these two
• 52:07
  English-style tutor homes, right? That would have two girls around the same
• 52:13
  age that identified themselves as Abigail, and knowing that they weren't the
• 52:18
  same girls. Like you were like, they're not the same girls.
• 52:22
  And so doing some research, I realized that Abigail was a slang term that was
• 52:28
  used for a ladies' maid. And it was often, you know, it was women, but y or
• 52:33
  young girls. And there were often 12, 13, 14-year-old girls that worked in
• 52:39
  these homes. And so That was a big aha moment for me, that they would identify
• 52:44
  themselves by their job or title. And we've talked about that when we
• 52:49
  encountered different people that work in these homes.
• 52:53
  they wouldn't have it wouldn't have identified themselves as their their name,
• 52:58
  right? They would have identified as the title, especially because there was
• 53:04
  someone watching her. So she would have been very on her toes.
• 53:08
  so
• 53:09
  Right.
• 53:09
  Mm-hmm.
• 53:10
  that was a big revelation. But while we were getting all those hits.
• 53:14
  And Morrighan was getting that communication.
• 53:18
  I discovered the, I don't know what you call it.
• 53:21
  Is it a giggle? It kind of sounds like a giggle or or like a girl going like,
• 53:27
  you know, like she's being kind of a smarty pants because we're talking about
• 53:32
  her and the equipment going off and she's having fun.
• 53:36
  So I'm gonna replay that clip really quick and then we'll talk about it.
• 53:42
  I mean, it's quick. It's quick. But I was
• 53:45
  my god. Yeah.
• 53:47
  Thanks.
• 53:48
  like, what is that? Now none of us react to that in the room.
• 53:51
  So it
• 53:52
  All right.
• 53:53
  wasn't heard in the room. We would have responded to that.
• 53:57
  Morrighan what does the initially, what was your what's your first impression
• 54:02
  when I brought that clip to you?
• 54:05
  as soon as I heard it, I'm like, that's her.
• 54:07
  Like I kind of
• 54:08
  Right.
• 54:08
  feel like, cause there's a, when I communicate with spirits, I get, so I
• 54:13
  communicate with them through frequency. So I actually feel the telepathy.
• 54:18
  don't, I hear it, but I feel it. It's a weird kind of combo sort of way that I
• 54:23
  communicate. And so that leaves with me an impression of their frequency.
• 54:29
  So when I hear things in review, I can match it and I either get the yes or
• 54:34
  the no, like yes, that was them or no, that's something different.
• 54:39
  And so it's sort of my like key to the map of when I'm communicating.
• 54:43
  And so as soon as I heard that giggle, I went, that's her.
• 54:48
  I just instantly knew. Yeah.
• 54:50
  What's really interesting to me is later when we're still up in that room and
• 54:54
  you're talking about her and her energy and tripping the devices, you say you
• 54:58
  kind of say like, da-da-da-da-da. Like you kind of do it.
• 55:01
  It's kind of strange. Like that it was like almost do you think she's mocking?
• 55:06
  Just saying.
• 55:07
  See, I think she's mocking. Yeah. I think she's I I think she's mocking like
• 55:11
  like not in a bad way, but like a playful like da da da da da like trying to
• 55:16
  like mimic or mock you, like in a playful way.
• 55:19
  interesting.
• 55:19
  Yeah, because right, like because we're talking about her and Jon, you're
• 55:22
  getting really excited. You're like, you're playing with the equipment, you're
• 55:25
  tripping the equipment, and we're getting all excited.
• 55:27
  And
• 55:28
  Yeah.
• 55:29
  I it's almost like where she's like, like, you know, and that's kind of what
• 55:33
  came out. I it's really, really a wild capture.
• 55:36
  And I really went went through everything up there to go, did we did it make
• 55:40
  that noise before? Is it equipment? Is it like it didn't sound like any
• 55:44
  equipment that we've used that's made that
• 55:47
  No.
• 55:47
  noise? But it's only that one moment and it's right when we're talking about
• 55:51
  her and and tripping the devices. So I think Jon from your standpoint, from
• 55:56
  the tech standpoint, when you heard it the first time and you're gonna go down
• 56:00
  your checklist, right, of like what could that be?
• 56:03
  Right. what were your initial thoughts?
• 56:06
  Right. Yeah, I go down the checklist of like, okay, what equipment do we have?
• 56:11
  What equipment has any type of voice automation or voice anything?
• 56:15
  And it's like, nothing. We had nothing like that.
• 56:18
  And so initially when I heard it, I heard her voice.
• 56:21
  I it's like, that's like a girl, like almost like she might be following
• 56:26
  Morrighan and be like like mocking in a playful way.
• 56:29
  Like and and that's what it sounds like to me.
• 56:32
  Yeah. It really does.
• 56:34
  It just sounds like a girl being playful, like da, like I know.
• 56:35
  Like this is fun. She definitely had a fun vibe
• 56:36
  Yeah. Yeah, yeah, yeah. Yeah, yeah. so good.
• 56:43
  and she liked to play with all the toys. It was our first time rolling out the
• 56:47
  cat balls and she was triggering those. But she
• 56:50
  Right.
• 56:50
  she had a lot of fun with us up there. And I know, you know, to give some
• 56:53
  context, Morrighan, this is This is a house we've all been to.
• 56:57
  We we know Sheila and Doug. We've been to this home socially a a number of
• 57:01
  times. And Morrighan, you had shared that the very first time you walked up
• 57:05
  there, that you'd actually walked through her in that same space.
