All language subtitles for Ghostwatch.1992.1080p.BluRay.x264-ORBS

- The program you're about to watch

is a unique live investigation
of the supernatural.

It contains material

which some viewers may
find to be disturbing.

No creaking gates,

no Gothic towers, no shutter windows,

yet, for the past 10 months,

this house has been the focus
of an astonishing barrage

of supernatural activity.

This footage was shot

by parapsychologists
investigating the case.

Now, you're about to
see one of the incidents

that have earned this
house its reputation.

Let's see what you think.
- I can't sleep.

Turn the light off.

Mum said if you don't...

- All right.

All right.

Mum.

Mum!

Mummy, it's back!

It's back!

Mum!

Mum, Mum, Mum.

Don't touch me!

Don't touch me.

Don't.

- Quickly!
- Mum!

- So welcome live this Halloween night

to the first ever TV "Ghostwatch".

That's the scene in
Foxhill Drive in Northolt.

Our outside broadcasting units are there,

that's the house where it
might all happen tonight

or it might not.

We shall see.

We're going to investigate
one of the most baffling

and fascinating areas of human experience,

the supernatural.

Tonight, television is going ghost-hunting

in an unprecedented scientific experiment,

where we hope to show you

for the first time irrefutable proof that

ghosts really do exist.

I'm joined in the studio by Dr. Lin Pascoe

to give her expert technical advice.

Throughout the program,

I'll be taking other expert opinion

about the supernatural
from both here and America.

You'll be telling us your ghost stories.

And as our tale unfolds,
we'll be taking your calls

about just what you're seeing.

Well, let's go to the main
location of our program,

the house in Foxhill Drive.

Craig Charles, a well-known ghost hunter,

is our reporter.

Craig, how are you?

- Hi, Michael.

Yeah, I'm fine.

I've taken the Valium, man.

Later on, we're gonna be interviewing

the medium who tried unsuccessfully

to exorcize the house behind me.

I wonder if he's heard from Elvis lately.

However. With me is Pam
Early, the mum of the house.

Hello, Pam.
- Hello.

- And she's gonna be taking us

through the whole spine-tingling story.

And after that,

you can share with us your
own supernatural experience

on our very own Halloween witch-board.

I mean, switchboard.

Over to you Smithy.

- Thanks, Craig.

We'll come back to you later on.

All right, this part of the studio

is your part of the studio

this evening, because
this is the phone number

we'd like you to call us on.

You can now see our
"Ghostwatch" team are here

ready to take your calls.

We particularly want to hear from you

if you've had any personal experiences

of ghosts or the supernatural.

Call us now.

As a matter of fact,
of course, Mike Smith

has a very particular reason

for keeping a beady eye on
the proceedings tonight.

Michael.

Well, so would you, if
your wife had just told you

she was gonna spend the
best part of her night

in the most haunted house in Britain.

Of course we're taking
about Sarah Greene.

And Sarah is our reporter
who'll be spending the night,

She was very keen to do
it, I understand, Mike.

- Oh, yeah, jumped at the chance.

Actually, so did I, because

we've both been interested in ghosts

and that weird sort of stuff.

And to be honest, I could never have

sat at home tonight on my
own and watched this program.

I'm safer here.

- All right, Mike, thanks a lot.

Now, confrontations, of
course, with the supernatural,

can be devastatingly real.

Let's find out what effect they've had

on Mrs. Early and her family.

So, how destructive has
the haunting actually been?

Mum kept on blaming
us for breaking stuff.

We weren't doing anything.

- I've lost track, really, I have.

Plates, teapots, cups, a broken tap,

we got this thick smell, so
disgusting, from the tap.

And stains got on clothes
from nowhere, out of thin air.

- And in the central heating vent.

- The man came, and

he couldn't understand it,
he said it was impossible.

Everybody said it was impossible.

I said, "Great.

You come and live with 'impossible'."

So many things have happened

you start thinking,

I don't know,

maybe you've done something wrong.

It's wrecked my, my house,

my home, my family-

- It's okay.

Over to you, Michael.

Dr. Lin Pascoe, it's
a disturbing interview,

that, isn't it?

- Mmm.

You investigated the
Northolt poltergeist

for eight months, wasn't it?

What can be done for
people like Mrs. Early?

According to the evidence on that film,

clearly she's shattered.

Well, the first thing we
can all do for a start is

believe them.

- Well, it's not always that easy, is it?

- Yes, but you can see,

it's obvious these people
are desperate for help.

Makes me so angry when you
still get people out there

denying that these things even happen.

- All right, Dr. Pascoe, for the moment,

thank you very much indeed.

Lin Pascoe will be giving
her expert commentary

right throughout the program.

And by the way, for those
night owls amongst you,

we'll be here with updates
roughly every hour,

right through the night.

Well, now it's high time we
met our intrepid ghost-watcher,

Sarah Greene.

First hospital watch, Sarah,

now a ghost watch, bit different.

Well, I suppose the
truth is I love a mystery,

and who knows, we may get
to the bottom of this one.

Actually, my own experience
with things ghostly,

albeit very brief, was so intriguing,

I thought I might get the chance

to learn a bit more tonight.

- Well, perhaps, we might get a chance

to hear more of your story later on.

Yeah, if we get an
opportunity, I'd love to.

Actually, Smithy was there
when I had my encounter

with what I think was a ghost.

But he wasn't quite as struck
as me, there, were you-

- Well, no.

Well, yes.

I mean, I think, this
is the right environment

to study these things.

Yeah, that's why I get sent
out here to the frontline

and you stay all cozy and safe and sound

in the studio, isn't it?

Well, good luck, and I'll see you later.

Now, before we go into the lion's den,

I'd like to introduce you to Alan Demescu.

He is an electronics engineer,

and a member of the Society
for Psychical Research.

Now, Alan, we have a whole array

of technology here with us.

What are you hoping to discover tonight?

Well, the paranormal covers
a wide range of aspects,

but tonight, we're concentrating on

what we call, "spontaneous cases."

- What are they exactly?

- Well, anything from inexplicable noises,

footsteps, knocking,

irrefutive voices, presences,
the feeling of being watched,

uh, electrical interference,

so, you know, your TV, lights, telephone,

to actual, full-blown visual apparitions.

- Now, we've got our own BBC scanner here

but what are you using it for exactly?

- Well, we've got a remote video camera

mounted in every room.

Um, we have our image
analysis equipment linked in,

the tape is timecoded.

And atmospheric condition and temperature

are logged onscreen by sensors.

Those are like the little burglar alarms

with the red lights.
- Right.

- Except, they're triggered by cold

instead of heat.

Um, intense cold spots are
a secondary phenomenon.

We also want to detect
low and high frequencies.

Basically, any aberration at all

could be a signal or a clue.

Well, we hope you get
lots of both of those.

We'll leave you to it, Alan.

And, we'll go back outside

where I'm going to be
able to introduce you to

two of the very important people

who are at the frontline of this vigil,

as psychical researchers call it.

Now, the first person

is actually standing
right behind the camera,

and if he hands over to me,
you'll notice two things.

First of all,

that his hand is a lot steadier than mine,

and secondly, that he bears

a remarkable resemblance to Mike Gatting.

Yes, you do.

Chris Miller.
- Hi.

Now, Chris, does
this camera differ in any way

from the sort of camera you'd normally use

on an outside broadcast?

Well, it's a normal
lightweight mobile camera,

but in this case, it's been adapted

so we can use infrared as well.

Can we see
how that works, Chris-

Yeah, sure.
- If I hand this back to you?

What's the best way to demonstrate it?

Well, if we can kill the lights.

Okay, Clive, can
we pop the lights down now?

There you go.

- Wow.

How's that?

I can see you quite clearly now.

- Oh, look.

Yeah, so can I, on a monitor.

I'm quite close to you though.

I mean, what about the people down here?

If we move down here,
how fast can you move

with that thing on your
shoulder, actually?

- Quite fast.
- It's not bad.

Who needs a Steadicam
when you got Chris Miller?

That's what I say.

Oh, yes, there they are.

There they all are.

Somebody wants to get in the frame.

- Funny, they can see what they look like.

I'll tell you what though,
this means for us, doesn't it,

that nothing can lurk in the shadows.

That's right,
there's no hiding place.

- Absolutely.

Um, right, let's have the
lights back up again then.

Okay, now, we've got our vision back.

I think it's time to meet sound.

Man of sound mind here, Mike Aiton.

Not only can this gentleman hear

an ant scratching its
back legs at 50 yards,

he's also the unofficial chairman

of the Adrian Edmonson Lookalike Society.

- Right on.

- So, if you're not scared of ghosts,

you're scared of that.

How are you feeling about tonight?

Are you a bit nervous at all?

- We will see.

- Um, how about you, Chris?

- I'm okay.
- Are you ready to go in then?

- Yeah.
- Okay.

Well, we'll see you later.

It's time to go
once more into the breach.

Do I have to go first?

After you.

- Yeah, typical.

Come on then, chaps.

Hello?

Here we are.

Hi, Pam.

Now, oh, look here we are.

This is the burglar alarm that

Alan Demescu was talking about.

Can we make ourselves at home?

Kim, Suzanne.

Can I join you for a bit of
apple bobbing, do you think?

- Well, we'll let Sarah and her jolly team

settle down there for the night.

I wonder if they'll
remain as jolly as that

all evening.

We shall find out.

Uh, Dr. Pascoe, let me ask you,

why did you first of all-

Why did you choose that particular house?

Well, it was a decision we
made over many weeks really.

What happened is that

we ran a computer program

of all the haunted locations in the UK,

and then we did a census of
all the various investigators,

and they were all unanimous that

Foxhill had more tangible
phenomena on record than,

I was gonna say any place in the world,

but certainly any place in the UK.

- We'll see evidence of that, of course,

later on in the program.

What's the chance, do you think,

of us seeing anything tonight?

- I don't honestly know.

Sometimes we saw nothing for weeks,

and then, other times
things were coming through

thick and fast, I mean, so much so that

we had difficulty logging it all.

I mean, some nights it was like, uh,

being in a circus
or a war zone or something.

- "A war zone"?
- It was that bad.

- What about Halloween?

Will that make any
difference, do you think?

- Yeah, I think it will.

Certainly, there are
more reports on Halloween

than almost any other night of the year.

But maybe that's because
people expect to see things.

I'm taking out no bets.

I'm hopeful.

- All right. Yes, we're all hopeful.

Let's take a phone call.

Mike Smith, what you got for us?

This is Emma Stableford,
and she's from Slough.

Thank you.

Emma? Emma, hello.

- Hello?
- Yeah.

I did have a story,

but there's actually something else

I'd like to say to Dr. Pascoe.

Go on.

But I feel a bit foolish.

- Oh, don't worry about that, Emma.

Never worries me.

Well, you know, at the beginning

when you showed the real
footage of that haunted bedroom?

- Uh-huh.
- Well, I know it was dark,

but I was sure I could see
a figure standing behind,

against the wall, just by the curtain.

Very, very faint, but
definitely a figure there.

A woman.

A person's body, at least.

Standing there in a black dress.

Emma, I've examined that
particular piece of film

many times and so I'm not sure-

- I'll tell you what to do, Emma,

if you can actually spot up

the specific point on that tape

where you saw this figure,

tell one of our operators,

we'll actually spool it back
to the point where you tell us,

and then I'll get Dr. Pascoe here

to have a good look at it.

Okay?
- Great.

- Yeah.
- All right.

Thanks for calling.

- Before you go, Emma,

could you give a full description

of what you thought you saw

to somebody manning the phones please?

Can you do that?

Yeah, I will.

- Great.

Okay, Emma, thanks a lot.

- Thank you.
- Bye-bye.

- Bye-bye. I tell you what we'll do.

While we search for that piece of tape,

let's find out what Sarah's up to.

- Sarah, did you hear that?

Somebody thinks they've seen
a presence in the house.

- Today?

You've not noticed
anything this evening,

have you?

- No, nothing to report from here yet,

except how absolutely useless
I am at apple-bobbing.

Come on, girls.

Yes, you've done it, I can see.

Who's that?

Can you hear that?

Can you hear this?

Are you hearing-

It's coming from in-

You...

You are a complete and utter beast.

- "Beast"?

I got it! Look at that,

it's worse than Mike Smith, isn't it?

I don't know though.

- Is it your idea, this, Smithy?

You set this up?

- Well, I had a bet with your husband,

I could get a four-letter-word
out of you on television,

I nearly did, as well.

It was "beast".

B-E-A-S-T.

Beast.

You're a class act.

I think that is such a
cheap shot, I have to say.

I mean, you know, I can take
a joke with the best of them,

but we're all holed up in here-

Well, I'm sorry if
I'm being insensitive,

but it is my brief.

They said, "Craig, come
along, be insensitive."

Can you get out of the way a minute?

You're in the middle of my close-up.

- Oh, with pleasure.
- They were in on it.

They were in on it.

Give me an apple.

- You were?

- Sorry, chaps, I love you all,

if there's any ghosts,
keep them to yourselves.

Love us and leave us, go on.

I love you.

You needn't smirk, Mike
Smith, you were in on this.

I think you're in a
certain amount of trouble

with her indoors for
that little situation.

I'm sorry there, Doctor.

Our producer, in fact, created
a happening in the house

just in case we were on a
wild ghost hunt, so to speak.

We aren't, I promise you.

- All right.

Well, let's go back to Sarah now.

Sarah, when you're ready
let's hear the real story,

the strange happenings at Foxhill Drive.

And by the way, have you
got over your shock yet?

Yes, I have recovered
now, thank you, Michael.

Let me fill you in on what's
been happening here so far.

Let's face it, there's violence

at some time or another
in every part of London,

and this estate is no exception.

But there are some days,
and certainly nights

when Mrs. Early and her two daughters

would rather be out on the street

than right here, within
their own four walls.

Let's go upstairs for a moment.

It all began in here on
December the 28th, 1991.

Who was the first person
to experience something?

- Suzanne.

- We had a bit of an argument

because Suzanne wanted to stay up

and watch some film
and I wouldn't let her.

Go on, Suze, you say what happened.

- No, you say-

- She went to bed about-

- I was in bed.

Mum came in to tuck me in,

instead she just stood by
the bed, looking at me.

At least I thought it was her.

And then she just turned and went.

The thing is, I didn't
tuck them in that night.

I always do,

but that night I fell asleep
in front of the television.

I told her she must have been dreaming.

Then a few days later, it was my room.

Should we go and have a look?

- A few days later,

these terrible noises woke
me coming from the walls

like a bat, like a thudding.

- All around you?

Yes, like the whole room
was going to come apart.

Did anybody else hear it?

- Yes, Suzanne and Kim heard it.

- Kimmy, if you heard it too,

what sort of a noise was it?

- We were screaming, I was shouting,

"What is it?

What is it?"

Well, I didn't know what to
say, they were that terrified.

So, I said it was pipes.

You know, the central heating.

So, afterwards, whenever
Kim heard something

she'd say, "It's Pipes.

Pipes is here."

So by this time, Kim,

you could actually feel
something as well, could you?

Whereabouts was it coming from?

There.

What is it that's over there?

- Pipes, that's where he hides.

Does he live there?

Where does he live then?

Anywhere?
- On the stairs.

Kim, how do you
know he lives down there?

- Because I saw him through the crack.

He was there.

He was staring at me.

What happened after you saw him?

- I drew a picture of him.

Have you kept it?

- Yeah.

Can we have a look?

- Yeah.

- Let's have a look.

Was that exactly how he
looked when you saw him?

- Yeah, he was disgusting.

Really disgusting.

- It's a good picture.

Yeah.

- Keep it. It's a present.

- Oh, thank you very much.

I'll tell you what,

why don't we put it up somewhere
where everyone can see it?

- Yeah.
- Where's a good place?

On the fridge in the kitchen.

- On the fridge?

Yeah.

There we go.

Will it be all right putting
him up there, do you think?

Yeah, because he likes
everything freezing

and really cold.

Pam, there was something
else, wasn't there?

- Yes, there's also this.

One day I looked in Suzie's
exercise book from school.

Oh.

- I was so shocked,

I said to her, "Did you write this?"

I was going to hit her, I was so mad.

- But it wasn't me.

I don't even write like that.

- So I said to her, "Who was it, then?

"Who Was it?"

- Yeah.

Who or what?

Michael.

Lots of questions there
that need answering,

perhaps we'll have a chance to
answer some of them tonight.

Just actually hearing in my earpiece that

Mike Smith has some news.

Mike, what's happening?

- Thanks very much.

Thank you.

I've got eight or nine phone calls here

which are like Emma Stableford's

we had earlier on.

They too have seen a
mysterious dark figure

in the background of that shot
in the children's bedroom.

Michael?

- "Dark, mysterious figure," Doctor.

- Have we got that sequence ready yet?

- Yes.
- Can we see that tape?

- Yeah, I think we can.

I think we can see it right now.

Let's roll the tape.

There you are, up there on the screen,

that's the tape you wanted, isn't it?

I can't sleep.

Turn the light off.

Mum said if you don't...

- All right. All right.

Now, this is the
point where Emma Stableford,

our caller, said she could identify

that dark mysterious figure

in the corner of the room.

I don't see anything myself, do you?

Can we rewind it?

Sure.

Let's rewind it.
- Can we play it again?

Yeah.

Can we play it back, VTR?

There you are.

Back a bit more.

- Yeah.
- Yeah?

Is that all right?
- Yeah.

Can we go forward slowly?
- Sure, sure.