• 57:09
  So it's just kind of fun to encounter her again up there.
• 57:12
  And that may be the playful nature too, because she's like, I know you.
• 57:16
  Yeah, perhaps.
• 57:16
  Mm-hmm.
• 57:17
  Yeah, because I do feel like they remember us when we go into different
• 57:21
  locations and we revisit. And so, yeah, when we're walking through, walking
• 57:26
  through her, I think that's when I got her signature.
• 57:30
  So then when we went back and investigated, that's how I could know it was
• 57:35
  her. Like there's that the familiar arity of her frequency.
• 57:39
  And so, yeah, I was pretty I was pretty certain it was her.
• 57:43
  Yeah.
• 57:44
  Mm-hmm.
• 57:45
  Yeah. Well, she had a really fun energy and and she communicated with us for
• 57:49
  quite a while. And
• 57:50
  Yeah.
• 57:51
  then we moved upstairs to the attic where, you know, we had been directed that
• 57:55
  there was this room that had been built out up there.
• 57:59
  And Sheila and Doug didn't really have any information outside it likely was
• 58:04
  an im someone that worked at the house. That was their space.
• 58:08
  And Morrighan, you immediately picked up on someone in there, Jon The
• 58:12
  equipment started going off immediately, the REM pods,
• 58:16
  Mm-hmm.
• 58:18
  the ghost meter, everything. And and Morrighan, you made like very quick work
• 58:23
  of just, you know, figuring out who was there and what they needed.
• 58:27
  And then before moving downstairs, but what were your initial like moments
• 58:32
  walking in there and connecting with who you referred to as Anna or Anna?
• 58:37
  Yeah, it felt like her concern was it at first it felt like her concern was we
• 58:43
  were in her space and she's going to get in trouble.
• 58:47
  Like we shouldn't have been in that space, not because it was private to her,
• 58:53
  but it felt off like off limits to visitors or people that maybe would be
• 58:58
  downstairs. Right. I think that The times, right?
• 59:02
  The sign of the times was we were not supposed to be in her space because she
• 59:08
  was going to get in trouble for that. And so there was a nervousness or a
• 59:14
  franticness or a hurrying us up to get out is what it felt like.
• 59:19
  Right. And then you realize too that she was a tangerine, which of course is a
• 59:22
  our our code word for a spirit that doesn't know
• 59:25
  Yeah.
• 59:27
  that they have passed. And and also that there was a sadness with her that she
• 59:33
  was just existing and just sort of stuck in that space.
• 59:37
  So I know that you connected with her and identified that and then invited her
• 59:43
  to come downstairs to catch the bus.
• 59:46
  Yeah, yeah, there was that moment of I feel like she was just surviving in the
• 59:52
  working herself to death, like just just biding her time to be at peace.
• 59:57
  And that's how I knew she was a tangerine is that you wouldn't have that
• 1:00:03
  mentality if you already knew you had passed.
• 1:00:06
  And so feeling the pressure and the weariness of that, like, let's get her
• 1:00:12
  moving on. And I'm yeah, that That was probably the quickest crossover I've
• 1:00:18
  ever done to date of like, that, well, this, let's go, let's go downstairs.
• 1:00:24
  And it was just very efficient. It was very quick.
• 1:00:28
  was ready to go. I could feel that.
• 1:00:31
  It was also it was July in Macon, Georgia, and it was hotter than heck.
• 1:00:35
  Jon, I think you
• 1:00:36
  Super hot.
• 1:00:38
  you had the thermometer up there. And just from going to the floor we were on
• 1:00:42
  to up there, it jumped at least ten degrees.
• 1:00:45
  As as
• 1:00:46
  At least at least it was so hot.
• 1:00:48
  Jon as Jon very rememberably says in the episode, it was moist.
• 1:00:55
  Right. That's moist. It's moist, yeah.
• 1:00:57
  Eww. Ew.
• 1:01:00
  And when it's moist, we want to get those spirits moving out quick.
• 1:01:04
  That's right. We wanna
• 1:01:04
  That's right.
• 1:01:05
  like get in, take care of it and let's get back.
• 1:01:08
  Let's let's move down to the air conditioned portion of the house.
• 1:01:11
  Whew.
• 1:01:12
  Yeah, it is Georgia, so it is the south.
• 1:01:16
  Investigating in the south in the summer is not for the weak.
• 1:01:19
  It is you gotta suit up and show up and be ready.
• 1:01:22
  Very excited
• 1:01:23
  Mm-hmm. Yep.
• 1:01:26
  that we're moving into fall.
• 1:01:28
  Right.
• 1:01:28
  Yes. my God.
• 1:01:31
  my gosh. So we moved down to the foyer and it took a little while for For Anna
• 1:01:40
  to come down. And we realized that because of her status, that she may not
• 1:01:48
  come down those front stairs, which is we were standing at the foot of them.
• 1:01:57
  And so you invited her to come down the front stairs and said it was okay.
• 1:02:06
  And it's a very, very sweet moment. But what I've encountered while I was
• 1:02:14
  editing that moment is that we got some EVP, what sounds like footsteps.
• 1:02:23
  Shuffling something that was not heard in the room.
• 1:02:29
  I have three clips. and I have a photo of that room.
• 1:02:35
  So you can see that there is a very large area rug right where we're all
• 1:02:43
  standing. So we're not none of us are actually standing on wood.
• 1:02:51
  So it doesn't make any sense why we're hearing those footsteps.
• 1:02:58
  And there was nobody else in the house. so I'm gonna play those quo those
• 1:03:07
  clips quickly and we'll talk about. We'll talk about that.
• 1:03:14
  I mean, it's also in the
• 1:03:17
  Mm.
• 1:03:17
  context of the conversation and what's happening that we're encouraging her to
• 1:03:22
  come down because she didn't immediately come down.
• 1:03:25
  And you're being very encouraging, Morrighan.
• 1:03:28
  Jon, you're also being very encouraging, like, thank you so much.
• 1:03:33
  It's time for you to retire. And you it does feel like somebody who's kind of
• 1:03:38
  hesitantly like coming forward and like ready to go.
• 1:03:41
  Like it kind of like got me emotional when I first heard it because I can
• 1:03:46
  visualize her standing there with her suitcase.
• 1:03:49
  Like, is it okay? Like being nervous, right?
• 1:03:52
  Because she normally wouldn't be standing in the foyer of the house and that
• 1:03:58
  there wouldn't be all this attention on her to make sure she's okay and she's
• 1:04:03
  gonna catch
• 1:04:04
  Right.
• 1:04:04
  her boss, right? it just feels very sweet and in the moment.
• 1:04:09
  Morrighan, what Where what did you I saw your reaction watching that, but what
• 1:04:17
  did you feel in the in watching that again?
• 1:04:22
  I so sometimes I can't remember everything that I've said in the actual
• 1:04:27
  investigation because I just I tend to forget the further away we get from it.
• 1:04:34
  I don't remember if I said at the time her her stature or her, like the way
• 1:04:40
  she held her body, she was slumped over just a little bit.
• 1:04:45
  Like just from the back breaking work is what I kind of feel.
• 1:04:50
  And so when I heard those steps, it feels like the unstable steps that she
• 1:04:56
  would make where they're kind of clunky or a little bit, there's not graceful,
• 1:05:03
  it's heavy and... burdensome. And then I feel like one of the clicks is her
• 1:05:09
  luggage, like her setting it down, you know, like a couple of steps and then
• 1:05:15
  setting her bag down. And so it feels stumbling, like it feels not again, not
• 1:05:21
  graceful. And so that's what I really get the image of when I hear those those
• 1:05:28
  sounds.
• 1:05:29
  me as well. And you did describe her as being very tiny.
• 1:05:32
  And when you
• 1:05:33
  Mm.
• 1:05:34
  described her, you kind of did what you just did.
• 1:05:36
  That kind of hunched right. You kind of like physically described her that
• 1:05:40
  way. And like with the I can you know, maybe if you're packing a bag really
• 1:05:43
  quickly and you don't think you're coming back, you're just stuffing
• 1:05:47
  everything in, right? And it's gonna be heavy.
• 1:05:49
  So I got
• 1:05:50
  Mm-hmm.
• 1:05:50
  Right? Like I got my out, I'm leaving. Right.
• 1:05:53
  That's right. I gotta put all my stuff in here.
• 1:05:55
  I'm gonna play the other two clips and then Jon, I'm gonna go to you to talk
• 1:05:59
  about like technically, like again, none of us heard any of this in the we
• 1:06:03
  would have called it out if we had heard
• 1:06:06
  Mm-hmm.
• 1:06:07
  any shifting
• 1:06:07
  Right.
• 1:06:07
  in the house or any steps. so and and again, just in the context of what's
• 1:06:13
  happening in these moments, it just it
• 1:06:17
  Right.
• 1:06:17
  seems just to be really an interesting capture.
• 1:06:23
  It's really quick one. And then there's this one.
• 1:06:30
  whoops.
• 1:06:31
  Mm.
• 1:06:50
  There's that shuffling that's happening and none of us are moving.
• 1:06:54
  Wow. There is there is so much of the the thud thud thud thud thud like
• 1:06:58
  throughout it and and when you sent it to me, you're like, my God, listen to
• 1:07:03
  this, tell me what you think. I looked at the video angles, I l I found the
• 1:07:08
  placement of everyone, looked at all the equipment that we had, the photo that
• 1:07:13
  you have of the big room, there's a thick carpet.
• 1:07:16
  There's that
• 1:07:17
  There it is, there.
• 1:07:18
  thick carpet down. We're all on the carpet, right.
• 1:07:21
  That is not us. That is and and I the the th th and then the the boom boom.
• 1:07:27
  That's just yeah, that is not us whatsoever.
• 1:07:30
  That sounds like
• 1:07:32
  stairs.
• 1:07:34
  and when I listen to it, of course I used headphones and I I crank up the
• 1:07:40
  sound because I want to hear every nuance of it.
• 1:07:44
  If you've ever heard leather, leather that kind of creaks because it's so kind
• 1:07:51
  of tight. There's a leather creak sound, in those thuds.
• 1:07:56
  Mm-hmm.
• 1:07:57
  Yeah, there for sure is. Like I feel like it's like again, Morrighan, you had
• 1:08:01
  said, I'm getting kind of forties, but I don't it's it's hard.
• 1:08:05
  Like, you know, she wasn't with us that long.
• 1:08:07
  We really just wanted to get her home.
• 1:08:10
  Mm-hmm.
• 1:08:10
  And so it's not like we're gonna interrogate her and be like, So tell us about
• 1:08:12
  your life, you know. right? So I mean I'd love to, but that's not the
• 1:08:13
  priority.