I'm doing that now.

That's slow enough?
- Uh-huh.

- I can't see anything now myself.

False alarm?

- Yeah, I think I can see what's happened.

Do you see the shadow
cast by the curtain there?

See on the curtain, on the left-hand side.

- Not really.

I tell you what we'll do.

We've got a piece of,

I don't know, wheel that
piece of sophisticated

technology in here.

You can actually use a light
pencil on the screen there

just to identify exactly the
area that you're talking about.

- Ls this it?
- Yes, that's right.

Just draw on it as you
would a normal pencil.

All right, I think,

there's a sort of shape
there a face maybe,

and a human form

I think the shadow's caused.

I wonder if it's that thing,
you know, where you put your,

your dressing gown on the
back of the bedroom door

And in a certain light,

you look at it in the middle of the night

and it looks like a human form or face.

I mean, it's easily done, isn't it?

- I think that's it.

Exactly.

"Faces in the fire."
- Yes.

- Human perception is such that

the first thing you attempt to create

in any abstract shape
is a human face or form.

- Okay

All right, then, well, I'm
sorry to disappoint you,

but I'll tell you what we'll do,

let's go back over to Foxhill Drive

and learn about the toll that living there

has taken on the children's
mother, Pamela Early.

Pam, I know this has all
been a nightmare for you.

But what's been the worst
moment so far, do you think?

- I'll show you.

I've got to get this done properly.

My husband, my ex-husband

used to develop his own photos

in a darkroom under the stairs.

The "glory hole", as we used
to call it when I was a kid.

Why have you
boarded it up like this then?

Well

one night last January,

I got it into my head

to try and find one of my letter,

the solicitor's letters about my divorce.

Um, all of a sudden, the door stuck.

Like somebody was trying
and pushing it from outside.

You were inside by this time?

- Yeah.

I shoved, I tried to get out,

and then I started to panic.

It was like a coffin, I couldn't breathe.

I started screaming for Kimmy and Suzie,

but all they could hear was my banging.

And all I could hear was Kimmy shouting,

"It's Pipes, Mum, Pipes.

Pipes is here."

That's awful.

The girls got you out eventually.

- The thing is,

when I was in there I
swear, as God is my witness,

I heard, I felt this
man in there, with me,

breathing right up against my face.

Like strong, like rotten cabbage.

I nearly died.

And, and when I got out,

my head went, my knees went.

- Pam, let's go sit down.

Come on.

Tell us what happened next.

- Well, after glory hole,

Um, I wrote to the Council

to try and get us moved.

Mmm-hmm.

- But they wouldn't take it seriously.

You know, like I was lying.

- Just don't want to know really.

- We saw a social worker,

and they said we should
all see a psychiatrist.

- Tell me what happened

when the newspapers got
their teeth into the story.

- That was a disaster.

- Let's have a look at these.

You got a lot of coverage.

Yeah.

"'I believe in the Devil, '

says Spook House Mother."

Did you say that?

No, I didn't, no.

Here's "Power of Evil."

Everyone was very
friendly, but in the end,

they all made us look
even more like idiots.

So I went to the local TV.

- Can we have a look at that, actually?

- Yeah.
- Here we are.

- Were you apprehensive at all?

- I told her it was the central heating.

So ever since then, she
calls the noises "Pipes".

- So, Kim, aren't you a little bit afraid?

- Sometimes.

- Why? Do you think
Mr. Pipes has come to hurt you?

- I think he's come to hurt everybody.

I think he wants to do nasty things.

"Okay.

Thank you very much.

Now-

- Pam, thanks for letting us see that.

They're ready for you
now in the other studio.

- All right.

- Yeah.

Pamela's just going

to make her way outside
now to our mini-studio.

She'll be there waiting
to take your calls.

In the meantime, let's go
back to our main studio.

- And, Sarah, thank you very much indeed.

Dr. Pascoe, what was your
introduction to the Early family?

Well, I saw that program

that we've just seen an extract from

and I offered to help if I could.

When you met Mrs. Early then,

was she then at the end of her tether?

- Yes, I'd had some experience

of a fairly violent poltergeist case

in Heidelberg, Germany.

So, I knew what it could do
to a family, emotionally.

I see. Well, I believe that
Mrs. Early has joined us now.

Pamela, hello.

Thanks for joining us.

- Hello.

Yeah.

And thanks also for allowing
our cameras into your home.

That can't have been an
easy decision to have taken.

- Well, Suzanne was getting fed up

with the jibes she was getting at school.

Um, with the papers calling
us liars and everything.

And she said, "Mum, Dr. Pascoe wants us

to do this BBC thing.

So, let's do it.

And let's show everyone,

and then, they'll have to believe us."

Um, Pamela, I understand
that you're quite keen to share

your experience with our callers.

- Yes.

And I want to tell everyone that, um,

they're not going mad like
I thought I was sometimes.

That's right.
- All right.

Well, we've got some
callers on the line now.

Let's take our first caller.

Mike Smith, who is it?

- This is Sandra Hughes from Sussex.

Right. Let's pick up
the phones, Dr. Pascoe.

Sandra, hello.

Oh, he, hello.

This is just that when I was a girl,

I was brought up in a house in Brighton,

and we had a ghost.

And we'd often find things broken

and, you know, those sorts of things.

- You're not alone, Sandra, honestly.

And it's sort of coming out

about this boy who died there,

and how it's affected me.

Because at the time,

I didn't realize how much it affected me.

That's, that's all I
wanted to say, really.

- Thank you, Sandra, for your call.

Thanks a lot.

Thank you too, Mrs. Early, for joining us.

Well, if you stay in the studio,

then we'll come back to
you in just a moment.

There are one or two other things

to talk about first of all.

Thanks a lot.

Now, what I want to talk
about now, Dr. Pascoe,

is this book of yours, which
I'll show to the camera there.

This is called "Angels of the Odd".

And it's a book that you wrote,

your account of your
investigation into this case.

And you also made a film at the same time.

We've got an extract from the film.

Perhaps you could talk us
through what's happening here.

All right?

Well, we
did extensive interviews.

And we also used the Ganzfeld technique.

That's what we're seeing now.

And that's where all the senses,

sensory inputs are blocked off.

Deprived, yeah.

Deprived, yes.

And you just feed in the white sound,

white noise, through the headphones there.

Bright light.

Yeah.

Now, that's
when we would hear the voice.

- "The voice"?

Well, we should hear the voice actually.

Let's hear it now.

Because this is intriguing.

Across here.

I should say that this tape
is completely undoctored.

There's no edit on it whatsoever.

- All right.

We should also warn our viewers
of a nervous disposition

that there are things on this tape

that they might find a
little bit distressing.

- At one point, we filled Suzanne's mouth

with colored liquid,

and we sealed her lips with tape,

and the voice continued with absolutely

no change in quality whatsoever.

- Let's hear it.

The window above the sink's

just been shattered now.

There's no, oh, my God!

Look, the chair has gone.

It's coming towards me, Mum!

It's coming
across the kitchen floor.

It stopped.

It's suddenly stopped moving.

And everything seems
to have gone quiet now.

A grunt or something like that.

If you can grunt, can you speak?

Round and round the garden-

- Oh, dear God, save us.

Like a teddy bear.

One step,

two step, tickle-

- Who are you?

What's your name?

Jesus Christ!

Are you joking?

Very funny.

Are you dead?

Are you in heaven?

All good children go to heaven.

- Bizarre.

And chilling too.

- Well, forensic scientists

at Cambridge examined the voice recording,

and compared it to Suzanne's
normal speech pattern.

And they defined it as the
voices of two separate people.

- Two people, yeah.

And, um, we asked Suzanne
to see, if she could-

- Oh, my God!

Imitate the voice recording.

And she was unable to do so
for more than a few seconds.

That's her, trying it there.

- Yeah.

Try it again.

- Round and round the garden

like a teddy, oh, my God.

She can't do it.

- No.

Even under hypnosis, we tried that.

- Really? And the same result?

What other evidence do we have, Doctor?

Well, over the months,
Alan Demescu, my partner,

and I heard numerous noises,

thuds, bangs, scratching
on the walls, knocking.

- The sort of normal noises you associate

with poltergeist activity?

What about this here, though?

Ah, well, this is, this
is my favorite, I think.

This pillow moved diagonally

to within about a foot of my face.

Now, it's impossible to fake that.

How do you fake that?

I don't know really at all.

Let's have a look at some
more evidence over here.

This is the wreckage
evidence, if you like.

This is an extraordinary assembly of,

there is this cup here for instance.

Right? Let me show that
in the camera there.

Now, how did these breakages occur?

Were they dropped?

- Well, no,

the army did some analysis of this for us.

And they said it'd been caused

by intense temperature change.

Not by impact or shock.

Really?

This temperature, there you are.

Look, the headless lady.