• 1:08:14
  Right. Right.
• 1:08:15
  Mm-hmm.
• 1:08:22
  and so you think of like old right, my Jon, like leather shoes and that, you
• 1:08:27
  know, there were handmade, depending on how old, you know, what timeline she's
• 1:08:33
  from or or what have you, that were creakier.
• 1:08:36
  They were like, you know, they made a noise.
• 1:08:40
  It did. Or are even like leather of the the handle of a suitcase of how it
• 1:08:45
  will squeak or cr crack a little bit. Yeah, that's what it sounds like.
• 1:08:51
  It sounded like leather and and those
• 1:08:54
  Yeah.
• 1:08:55
  studs are like sound like like either shoes or boots or just and it's not us.
• 1:09:03
  It's really trippy. And that's just picked up through our personal
• 1:09:04
  microphones. And it's so like evident, right?
• 1:09:05
  But yet nothing in the room. So I was like, is
• 1:09:07
  Right. It's loud. Mm-hmm.
• 1:09:12
  that an EVP? And you're like, Yes, it is. I always
• 1:09:15
  yes, yes, you got another one.
• 1:09:18
  I think of EVPs as like voices, but they're not necessarily.
• 1:09:21
  They are also just noises, audible sounds that we pick up that were not
• 1:09:26
  audible in the room personally.
• 1:09:28
  Right.
• 1:09:31
  Yeah. All right. Well go ahead. Go ahead. Yeah.
• 1:09:31
  Yeah, yeah, that's phenomenal. Mm, love it.
• 1:09:33
  It's interesting if I can just say one little thing now that I'm so now that
• 1:09:37
  I'm hearing because you guys do the evidence.
• 1:09:39
  I don't I don't hear it a lot. Right.
• 1:09:42
  Mm-hmm.
• 1:09:43
  Hearing all of that, I actually can feel how emotional she was.
• 1:09:47
  Like I feel on the verge of tears tapping
• 1:09:50
  Yeah.
• 1:09:51
  back into that time when she's coming down the stairs and her wobbly Ness and
• 1:09:57
  and her unsure. Are you sure it's OK? And then the desire of like, really
• 1:10:03
  like. there's a, she wasn't sure if she could believe us.
• 1:10:07
  Like you get to leave. And so that can feel like this confusion, excitement
• 1:10:13
  and overwhelm around, do you mean it? Do you mean it?
• 1:10:18
  And so the wobbliness is almost like hearing those steps.
• 1:10:22
  can hear her almost wanting to run out the door, but not sure if it's okay.
• 1:10:29
  So I feel like a lot of the emotion in that.
• 1:10:32
  just
• 1:10:33
  Mm-hmm.
• 1:10:34
  offering that.
• 1:10:36
  Yeah, it was
• 1:10:37
  Yeah.
• 1:10:37
  it was emotional. It's always emotional for me when we help someone cross over
• 1:10:42
  and especially someone who may have been sort of stuck in this loop of
• 1:10:47
  whatever timeline they were in and not knowing that they'd crossed and just
• 1:10:52
  kind of still going to work every day and just I've I've gotta think just in
• 1:10:58
  sorts in terms of spirit that when you're stuck in that and you don't know
• 1:11:03
  that there's a dullness to it. Right. Because you're not moving forward.
• 1:11:08
  You're not where you're supposed to be. It's like, you know, it's like just
• 1:11:13
  this dull existence.
• 1:11:15
  Mm-hmm. Yeah.
• 1:11:16
  Yeah, and and we don't know like in their in their mind, in their perception
• 1:11:22
  of like time, how does that even play out?
• 1:11:25
  Does it play out in day over day or does it play out like the groundhog day
• 1:11:31
  movie? Like does it play out in segments? Like or does it go slower, or does
• 1:11:37
  it just sit in stillness until someone perceives them and is like our
• 1:11:43
  perception kick starting some type of you know, other energy on their side to
• 1:11:49
  like see into our world. So much, so many questions.
• 1:11:54
  It's a lot. And I know like Morrighan, we've talked about this a lot of like
• 1:11:58
  how we are very careful when we do encounter a spirit to kind of you know, you
• 1:12:04
  work to find out kind of what their situation is and maybe what their level of
• 1:12:09
  awareness is. Because you can really burst their bubble if you just come in
• 1:12:14
  like, you know, like hey, you know, it's like
• 1:12:17
  Mm-hmm.
• 1:12:17
  Yeah, yeah.
• 1:12:19
  And also learning, you know, with Anna, there was a certain protocol and how
• 1:12:24
  her life would have operated, being that she worked in the home.
• 1:12:29
  So to have, like you said, visitors, guests coming into her space, that just
• 1:12:35
  would never happen. and and and if that did happen and the homeowners had
• 1:12:40
  discovered that, they wouldn't probably initially think, What did you do to
• 1:12:46
  bring them up here? Like
• 1:12:48
  Mm-hmm.
• 1:12:48
  Right.
• 1:12:48
  Why are you having our guests come up here to your space in the attic?
• 1:12:52
  you know, there it would have the blame may have shifted to her immediately.
• 1:12:58
  Right.
• 1:12:59
  and so there's that nervousness of like, what are you doing here?
• 1:13:03
  Mm.
• 1:13:03
  and so there's a lot of layers and there's a lot of delicateness that happens
• 1:13:08
  to be like, okay, we we've connected. Who are you?
• 1:13:11
  What's your level of awareness? Do you need something?