And lots more guys here, and crockery.

Look at that.

And clocks or watches

just stop when they're in the house.

I mean, I just gave up wearing one.

There's no point.

And the favorites in
situations like this,

of course, the spoons that are bent.

Quite remarkable.

Couple of regular little
Uri Gellers, those sisters.

Yes, they weren't even
in the room sometimes.

You'd just open the
drawer and they are there.

And you saw all this happen?

- Yeah, many times.

Many, many times.

- Extraordinary.

Let's now look at another
piece of evidence, Doctor.

And that's the situation where
Suzanne's face at times is

covered with marks, with lesions.

Before I talk to you about that,

I'd like to talk to Suzanne.

And I think that,

yeah, there they are.

- We're on.
- Yeah.

- Here we are.

- So I'd like to talk to Suzanne.

Suzanne, when did you first
get these marks on your face?

When did they first show?

- About July, the first one was.

It was horrible.

Well, I'd just wake up

and it would feel like
someone was all over me.

And in fact, we've
got there, Dr. Pascoe,

we've got some of the
pictures that were taken there

of the face of that girl

with these extraordinary marks on them.

Alan and I
watched them appear on her face,

quite literally in front of our eyes.

- There's another shot there.

Look.

Remarkable.

Now we've seen, Dr. Pascoe,

we've seen the evidence that
you've collected so far.

I'd like your theory.

From what we've seen,
do you think that the

poltergeist activity, such that it is,

is now centered on Suzanne?

Well, certainly as a
female approaching puberty,

she does conform to the classic
typical poltergeist focus.

- Yeah.
- Broken family background,

she's introverted.

She tends maybe to direct her
stress and anxiety inwards

until it has nowhere to go, and then, barn.

- I see.

I think we've still got Mrs. Early there,

in our outside broadcast studio.

If she's, yes.

There you are.

Mrs. Early, I don't know
quite if you heard that,

what Dr. Pascoe was saying.

Well, she said that Suzanne

was the classic typical poltergeist focus.

She was the person that all
this energy was focusing on.

What do you think about that?

Well, there's nothing
wrong with my Suzie.

I know that.

If my Suzie's funny, well,

how does that explain the
other things like, um,

like the glory hole?

It doesn't and it can't.

So you disagree with
Dr. Pascoe's theory that

Suzanne's psychological problems

are the cause of these disturbances.

I think what you're
saying really is, in fact,

that you believe it's a actual ghost.

- Don't you, Lin?

- Pam, I'm not disagreeing with you.

Please believe me.

I'm on your side.

I know that there's something there.

I'm just trying to understand what it is.

A poltergeist can be
location-based or person-based.

I mean, who knows?

Maybe this is both.

I mean, of course a lot
of people would have it

that there's nothing there at all.

Yeah, well, a lot of people
would have it at one time

that you couldn't walk on the moon.

- All right.

Well, in order to avoid
any accusations of bias,

I'd like to bring in
physicist Emilio Sylvestri.

A former member of the
skeptic society, CSICOP,

the Committee for the
Scientific Investigation

for Claims of the Paranormal.

He's in New York.

Good evening, Dr. Sylvestri.

- Good evening.

- Thank you for joining us.

You've looked at the
evidence in this case.

I'd like to hear your conclusions.

What are they?

- Well, I think it's pretty obvious

there's nothing in the tape
that couldn't be faked.

The bedroom footage is
totally inconclusive.

It could all be done with
wires, for all we know.

And the
legions on Suzanne's face?

- Scratched by her fingernails.

She's not lying.

Believe her.

- I'd love to.

The same as I'd love to
believe I'm going to heaven,

but it doesn't make it a scientific fact.

- But if people do believe in something,

surely, we shouldn't discount it.

I mean, it's all part of human experience

and that's what we're studying.

- Well, fine, fine.

But is it measurable?

Is it provable?

No.

For years, parapsychologists
have been trying

to prove their loony theories

in laboratory conditions,

and they can't.

- Yeah, that's right.

We can't.

That's where we went wrong.

There are some things you
can't demonstrate in a lab.

Show me falling in love in a lab.

Show me poetic inspiration in a lab.

You can't.

You've got to get out of
the lab and into real life,

and that's what we're
trying to do tonight.

These people are not
deceiving us or themselves.

Look at them.

They're in trauma for God's sake.

Why would they do it to themselves?

The Early family are
suffering just like people

who've had murder bereavements,

or plane crashes.

The only difference is that nobody says

that they don't believe in plane crashes.

- But most of us don't believe

that people come back from them.

- See, that's...

What you're always forget, Emilio,

is that you have a belief system, too.

Your belief system is blanket denial.

You joke about it because
you're afraid to face it.

That old chestnut.

Look, Lin, you ought to be
selling crystals on Venice Beach,

or palm reading,

or a counselor, a
confidant, a guide maybe.

But a scientist?

I don't think so.

- Dr. Sylvestri, for the moment,

thank you very much indeed.

I hope you'll stay with us
in our studio in New York,

and keep an eye on what's happening here,

and from time to time, give
us a comment on proceedings.

Thanks for joining us.

Well, there you are, Lin.

What do you think about that?

CSICOP people have nothing
to do with parapsychology.

They're just a sign of the times.

- In what way?

- They're the last of the materialists.

Like the last of the dinosaurs.

The world's changing.

- Good doctor made you cross, didn't he?

- No.

Right.

I tell you what we'll do now.

Let's go straight over to
Sarah in Foxhill Drive.

- Hang on.

- Sarah, what's happening there?

- It's quite quiet, actually.

A bit too quiet.

Though, I must say, earlier on,

Suze turned off Dr. Sylvestri.

I don't think she was that enamored.

- What does he know?

He's not here.

Well, in the moment
we've got here now, Sarah,

perhaps you could tell us

that ghost story you
told us about earlier on.

- Oh, yes, all right.

Well, I suppose it was
sort of a ghost story.

It happened, um...

- I can start another one.

- A couple of months ago now.

We were staying at some
friends of ours' home.

They live in the Cotswolds.

Beautiful 15th, 16th century house.

And one night,

I was woken up by the sound
of this harpsichord music.

It was like chamber music.

But, you know, when a noise
comes into your dream,

and you're not quite
sure it's in the dream,

or whether it's actually happening.

It was that kind of effect.

But it woke me up nonetheless.

And when I tried to get
back to sleep again,

I could still hear it.

But all I could see was
this Indian woman's face.

And she had her hair sort of

pulled across her forehead
and then tightly back.

And kohl around her eyes.

And her eyes were going from side to side.

You know, like in Indian dancing.

And slowly, the eyes lifted up

and rolled right back
until they were white,

The next morning, I couldn't wait

to tell everybody about this.

And the people whose house it is,

they told me that the
house had once belonged

to the viceroy of India.

And he had had two
Indian concubines living

in the house with him.

And when they died,

he couldn't bury them
in consecrated ground.

He wasn't allowed to.

So he buried them out in his garden.

And there had been talk in the village

of actually digging up the grave

to see what else was down there.

And it became very clear to me

that this was a sort of message to say,

"No, don't. They mustn't do it."

And so, when I found out that they weren't

in fact planning to do
anything with the grave,

they wouldn't dream of it,

I went back up to the bedroom,

and I just sort of said, "Don't worry.

Nothing's going to happen."

And it was as though the
atmosphere changed straightaway.

I have to say Smithy was a
bit scared the next night.

He wouldn't
admit it, but he was.

But nothing happened.

And it was as though
everything had gone calm again.

But the important thing
here, it wasn't scary.

At all.

I mean, the music and the
vision was very beautiful.

But that's why I wanted
to do this program.

'Cause it's intriguing.

You all right?

Okay, yeah.

Kim just wants to go to bed now.

It's a bit late.

What time do you normally go to bed?

- Eight o'clock.
- Eight o'clock?

Come on then. You must be a bit tired.

I want to say hello to Mum.

- You want to just say hello to Mum?

Okay.

Well, tell you what?

If you look up to that camera there,

Yeah

Little thing there.

And you speak into here, you
can say good night to her.

- Good night, Mum.

- Good night, love.

Sweet dreams.

- Good night, Kim.

Remember,
there's nothing to be scared of.

To bed.

You really think there's
nothing to be scared of?

There we are.

Well, in one sense the
paranormal's no more scary than

the weather or the tides.

I mean, all those things can harm us.

But we can also understand them.

- All right?

- You gonna leave that light on?

- Yeah.
- All right then, night night.

- Good night.

- Keep warm.

- Yep.-

So, Sarah, got
anything to report at all?

- No, Nothing.

Just the cold.

It's typical, isn't it?

A house full of technology,
and nobody's bothered

to find out

whether central heating switch is on.

You okay, Suzanne?

- Yes, I am.

- Had your crisps?
- Yeah.

Yeah? Good.

All right.

Now, guys, I think we've earned
ourselves a cup of coffee,

don't you?

Yeah.

- Pam told me where everything was, so,

it's just there.

Mike, how do you take your coffee?

Black, one sugar please.

Okay, What about you, Chris?

Milk, one sugar please.

- There we are.

You know what?

I think I'd almost feel happier
if something was happening.

It's sort of eerier just
waiting, really, don't you find?

- Well, I think,

I might've heard something earlier.

Sort of,

just like an animal
scratching its feet, but

they don't record in this camera at all.

- Really?

Yeah.

And I noticed
earlier my watch had stopped.

- Really?

- Yeah.
- What time?

When?

Uh, just before we went on air.

I said watches have a hard time.

Par for the course I'm afraid.

- I'm fine.

Just as long as we all know, eh?

Don't spook yourself.

- No, it's all right.

That's what we're being paid for.

We're okay, anyway look.

We've got an old hand
to help us over here.

Now I just put the kettle on.

Do you want a cup of tea or coffee?

No thanks, I'm having
orange juice, okay?

- All right.

- Can you get me a glass please?

Where?

They're just up here in the cupboard.

- Yeah, that's right.

While you're in the fridge,

just pass me some milk.

- Oh yeah, Sure.

Whoo..

A balancing act.

There we are.

- Mum!

- Hello, love.

Are you all right?
- Yeah, I'm fine.

Are you all right?
- Yes.

- Well, there we are.

So far, so good.

Now as you know, we asked you to join our

exploration of the supernatural

by telling us your ghost story.

Well, here's someone with a tale to tell,

who wants to conceal his identity.

- We had this dreadful day, uh,

that first evening.

With duvets being tugged off me.

Except for being quite amusing,
we'd been laughing about it.

It wasn't at all malevolent or nasty.

But this particular day, it certainly was

One of the first incidents that day,

we were eating lunch and,

I think it was mackerel
or something like that.

We both looked down, this
is my half-sister and me,

and saw what looked like saliva

all over the mackerel.

Of course we couldn't eat it.

And shortly after that,

I found again what looked like
saliva on the front doorstep.

Um, I start, I lost my temper with it.

For the first time, I say "it."

and I started shouting and swearing.

And immediately, again, spit,

what looked like spit
appeared on my shoes.

As if in retaliation.

And either shortly before
or shortly after this,

literally was disgusting.

We found excrement smeared

on a cupboard door in the bathroom.

We had already, in fact found, uh,

such things in various parts of the flat.

This was the first time we
actually found anything smeared

like that on the door.

So it had to be cleared up.

It was really horrible.

- And from someone who believes in ghosts

to someone who's not quite sure.

Let's join Craig Charles.

- Boo!

I bet that scared you, didn't it?

No, this is not a mask.

This is Craig Charles,
live, you lucky people.

And here we have the thrill-seekers.

Pillars of the community.

All waiting to see if the
ghost is going to arrive.

Welcome to Fright Night.

Now I'm gonna give you
a little guided tour

of the community.

And we're gonna meet some people

who are pretty upset about
some weird goings-on.

And we're gonna go to a
pretty sinister place.

Let's break into a little
bit of a jog, lads.

Gets me fit, this jog.

I tell you what Michael, I hate Halloween.

I hate apples.

I hate dud apples.

I hate little kids all
dressed up in, like the devil.

I'm going to meet this
woman, Yvonne Etherly.

And she's on this piece of
waste ground here, I think.

And then she's gonna tell us
some pretty peculiar things.

Um, Yvonne Etherly.

Yvonne?

Which one, you're Yvonne.

Okay.

Yvonne, can you,

can you tell me about some of the things

- Well, we live opposite Pam at number 43,

and one night, ages ago now,

we heard all this banging.

So we went to the front door,

and it was obvious it was
coming from Pam's house.

So what did you see?

- Well, the top window was smashed,

and Pam and Kimmy were
in the garden crying.

So, we made them a cup of tea.

And they just come in, into ours

whenever they need to, basically.

It all sounds
a little bit weird.

What's it like living in
England's answer to Amityville?

- Well, it's not a joke.

I mean, it's not very funny.

I mean, some really weird

and horrible things happen around here.

Well, what kind of weird things?

Well, there was that wee
girl that went missing.

- Judy Weiland.
- Judy Weiland.

It was in all the papers.

- What happened to her?

- We don't know.

She just disappeared and then,

well, I know you're always
reading about people

that were knifed and that sort of thing.

But somebody was knifed around
here that was five years old.

- Five years old?

Okay.

Can you tell me a little
bit about this playground?

- Yeah.

Shall I go in?

- Yeah, yeah, come on.

- Well, it was this summer.

My, my youngest son, Gary, came running

into the house in a real state.

So, when I calmed him down,

it seemed that they'd
been playing in here,

and they'd found this dead black Labrador.

- Where did they find it?

- It was about here.

- And how had it died?

- Well, it'd been cut open,

like something in a butcher's shop.

- Can you imagine the kind of person

that would do something like that?

- Is that all that happened?

- Well, it was pregnant.

There were fetuses scattered all over.

- The kids weren't right for weeks.

- I should imagine not.

So as you can see, this is
a pretty sinister place.

Now I'm gonna try and find the
guy who tried unsuccessfully

to exorcize Foxhill Drive.

A Mr. Arthur Lacey.

Arthur Lacey?

Arthur Lacey.

Come with me, Arthur.

You got involved in your
professional capacity, I believe.

Well, not exactly.

By profession, I'm a British Royal Guard.

Ah. But in your
spare time, you're a medium?

Well, I'm a spiritualist.

A spiritualist.

I've been given the task, when I can,

to help spirits that
may have lost their way.

So, you, um, you
exorcized Foxhill Drive.

- Well, it wasn't the Rituale Romanum,

bell, book and candle.

No, I simply went and
prayed with the family.

And offered a guiding light

to whatever poor soul might need it.

- And can you tell us what happened?

- You know how they say that

pigs can sense it before they
get to the slaughterhouse?

Of spiritual decay, is the
only way I can describe it as.

Yeah, I was physically sick for a week.

I smelled blood on my hands.

Something didn't want me near it.

Didn't believe it was dead.

So do you believe
there is such a thing as,

I don't know, an evil place?

Well, there are degrees,
yes, shades in all places.

I mean, anyone who buys
a house finds themselves

weighing up those
vibrations subconsciously.

You see, I think that

just as we are the product of our mothers

and fathers and their mothers and fathers,

I think that places
somehow inherit the genes

in their past too, somehow.

- Yeah?

Hey, trick-or-treaters I think.

Hey, what's your name?

- Katie.
- And your name?

- Billy.
- Billy and Katie.

Sounds a little bit like a-

- Craig.

Craig.

I'm sorry to have to cut you off there.

In fact, I've just heard that
we've got to go back to Sarah.

Sarah's got something important for us.

Sarah?

Yes, what is it?

What have you got?

- Yeah, we definitely got something here.

Just look at this.

Now, can you see this?

I certainly can, clearly.

Well, there's no
way it could've got there.

I thought maybe an old tomcat
had got in or something.

Sarah, when did you see this?

- Well, I took Suzanne up to bed,

in fact, all of us went upstairs.

Um, nobody was down here at all.

10 minutes ago, it wasn't here.

Sarah, have
you got a handkerchief?

Can you see if the light fitting is wet?

- Thanks. That's great.

Yeah, we'll do that for you.

Better turn the light off first, hadn't I?

All right.

Okay.

Here we go.

I'll put this.

If this is strong enough to hold me.

There we are.

Anything?

Uh, there's nothing dripped
off here, first of all.

No stains on the ceiling?

- Just see, if there's anything?

No?

The floor's concrete.

No, this is all completely dry.

So, it couldn't come from below.

Is there any smell, Sarah?

No, nothing.

Can you smell the hanky, maybe?

See if there's anything on that now.

Any odor?

The hanky?

No, no, can't smell anything at all.

No.

Can you take a sample for us?

Have you got anything that you could-

- Yeah, uh, what can we use for a sample?

Something to scrape it up.

I got a lens duster.

Good I..., that would do.

Yeah, we're gonna use this
to, can I give you this hanky?

Great.

- There.

See if we can suck some of
whatever it is up with this.

Here we are.

You see, look, it's typical.

It's typical poltergeist.

If you pour water from a jug,
it's almost impossible to,

to avoid getting an erratic outline.

Now these pools are perfectly
oval, they're unbroken.

Good.

Oh, Suzanne.

Is she all right?

You okay?

Yeah, I've just got
a bit of a icky tummy.

Oh, let me get you
some Eno or something, hang on.

- Doctor, when they've got those samples

that we saw them taking there,

what do you do with them
when you get the sample?

Well, we'll test it
to see if the calcium

and the magnesium salts

match the hardness of the local tap water.

- And where does it come from?

- Don't know.