• 1:13:15
  Like
• 1:13:16
  Yeah, yeah.
• 1:13:17
  And it's 86 degrees and humid up here. Let's get you downstairs.
• 1:13:22
  so yeah,
• 1:13:23
  And then.
• 1:13:23
  Right, right. Mm.
• 1:13:26
  it's it it was really beautiful. But wait, there's more.
• 1:13:32
  so
• 1:13:33
  There's more, yes.
• 1:13:34
  gosh. So the reason why Sheila and Doug had us come in to look at their home
• 1:13:39
  is the mystery of this image. And this is an image, as we say.
• 1:13:44
  That they received when they took the house over of what appears to be a
• 1:13:50
  female apparition. This is from the dining room looking towards the foyer.
• 1:13:56
  Same room. and they couldn't figure out what it was.
• 1:14:00
  There was no explanation. No one's ever come forward to say that they took it
• 1:14:06
  or know about it. And so that was our big mystery.
• 1:14:10
  And you know, was it? Is it Abigail? Is it someone
• 1:14:14
  Yes.
• 1:14:15
  else? Like, you know, the mystery continued.
• 1:14:18
  So then Jon got into his evidence review,
• 1:14:21
  Mm-hmm.
• 1:14:22
  and I was like, you know, focus on the foyer.
• 1:14:25
  Focus
• 1:14:26
  Right.
• 1:14:26
  on, you know, us crossing Anna over. Cause I know you had the XLS running, and
• 1:14:32
  just see if you caught an orb or something.
• 1:14:35
  Well, you
• 1:14:36
  Yeah.
• 1:14:36
  got an orb or something. So I'm gonna let you dive into
• 1:14:39
  this.
• 1:14:41
  Ha ha.
• 1:14:41
  the evidence there, because I have never been as excited about evidence review
• 1:14:47
  as I was when you sent me
• 1:14:49
  Mm-hmm.
• 1:14:50
  that. But let's dive into the orb, which
• 1:14:55
  Yeah.
• 1:14:55
  is also really interesting.
• 1:14:57
  Right.
• 1:14:58
  and then what seems to travel at the same time with the orb that pops up and
• 1:15:04
  then
• 1:15:05
  Right.
• 1:15:06
  also disappears with the orb.
• 1:15:09
  Yeah, let me pull this up here. Let me do entire screen of this one.
• 1:15:16
  All right. So this is infrared from the XLS.
• 1:15:20
  I am standing by the front door. And this, of course, is Morrighan.
• 1:15:27
  And Carrie is in front of Morrighan over here.
• 1:15:32
  So just to give you a frame of reference of where we're at.
• 1:15:38
  And initially, right in the middle. is what we're going to watch.
• 1:15:45
  Sorry, the little there we go, gotta hide that.
• 1:15:50
  There it goes.
• 1:15:52
  Hahaha
• 1:15:53
  Riverside was in the way.
• 1:15:55
  Riverside was like no.
• 1:16:00
  So right here, very slight for like a nanosecond.
• 1:16:03
  I almost missed it during footage. as you can see right here, let me just back
• 1:16:10
  it up slightly here. Now it's gone. We're watching, we're watching.
• 1:16:15
  Pop right here again. So that in itself is freaking awesome.
• 1:16:20
  That's cool because again, this is where the staircase is.
• 1:16:25
  This is where she would have been coming down, going out the door.
• 1:16:30
  And Then I noticed at the same exact time, if you see this area on the left of
• 1:16:36
  my mouse, there is a hat, there's two eyes, there's a nose, there's a mouth,
• 1:16:42
  here's the side of the face, here's like the front, shoulders, torso.
• 1:16:48
  There is a apparition standing right next to like on my left.
• 1:16:53
  And again, it pops in. I'll hit this one more time.
• 1:16:57
  It's gone. We just have smooth wall. There's no matrixing with like the the
• 1:17:03
  the the grains of the wall. It's smooth. Pop it in, bam, immediately.
• 1:17:09
  And then if we're I'm just gonna continue the video.
• 1:17:13
  Sorry, this is me in the video saying this is where it's at.
• 1:17:18
  I'm zooming in. You can still see it.
• 1:17:21
  so clear to me. Wow.
• 1:17:23
  Look at that. She is standing
• 1:17:25
  It's so crazy because it's it's really not far from where that apparition was
• 1:17:29
  captured. And to me,
• 1:17:31
  Mm-hmm.
• 1:17:33
  the apparition, it looks like a woman
• 1:17:35
  And it disappeared.
• 1:17:36
  and it kind of looks like a woman kind of in her maybe bed clothes, like you
• 1:17:39
  know, where how they used to wear kind of a bonnet, right?
• 1:17:42
  And that maybe
• 1:17:43
  Mm-hmm.
• 1:17:44
  she's got a long braid, right? And then You know, and so to me, what was
• 1:17:47
  really wild in seeing that is it looks like she has some sort of something on
• 1:17:51
  her head, like it looks like a hat or bonnet or something,
• 1:17:54
  It does.
• 1:17:55
  and that she's in the same space. She's in the same I'm gonna pull up the
• 1:18:01
  picture one more time.
• 1:18:03
  Yeah, players.
• 1:18:04
  She's in the same space. So it's just over a little bit, but that's the front
• 1:18:08
  foyer that
• 1:18:09
  Yeah.
• 1:18:09
  she's in that opening, right? And almost like
• 1:18:13
  Mm-hmm.