- Can't get any water out.

Can't get it off now.

There we are, soaked.

There you are, Suzanne.

Sorry I'm all wet.

Let's go upstairs, shall we?

- Can I ask you now, Dr. Pascoe-

We've had a look at what's been happening

there in the house.

What, in fact, do you make of what we see?

Well, poltergeist
activity has a pattern,

a menu if you like, um,

first, there are the noises,
the sounds and then water.

And then the third stage
is physical phenomenon,

moving objects.

And did you think that in
fact what we're seeing there

is something starting to
happen in Foxhill Drive?

- Well, who knows.

- Well, we shall find out.

No doubt.

Things have been happening
in our phone rooms.

We've got another caller on the line now.

He's Kevin Trip, from Neath.

Pick up your phone there, please, Doctor,

let's talk to Kevin.

Hello, Kevin.

Hello.

Yeah, hello.

Hello.

Do you have a story for us?

Yeah, can you hear me?

- Yes, yes.

I can hear you fine.

Yeah, I was just
sitting here and stuff, uh,

you ain't gonna believe
this, I'm telling you.

- Well, you try us, Kevin.

And we put on the programs
about 10 minutes ago.

Um, I had this sandwich,

cheese and pickle sandwich it was.

- Oh, yes.

And it frightened
me to buggery, it did.

I was minding my own business

and this dirty great plate
sitting on the arm of my chair

just dived off.

Sure, Kevin.

None of us nowhere
near it or nothing, mind.

It just leapt off with a mind
of its bloody own, it did.

Kevin, um, how close
were you to the plate?

Miles away.

My mates, uh, they
went white, they went.

- Yes, yes.

All right, Kevin, I think I
get the picture, certainly.

Thank you very much, indeed for calling.

I suppose in fact we should
have been prepared for that.

I mean, it's Halloween night,
home brew time and all that.

I can see you're not as skeptical as I am,

Doctor, about that last caller, all right.

But really, serious calls, please.

The lines are still open

and we've got time for just
one other call, I think.

No, in fact, we haven't.

I'm sorry, apparently we've got

to go straight back to
Foxhill Drive, where

things are happening, so-

- From in here wasn't it?

Did you hear?
- Yes, this way.

- Are you picking this up too?

Just put the light on.

You're going to have to
be... Get it out of here.

Move the bed.

I'll get that.

Are you all right?

Listen, I'll crawl down there, all right?

Some scratching down here.

It's moved.

It's in the wardrobe.

- Let's get this out of the way.

Can you hear this?

I can't get it open.

- We can hear him in the kitchen!

- You just go back to bed.

All right, back into bed.

It's downstairs.

Come on.

It stopped.

I can't hear anything now.

What are these?

It's all kids' pictures.

They weren't here before.

I didn't know they had a cat.

Did you?

I don't know what to do.

Should we go back upstairs-

- Shh!

Shh!

- Upstairs.

Children.

Come on.

Uh, Sarah,
stay where you are, please.

Sarah, stay there.

Please, don't go upstairs.

Why?

Because we
hear that Suzanne's got out

of bed but she's not yet-

- Stay here? I don't know why.

She's not
appeared on the landing.

Suzanne.

Where, where is she?

It could be a piece

of its usual misdirection.

I just, trust me, Sarah.

Stay there.

Suzanne must still be in the bedroom.

But where?

Perhaps out of camera range,

right in the corner of the room.

Can we cut to the hall camera?

No, sorry.

Sorry, the landing camera.

No, the landing on the door.

The other landing.

That's it, and zoom in.

Can we pan?

Can we pan left?

And down.

Okay.

Kimmy!

Come on.

Kimmy.

Suzanne, are you okay?

Are you all right?

Come on.

- It wasn't me.

- It doesn't matter.
- It wasn't me!

- It doesn't matter!

- Oh, that's, that's quite extraordinary.

We set out to catch a ghost

and sadly, very sadly, what
we witnessed was a remarkable

exposure of a hoax.

- Let's not be too hasty.

- Oh, come on, Doctor.

Please, we've surely got
to accept we saw it there.

- No, I don't.

Look, this is an established pattern.

Genuine phenomena followed
by the fakery stage

when the children feel obliged
to come up with the goods.

- Doctor, really?

- I'm sorry, because...

Well, I mean, after
eight months of commitment

and connected work like
you've been through,

I can understand you feel upset
because you've been duped.

- I'd be the first to admit it if it

was absolutely sure I had been duped.

- Oh, Doctor, really-

- Please don't be simplistic.

This is one incident amongst many.

Many dozens.

I was there.

I've seen them.

I've seen inexplicable things.

100%, no question.

- And this?

- Let's not get sidetracked, please.

Let's not lose the scent.

Maybe there's a kind of

ritualistic reason, it's
like sympathetic magic.

Acting out what they want to happen.

The invoking process

that proceeds the genuine appearance.

Doctor, before we get too
involved in that kind of jargon,

let's see what Suzanne
has to say about this.

She might, Sarah, is
Suzanne able to speak to us?

Suzanne needs a glass
of water right now.

Can I talk to her?

Well, I think I'd like to talk

to her first of all if you don't mind.

- Where's my mum?

Suzanne,
I'd like to talk to you.

Did you put the writing in the schoolbook?

I don't want to talk about it.

What about
the noises in the wall?

I don't want to talk about it!

What about the
scratches on your face, Suzanne?

Mum.

- It's all right, child your mum's here.

Doesn't matter.

Can you hear me?

Why, Suzie?

You can tell me.

To show them.

Well, you
didn't have to show them.

Not like this.

"Hmm?

Why?

- Tell them you don't tell lies, Suzie.

It's all a mistake.

She doesn't know what,
she doesn't know anything.

Do you, love?

- I thought you'd leave us.

You thought I'd leave you?

- All we were, were noises to you.

And you lied to make us stay?

- Sometimes.

Only sometimes?

- It was what you wanted, wasn't it?

We just gave you what you wanted!

Stop it!

Mrs. Early,
you've heard your daughter.

She's admitted the entire
thing was a deliberate fraud.

- No, I'm sorry, I don't accept that.

Dr. Pascoe has seen and
heard things, same as me.

You can't just-

- But-

- Well, she's afraid, she's frightened.

She doesn't know anything.

But, Suzanne
herself explained, Mrs. Early.

- My family are telling the truth.

We're all telling the truth.

Well, fortunately,
after this turn of events,

we're able to return to
Dr. Emilio Sylvestri.

Dr. Sylvestri, who's in New
York, joins us again now.

Dr. Sylvestri, I imagine
you're about to say,

"I told you so."

Well

I don't get any vicarious thrill

out of seeing parapsychology
crucified in public.

But it does validate my hypothesis.

- Hmm, what hypothesis?

- These are disturbed attention-seekers-

- Oh, rubbish.

- You played into their hands.

Primetime TV, Alice in Wonderland,

couldn't take it any more, they,

end of illusion-

- This is not the end, please believe me.

I almost, I almost feel,
whatever is in there,

it's deliberately muddying the waters.

- Well, Dr. Pascoe, thank you.

And Dr. Sylvestri, thank
you, too, for joining us

from New York.

Thank you and, and good night to you.

A lot of activity in our phone room.

You won't be amazed to hear
that after what we've just seen

in Foxhill Drive.

Uh, Mike Smith, what's happening?

What's the story?

- Well, the strange thing is

that we're still getting calls
about that shadowy figure,

that was seen in the haunted bedroom

or people think they've
seen in the haunted bedroom.

Now, what's really weird
is these are all tallying

with the description.

These are all different phone calls.

They're, generally, all
saying that it's an old man

or a woman.

Uh, bald with a skull-like head,

dark eyes,

or some are just saying, "Holes for eyes."

Wearing a black robe or a
dress which is buttoned up

to the neck.

So, if anybody's seen
this gentleman tonight-

Michael, I'm sorry to
interrupt, but this is important.

Uh, can somebody in the gallery,
tell me if it's possible

to access the tape interviews I've shot

at the university, please.

- I'm sure, I'm sure it will be, yes, um-

In view of what's
happened there's a sequence

I need to find, urgently.

Yeah, they're saying they
can, they can get to it

sometime further on in the program.

Yes, okay.

We can do that for you.

Um, in the meantime we'll have
another "Ghostwatch" story.

And then after that, I'd
like to hear your opinion

on what we saw, a moment
ago, in Foxhill Drive.

Is all of this, all of this, a hoax

or as Dr. Pascoe believes,

are things just about beginning to happen?

Well, call me after this true
ghost story, coming up now.

- When I was about 11 or 12,

we moved to this large,
old Devonshire house.

And part of the house is a lot older

than the other part of the house.

And it had a nasty feeling.

It was cold.

Um, things,

doors opened, things fell off
the wall, ornaments shattered,

and generally, it didn't
have a nice feeling.

Um, my bedroom was in part of that house.

Part of that, old part of the house.

And, um, shadows would
move at the end of my bed.

So, I asked for a night light.

I asked a grown-up, I think
it was my grandmother.

Um, which made the situation
worse in a way, because-

- Wait, wait.

Can we just clear the set?

Yeah, well something's gone very wrong

with that ghost story,

probably a poltergeist.

What do you think, Dr. Pascoe?

Anyway, um, we'll try to get back to that

before the end of the program.

Uh, meanwhile, what do we do?

We go back to your calls,
that's what we'll do.

Um, Mike Smith?

Um, the only one I got
for you at the moment,

is this woman, try, try her.

She wants to remain anonymous.

Wants to take part in the program,

but insists on anonymity.

Try her.

- Okay, Mike, thanks.

Doctor, pick the phone up.

Hello?

Hello.

- Yes.

Hello, am I on?

Yes, you're, er, you're
on BBC One's "Ghostwatch".

Now, what do you want to tell me about?

We've got this big glass table.

My husband just rested one
finger on it and it exploded.

Glass everywhere,

his face and hands were cut.

There's blood on the wallpaper.

The ambulance has just gone.

My children are frightened.

Why are you doing this?

Now look, I am sure your
children are in shock.

Uh, also want to say, I think,
it's high time, probably,

that your kids are in bed.

I mean, it is past the
9:00 watershed, isn't it?

That's it.

That's just it.

They won't go to bed.

I can't drag them away from the TV.

I tell them to look at what time it is

but the clock still shows 9:30.

- Excuse me, have all your clocks stopped?

I don't know what's going on.

They won't take their eyes off the set.

And there's blood-

There's blood all over the wallpaper.

- Look, love, it's Halloween.

They're overexcited.

Uh, you've had a terrible accident.

Now, please, would you
switch off the TV and please,

send your kids to bed.

Thanks for calling us,
but we've got to move on.

Thank you, love.

- No, don't let her-

- I'm sorry, she's gone.

- Um, listen, please,

if you're still there.

Don't touch anything, and if
you can, take a photograph.

Now, this is very valuable evidence.

- I've got to say to everyone watching.

Please, please, we don't want

to give anybody sleepless nights.

We don't want to start panic.

Don't let your imaginations run riot.

These things we're talking about are very,

very rare, indeed.

And the chance of them happening

to you are exceedingly remote.

Uh, please, believe us.

Right, now I think that Dr. Pascoe,

that that tape you wanted,

that interview you did some
months ago with Kim Early,

I think that's ready now.

I think we can go to it.

It's coming up now.

There you are.

So, have ever seen him then, Kimmy?

"Pipes?

Yeah.

- And what does he look like?

Can you describe him to me, then?

- Well, he's really old.

And this eye's got all blood over his eye

and scratch coming out and then

he's bald over his head.

- Mmm-hmm.

- And then he's got a nose.

And in the middle, it's got
a scratch all the way down.

- Hmm.

- In there.

And he's got a dress on.

A dress on.

- Does he?
- Yeah.

It's really long and it's black.

It's got buttons, all the way down.

- Hmm.

- And then lots of petticoats underneath.

Can we replay it?

Sure, sure we can.

Back to the
start of the description.

- All right, can we roll it back, VT?

Back to the start of it.

There?

- Well, he's really old.

And this eye's got all blood over his eye

and scratch coming out and then

he's bald over his head.

- Mmm-hmm.

Now, do you see what I mean?

Kim's description exactly matches

what Mike's been getting on the phones.

"Old, man,

bald, he's got a
skull-like head, dark eyes,

wearing a black dress."

It's black.

- She says it's black.

All the way down.

- Buttoned.

Well, could they have
read the descriptions

in a newspaper, Perhaps?

- There's been nothing in the newspapers,

not containing that description.

It's not appeared in print
one single time, I assure you.

- Then what are you saying?

Well, we were drawn to
assuming it was Suzanne

at the center of this

because she's at puberty,
but what if she isn't?

What if it's Kim?

- We've been looking at the wrong person.

Exactly.

Fascinating.

Uh, Sarah seems to be
trying to get our attention,

er, quite agitated.

Sarah, what is it?

- Thank you.

It's Pamela.

Listen to this.

- Cats.

It's like cats.

Can you hear it?

Where, Pam?

- It's all, it's all around us.

Like they're trapped, somewhere.

Do you hear it?

Cats running round up
there on the ceiling.

Can you hear anything, Sarah?

- Yes.

Yeah, I can hear it, now.

She's right.

Mum?

What is it, Kimmy?

What's wrong with Suzie?

What do you mean?

What's wrong, Kimmy?

Suzanne?

Suzanne, are you okay?

It's all right, love.

Don't get upset, love.

Your mum's here.

Oh, dear God.

Oh, God!

What do you want us to do?

Sarah, Sarah?

Are you all right?

- Get away!

Get away from-

No Mum, they have to stay.

They have to see everything.

Sarah, it's all right.

Don't worry.

It's some kind off allergenic
psychosomatic reaction.

Could be self-mutilation.

She could've done it with her
own fingernails, you know?

They say that she
used her own fingernails

for this.

- "Fingernails"?

What flaming fingernails?

Look, what do you want us to do?

Sarah, don't worry.

I've seen it before.

It will subside.

Feel her temperature.

She's burning up.

- Get off me.

Don't touch me.

It's like a meat locker in here.

It's so cold.

Well, we can't move her,
because she is in agony

and she won't even let me touch her.

What do you want me to do.

Yeah, get a
flannel and get some water.

- Yeah, come on.

We'll get out of here, come on.

Sorry, I didn't mean to drag you out.

I just think they need
a bit of time, here.

- Oh, God!
- What is it?

Behind the door.

I, I saw somebody
standing behind the door.

Nobody there now.

- sorry-

Pam, here we are.

Pipes says she's
got to be punished.

Pipes says she's a bad girl.

- It's all right.

Just be quiet.

Oh, good God.

Sarah, should we send someone in, now?

No, God knows how she'd react.

Just let, let's, let
everything settle down now.

What, darling?

- We've got to stay.

Pipes says we've got to stay.

Okay, okay.

- I should tell you, if you've joined

to see the next program
that in fact we're staying

with what we have here from Foxhill Drive,

because the events are,

are so remarkable and dramatic

that we will be staying with them

for as long as we have to.

Pam Is it
worse than it was before?

Doctor, what about

your theory that,

in fact, Kimmy was the focus

for the poltergeist activity.

What does this mean, now?

Well, maybe
they're both involved.

I mean, maybe it's like a tandem effect.

Kim's creating the energy

and Suzanne's directing
the violence in on herself.

- First, Suzanne,

then Kimmy,

then this.

You don't know, do you?

- No, I don't.

You know what, darling-

- I've got to come in here.

We've got a very important
phone call which I think

you both should take right now.

- Doctor.

Uh, hello, who am I talking to?

Oh, hello, my
name is Mary Christopher.

And I just wanted to phone
and tell you about this,

well, about my mother, really.

We were Northolt born and bred.

And, um, and as children,
if we were naughty

or couldn't get to sleep,

our mum used to say, "Mother
Seddons will come to get you."

It used to scare us rigid.

I don't know why she'd-

Parents do do some
awful and daft things,

don't they, Mary?

Yeah, well, years later,

I found out that she really did exist.

And she was a baby farmer,
like a child minder.

She used to take kids in,
but she used to kill them.

And she'd drown them in the big coppers.

And why, why I'm ringing is,

she used to live in
one of the old terraces

in Foxhill by the railway as it was then,

and is now, Foxhill Drive,

and I'm just sure it's where
those poor girls live now.

And really, that's all I have to say.

I just wanted to make sure you knew.

- Thanks for your call, Mary.

Thanks very much for calling in.

Sarah, I wonder,

Sarah, Sarah, did you hear any of that?

Sarah, can you hear me?

- Could I talk to Sarah, please?

- Mike, it's all right.

I can hear you.

I'm fine.

Um, Suzanne's feeling a bit better now.

But we still don't know how
the scratches got on her face.

But, we feel it's probably best

to get the girls out of the house now.

Uh, things are still
feeling quite strange.

No, we're not!

Get it Off!

I've got to talk to somebody.

Kimmy?

Who?

Kim, who're you talking to?

- Pipes.

Where's Pipes?

- Here.

What does he look like, Kimmy?

- Like somebody's mum.

I'd like both of those children

out of that house.

Kimmy, it's time to go.

No!

Of Suzanne as well.

Please, let's have the
kids out of the house.

- I want to speak to Pipes.

Leave me alone.

I'm not a baby!

No, you lied, you said you'd stay.

We will stay with you.

What was that?

Where're we going?

Just outside, come on.

Downstairs.

Just outside.

Come on.

- I don't want to go.

Pipes says we've got to stay.

Pipes wants to see everybody.