• 1:18:13
  she's like, What are you guys, what are you, what are you guys doing?
• 1:18:16
  Like Which happened?
• 1:18:17
  So we're we're we're looking at two different things here.
• 1:18:19
  We have the lady come downstairs going out the door
• 1:18:22
  Yeah.
• 1:18:24
  and whoever is in this photo is still there.
• 1:18:28
  She's
• 1:18:29
  Yeah.
• 1:18:29
  at that door. Yeah. And
• 1:18:31
  amazing.
• 1:18:31
  Yeah, it's really incredible. I don't know that we've ever Jon, it's since
• 1:18:35
  we've started Echoes of the South, I've never seen a face on the XLS.
• 1:18:40
  No.
• 1:18:41
  We do get a lot of orbs, but I haven't
• 1:18:43
  Mm-hmm.
• 1:18:44
  seen a face.
• 1:18:45
  This is our first body full apparition, face, body, hat.
• 1:18:48
  Yeah. This is amazing. Yeah.
• 1:18:50
  Yeah. A full outfit.
• 1:18:54
  Full outfit. Full outfit. Yeah.
• 1:18:56
  Sharing her look. Here's today's look. All right.
• 1:18:57
  Yeah, she her fit. Right. It's my
• 1:18:59
  Perfect.
• 1:19:01
  here's here's my fit from the 1800s.
• 1:19:03
  Mm-hmm.
• 1:19:05
  Now we have no idea as well if that woman or whomever is in the photo or the
• 1:19:09
  XLS footage is from is connected to the actual home.
• 1:19:13
  Because what we realized in talking to Sheila and Doug is prior to that home
• 1:19:17
  being built, there was another home on that lot, which was removed.
• 1:19:22
  Mm seriously?
• 1:19:25
  before they built that house. So it could be somebody tied to that property.
• 1:19:31
  and that home was, you know, taken down to build this house.
• 1:19:35
  So
• 1:19:36
  Mm-hmm.
• 1:19:37
  maybe she's tied more to the land and the previous home.
• 1:19:40
  It's hard to know who she is. it doesn't I I I don't know, Morrighan.
• 1:19:45
  I don't feel like it's Abigail because Abigail, you were saying was maybe 12,
• 1:19:50
  13 years old and that that doesn't look to me like a twelve or thirteen year
• 1:19:55
  old. so I feel like it may be somebody else.
• 1:19:58
  Yeah, it feels a little bit more like the matron of the home almost and I
• 1:20:03
  can't quite pinpoint the actual feeling because it's either she's seeing Anna
• 1:20:09
  off or she doesn't want her to go because she shows up right when I do get
• 1:20:14
  that the orb is Anna going out the door but I feel like it's the matron of the
• 1:20:20
  home is the wording that I feel. And so it feels either either she was happy
• 1:20:26
  to see her go and she was thanking her or she was like, no, no, no, you can't
• 1:20:31
  go. don't. It's definitely connected. It's about the two of them being and
• 1:20:37
  they're both of service. I don't feel like it's the lady of the house.
• 1:20:42
  It feels like more the head housekeeper matron of the house is.
• 1:20:47
  Yeah. Yeah.
• 1:20:48
  It's it's very interesting. And they pop in and out at about the same time.
• 1:20:51
  Like that's it. It's
• 1:20:53
  They're like boom
• 1:20:54
  like
• 1:20:54
  and then they go.
• 1:20:56
  right. And then Jon, after that moment, you also caught because there's this
• 1:21:00
  is the gift that keeps on giving this episode.
• 1:21:02
  So
• 1:21:03
  Right.
• 1:21:04
  there's you left the XLS running after we left that space.
• 1:21:08
  And
• 1:21:09
  Mm-hmm. Yeah.
• 1:21:11
  and what did you capture?
• 1:21:13
  Let me pull that one up here. Yeah, I'm so glad that so we I'll set this up
• 1:21:21
  here. So I set it down. I wanted to see, okay, am I going to get anything else
• 1:21:31
  at this door? Because this is now like the open front door where we saw them.
• 1:21:40
  And just set it down and we went into another room.
• 1:21:46
  So I'll just start. Right there. Yeah. And then I'm going to zoom in to show a
• 1:21:55
  little bit more. Look at that. Going toward the door.
• 1:22:02
  Your mic has a disturbance. Did you hear that?
• 1:22:03
  It was crackling.
• 1:22:04
  Just yeah, just during this clip.
• 1:22:11
  my god. Did my mic have a disturbance? no.
• 1:22:11
  no. I in my back.
• 1:22:12
  It's still doing it. There's a disturbance in the force.
• 1:22:15
  You are, I think. Or are you? No, it's kind of fun.
• 1:22:18
  Well,
• 1:22:19
  Do I need to do the video again? Did you see it or no, am I back?
• 1:22:23
  We saw, yeah, saw the videos, fine.
• 1:22:26
  what's wild is like it
• 1:22:26
  Am I moving?
• 1:22:27
  has your mic hasn't done that, and then all of a sudden it did.
• 1:22:30
  What's interesting to me, and I'm gonna ask you, Jon, is that orb looks very
• 1:22:33
  and I get that it's a different angle and it may be closer, but it looks very
• 1:22:37
  different to me than the orb that we saw initially when we s also saw the
• 1:22:40
  apparition. D it it sort
• 1:22:42
  Yeah, yeah.
• 1:22:44
  of seemed to me like it was someone else, like maybe that's the same woman
• 1:22:48
  that we saw as the apparition.
• 1:22:50
  Yeah. I I don't know if it's well, I do think it's different.
• 1:22:53
  I I don't know if it's the same person, but it appears different.
• 1:22:57
  Yes, it appears different. Yeah.
• 1:23:00
  Just the the layout of it and the size of it.
• 1:23:03
  And I'm just gonna stop sharing here for my bandwidth.
• 1:23:07
  Yeah, the size of it, the placement of it and where it's coming, it's coming
• 1:23:12
  out of like from around the table instead of above the table.
• 1:23:17
  Cause sh when she came downstairs, she was like above that table 'cause
• 1:23:22
  there's a table there and straight for the door, like a beeline.
• 1:23:27
  Okay, I'm I'm I'm leaving. I'm going. But this one comes from the side.
• 1:23:32
  So is it someone else? I I don't know.
• 1:23:35
  I don't know. It yeah, it's hard to know. And Morrighan yeah, it is I was
• 1:23:36
  gonna say Morrighan's like it's
• 1:23:37
  Yeah. Yeah. Let's
• 1:23:37
  It's someone else. I'm like,
• 1:23:41
  ask her get in there.
• 1:23:41
  let me me me share. It's totally someone different.
• 1:23:45
  It Anna Anna's already gone. It feels like someone kind of, I'm gonna go to so
• 1:23:52
  someone
• 1:23:53
  Yeah.
• 1:23:53
  else that we didn't talk to, we didn't come into contact with.
• 1:23:56
  They just saw Anna leave and they're like, I want to go to and they just kind
• 1:24:01
  of like on on her coattails, so to speak just also went
• 1:24:05
  Mm-hmm.
• 1:24:05
  out.
• 1:24:06
  Well, I was gonna ask you that because a lot of times when that door gets
• 1:24:09
  open, there's other spirits that are like, wait, hello, there's an exit,
• 1:24:13
  right?
• 1:24:14
  I've taken my chance,
• 1:24:15
  Right.
• 1:24:15
  right? Yeah.
• 1:24:16
  Yeah, like I want to get on the bus too. and so that can happen where they
• 1:24:20
  just they start filing, filing through. So this is so funny.
• 1:24:23
  Jon and I are debating, is it the same? Is it the same?
• 1:24:26
  Jon's and then you're like, no, it's not the same person.
• 1:24:30
  I'm just waiting patiently.
• 1:24:31
  Margaret's like, she's just waiting.
• 1:24:37
  She's like, Why aren't they asking me?
• 1:24:40
  Like, aw, they're so cute. No, I'm kidding.
• 1:24:45
  This is why you
• 1:24:46
  Yeah.
• 1:24:46
  need a spiritual medium on your team, everybody.
• 1:24:47
  And so you can
• 1:24:48
  That's right. That's right.
• 1:24:50
  stop debating whether it's the same orb or the a different orb and just ask.
• 1:24:55
  Yeah, just ask.
• 1:24:56
  Just ask. I love it.
• 1:24:58
  Mm.
• 1:24:59
  Well, this has been a really, really exciting investigation.
• 1:25:02
  It just makes me want to go back, to be honest.
• 1:25:05
  Yeah. Yeah. Same.
• 1:25:08
  there it was a really it's such a beautiful home and there's so much history
• 1:25:12
  and it's such a loved home in Macon, Georgia.
• 1:25:15
  And so it was really a privilege to go in there and connect with it's the
• 1:25:19
  spirits we did, and also to help Anna find her way back home is always a
• 1:25:23
  privilege. So and Jon, now that the bar set high.
• 1:25:26
  moving forward. Now we're gonna expect apparitions all the time on the ex on
• 1:25:31
  the exolet.
• 1:25:32
  That's right. Gotta have all the things.
• 1:25:33
  now, right? Can we order them? Can we just like pre-order now?
• 1:25:38
  That's right. I'm
• 1:25:38
  Mm-hmm.
• 1:25:40
  gonna be like, I didn't see a face. I don't see faces.
• 1:25:42
  This is orbs. I need faces.
• 1:25:44
  Where's the faces? Right. Yeah.
• 1:25:47
  you're spoiling us. You're spoiling us. but it's really, really exciting when
• 1:25:50
  you're doing evidence review and there's that
• 1:25:53
  my god.
• 1:25:54
  moment and you can make that connection, you know,
• 1:25:57
  Mm-hmm.
• 1:25:58
  of holy smokes, this is the reason why we came in.
• 1:26:01
  We were focused on something else, which happens often with the three of us.
• 1:26:06
  We'll be focused on something else, and then something something else appears
• 1:26:11
  or starts to trigger equipment or so forth.
• 1:26:13
  It is that, you know, Joe. I always joke, Jon, that you're you do you do your
• 1:26:18
  like, I'm not looking, I'm not looking, right?
• 1:26:21
  It's like and then
• 1:26:23
  Yeah.
• 1:26:24
  start things start popping off. But it it was really, really incredible and
• 1:26:29
  good eyes, Jon, because it would have been easy to focus so much just on that
• 1:26:35
  orb and miss that.
• 1:26:37
  Yeah. Yeah. I was
• 1:26:38
  it's it's really, really trippy.
• 1:26:40
  I was telling Morrighan, she was like, How did you like catch it over here?
• 1:26:44
  Cause here's the orb. And typically your your eye goes to where the action is.
• 1:26:48
  Like you know, as a human, you're you're re recognizing that pattern over
• 1:26:52
  here, and that's what you're looking at. And I've got a big monitor and I sit
• 1:26:57
  like this and I'm watching and I try to expand my view.
• 1:27:00
  So instead of looking at one point, I try to expand to like see the whole
• 1:27:04
  screen as much as possible. And when I saw the orb, I'm analyzing that.
• 1:27:08
  And then I played back and then played again.
• 1:27:11
  And I'm looking for any other movement, slight movement.
• 1:27:14
  As soon as it popped. And I'm like, what the you know?
• 1:27:17
  you should have been in the room with me. It's like, my God.
• 1:27:20
  Okay. I'm clipped. I'm sending it to you. It's like, my God, you gotta see
• 1:27:25
  this. I verified with with Morrighan first.
• 1:27:27
  I'm like, are you seeing the same thing that I'm seeing?
• 1:27:30
  And it pops in immediately and pops right back out.
• 1:27:33
  my God, so good. Yeah.
• 1:27:35
  Well,
• 1:27:35
  So good.
• 1:27:35
  and then I then I left you like the a crazy voice note going, Jon, it's like
• 1:27:39
  the apparition photo. Like I'm like putting it all together.
• 1:27:42
  It was this is the stuff we live for when we investigate
• 1:27:46
  my God. So excited for it. You know, it's it's it's the payoff.
• 1:27:53
  because you don't always get you you know, first of all, we go in, there may
• 1:27:57
  be claims, there may be things that the homeowner or business owner has
• 1:28:01
  experienced. So of course we want to try to find an explanation for it.
• 1:28:06
  Right. But you don't always get contact with that particular spirit or what
• 1:28:10
  they've been experiencing because when Morrighan goes in and she's on and
• 1:28:15
  ready to communicate, anyone can come forward and they may dominate, you know,
• 1:28:19
  the conversation. And meanwhile, who we kind of wanted to talk to may be in
• 1:28:24
  the corner somewhere. Right. or they don't come forward at all because they're
• 1:28:29
  not sure what we're doing or they may not be there all the time, you know, it
• 1:28:33
  they don't work on a schedule. So to to get all those hits and then get
• 1:28:38
  Yeah. Yeah.
• 1:28:39
  that where it's like, my gosh, right? There she is.
• 1:28:40
  There's
• 1:28:41
  Yeah. Yeah. And and
• 1:28:44
  the mystery.
• 1:28:45
  what people don't realize, you know, I think half the time or most of time is
• 1:28:50
  I had already done an hour and a half of footage where I got nothing.
• 1:28:54
  An hour and a half before this time period.
• 1:28:57
  And then when I get it all, it's like pop out the champagne.
• 1:29:01
  Yes, there it is. Whole and then it's it's it's what fascinates me is The
• 1:29:06
  footage that that I had before, like the hour and a half, that was me just
• 1:29:11
  setting it up somewhere in a room, trying to catch stuff.
• 1:29:15
  It wasn't really on us interacting. Where we got the most footage is us
• 1:29:20
  interacting with it. And that tells me that there's a intelligence on that
• 1:29:25
  side, there's a energy on that side that a responding to our intent on this
• 1:29:30
  side that magnifies and brings it
• 1:29:33
  you
• 1:29:33
  closer to our reality. And I'm getting chills.
• 1:29:36
  That's why it happens at those times. Yeah.
• 1:29:40
  Mm-hmm.
• 1:29:41
  All right. I'll slow down. I get excited for it.
• 1:29:41
  Yeah. Good stuff.
• 1:29:41
  Yeah, it's really exciting. All right. Well, that's right.
• 1:29:45
  John's gonna like this is it. Is
• 1:29:48
  Good stuff.
• 1:29:51
  well, and for me it's really exciting because I'm doing the you know, the
• 1:29:55
  research, I'm talking to the homeowners,
• 1:29:58
  Mm-hmm.
• 1:29:59
  and then John's bringing in the knowledge of the tech.
• 1:30:02
  Right. And and your review and just really kind of deciphering, okay, what am
• 1:30:06
  I seeing? What are we what are we getting here?
• 1:30:09
  And then we have Morrighan to the with the connection to say, it's this.
• 1:30:13
  and
• 1:30:14
  Right.
• 1:30:14
  so there's the the different layers, right, of of the story that unfolds with
• 1:30:20
  the confirmation of of that is really exciting.
• 1:30:24
  Really, really exciting. so this was this was a really exciting investigation.
• 1:30:30
  just Thrilled with the result of it.
• 1:30:34
  Yeah, it's like what you just laid out, everything what you just said, Carrie.
• 1:30:38
  This was exciting because all three of those points intersected.
• 1:30:42
  Because I sometimes get things that the homeowner doesn't know, or sometimes
• 1:30:47
  Jon gets something that I don't pick up, I can't feel, or whatever, the
• 1:30:51
  information, the history doesn't align with what we're getting.
• 1:30:55
  But this is one of those really beautiful, sweet moments where all three of
• 1:31:00
  our pieces came together into one unit, and it was like, bam, there it is.
• 1:31:04
  That's delicious.
• 1:31:06
  Bam. Right there.
• 1:31:07
  Yeah, bam. It was definitely a bam. It's we should call the episode BAM.
• 1:31:10
  Bam.
• 1:31:15
  All right. Well, I'm excited. We've got more investigations on deck and we'll
• 1:31:19
  see see what else we discover in in our investigation and of course evidence
• 1:31:24
  review.