Look, everybody wants to see him.

- Hopefully, the children

are on their way out of the house now.

And once they are, I
suppose that'll be the end

of our program, the end of
our "Ghostwatch" program.

I hope they, they are out shortly.

Uh, as we wait for them to come out,

we'll go over to our phone-in studio.

Mike, what's been happening?

Uh, well, it's understandably
fairly chaotic here.

Um, we're getting all sorts of calls.

In Derby, someone was ringing to say

that her clock had stopped.

Again, a clock stopping.

A Ken and Joyce Shrivener
from Telford in Shropshire,

their radio has gone dead.

And the microwave oven
is pinging repetitively.

- Well, where are they happening?

I mean, is there a geographical pattern?

How many of these incidents are there?

I don't know, I don't
know how many of these

to take with a pinch of salt.

Mrs. Pinder from Chepstow,
her dog won't stop barking.

Uh, in fact, we have loads
of instances recorded here,

this evening,

of pets acting up all through the program.

Mr. Naro from Cheltenham,

says his son is making glasses break.

- I'm sure we can assume that many,

if not all of these calls, are jokes.

I'm more interested in what's
happening at the house.

Are they all out yet?

- No, no, wait, wait, wait.

We've got one here that, um,

just in the last few minutes,
a young lady, very distressed,

in response to something
that we showed earlier on.

And she's hung up before we'd had a chance

to talk to her, so,

the point is, there's someone here

who could take your call now.

We need to talk to you,
could you call back?

Can we talk to these people?

- Let's get back to Sarah.

Sarah, Sarah, are you all right?

- Uh, I'm so,

I can hardly hear you.

You can hear what I'm saying.

Um, Suzanne's a lot quieter now.

But, uh, they, they won't move.

They won't listen to me.

I think Suzanne's in,

in some kind of a state of shock.

What do I do?

I can't leave them.

Sorry, I've got to take this out.

It's a terrible noise.

I don't know what's going on.

Can you hear this?

Smithy?

Michael?

Dr. Pascoe?

There are incredible noises
coming from the walls.

And from the ceiling.

- Oh.
- Jesus.

Kimmy.

You all right?
- Can't you do something?

- Suzie.

- What big eyes you have.

What big lips you have.

Stop it!

Stop it, Suzie!

Suzanne, you're coming with me.

Suzanne?

You're coming, Suzanne?

Listen to me, Suzie.

Suzie?

Can you hear me?

Suzanne, do you hear me?

- Yes.

Yes.

Get out.

Get out if you don't want to be here.

I don't care.

You just mess things up.

You mess everything up.

I hate you.

Kimmy!

Kimmy, if you can hear me,

just shout.

Let me know where you are,
so that we can help you.

Kimmy!

Kim.

Just say something.

Kimmy?

Kimmy!

Kim?

It's her bunny.

The fridge.

Kimmy.

Come on, darling.

Hmm?

- Pipes said to do it.

- What?

- Pipes says he's a bad, bad bunny.

Here are his eyes.

- What's that noise?

All right, where is it coming from?

I'm looking.

This looks like an earthquake.

Mike.

- It's in here.

It's in the glory hole.

Can you just stay
back over there, darling?

Stay, stay over there.

- It's in there.

Okay.

Just pull it aside.

Shall I get them out
of the kitchen drawer?

Take this away.

Yeah.

Mike?

Oh, my God, what's happened?

Are you okay?

Look.

Chris, stay there.

I'm gonna go and get help, all right?

Just stay there with him.

Suzanne-

- He's touching me.

Suzanne?

He's hurting me.

Get off me!

Get away!

Get off me!

No!

Go away!

Mum, help me!

Don't leave me, Mum!

Have we, have we
lost the link completely?

No, there's nothing.

- Hang on, yeah, we're on.

Please tell him.

We've honestly lost the link?

- Well, the red light's on.

We are definitely on.

Sorry, there seems to be a bit of a-

- Okay, we can't get it back.

Bit of a bold, in TV
speak, I think we can say.

You must be able
to get it back somehow.

Uh, we're finding out.

Well, nothing to report
so far from the house.

It all seems very quiet and peaceful.

To tell you the truth,
I'm not really bothered.

I didn't really want the scoop
on the Headless Horseman.

I mean, like, where do
you put your microphone?

Is somebody speaking to them?

What's everybody doing up there?

You're following me
around, kids, aren't you?

I think we're off again now.

God.

I wish someone would've
said we were on then.

You know, I'm chatting away and...

Only at the BBC, loves.

- Uh, I think
- What's going on then?

Okay, so somehow-

- Just a minute.

Sorry.

We're back.

Back in Foxhill Drive.

Oh, fantastic.

God.

Still no sound,

but it looks peaceful enough, doesn't it?

Yes, it does.

- Where's the sound man?

I assume they've got him out, actually.

Obviously.

And back to, back to normal.

They look happy.

Mike Smith's right.

He breathes a sigh of relief, no doubt.

Yeah, no, I'm delighted, I,

I was ready to, um, I don't know.

- Oh, panic over, hopefully.

- Can we see the rest of the house?

- I'm sure we can.

I'd like to talk to Sarah as well.

While we're working on trying
to talk to Sarah again,

perhaps there's time to take
one of those many phone calls

that are stacking up.

Mike?

- Yeah, I'll be delighted to.

Who is the next caller?

Talk to him-

Hello.

Your name is?

I don't want to give me name.

But I think I have some information

for you about the history of the house.

- Well, what do you know about it?

- Well, we've been into all that.

We've got the, uh,

the deeds and searches going
back to the year it was built.

And the history of the site
as far the Doomsday Book,

and the, um, the lay lines.

Do you know Mr. and Mrs. Sellers?

- Yes, they're on our list of tenants.

They lived there in the '60s I think.

Did you know they sublet a room?

- No, I didn't, I didn't know that.

Being illegal,

it wouldn't be on the official records.

The lodger was their
nephew, Raymond Tunstall.

- How do you know him?

And why are you calling, sir?

I worked as his social worker

when he came out of psychiatric hospital.

He had several convictions
for molestation,

aggravated abuse, abduction of minors.

He should never have been let
anywhere near any community.

He was a very disturbed man in my opinion.

In what way?

From the time he
moved to Foxhill Drive,

he developed paranoid fantasies.

He used to tell me there
was a woman on the inside

of his body,

taking over his thoughts and actions,

making him do things he didn't want to do.

He started to wear dresses.

The delusions got so bad,

there was only one way to escape them.

He took his own life.

That's why I called.

When I heard,

when I was sitting here
watching the TV and...

- Hello?

Are you still there?

If you are, please go on.

Hello?

Tunstall hanged himself.

He tied a wire around his neck

to a lathe and switched it on.

He did it where he kept his
tools, under the stairs.

His aunt and uncle were on holiday.

It was 12 days before anybody found him.

They heard the cats screaming.

He had about a dozen cats.

The cats were locked in, of course.

Of course-

12 days, they got hungry-

They got to work, on,

on his face.

- Mister,

I'm sure what you say is true.

We've no reason to disbelieve you.

But in order to substantiate-

- He's gone.

Doctor, he's, he's hung up.

Sorry, but that's how it is.

He's gone.

Oh, dear.

- I think this is the onion skin.

- What is?

I mean, what
happened on that spot,

how many terrible things have-

- Oh, this has got to be nonsense, Doctor.

Before Tumstall, before
Mother Seddons, way back,

maybe into prehistory-

- Oh, nonsense.

There'll be no more calls, please.

Also, our switchboard's jammed.

We've been inundated with hoaxes-

The Rosenheim poltergeist
affected a telephone exchange,

rang up endless bills, misdirected calls-

- Poltergeist or no poltergeist.

They are
seeing it now, for God's sake.

Don't close the lines!

We need to know what's
happening out there!

- You're the expert!

What is happening out there?

- I don't know.

Jeez.

What is it?

Doctor, what's wrong?

What's the matter?

- It's in the machine.

Wh-what?

- Well, look at the picture.

- Where?
- On the wall.

The picture on the wall.

What about
the picture on the wall?

- Well, it's still there.

It hasn't fallen.

It's not come off the wall.

This picture we're seeing now isn't live.

This is some earlier footage
from earlier in the evening.

This is just a cover.

It's a dupe.

This isn't happening now.

But what is happening?

- It's what you wanted, wasn't it?

Well, we just gave you what you wanted!

They don't
look very shocked any more.

Stop it!

Of course the recorder
isn't shocked any more.

You're being silly.

There's a wind.

Have you ever heard of wind in a studio?

- How many observers do we have tonight?

- I don't understand.

- Jesus, Mike,

we've created a seance.

A massive seance.

Where are we now?

What's this?

This,

this could be live.

Is this is happening outside the house?

I think it is.
- It's Mike.

We've got
to assume this is live,

actually happening.

Is that Kimmy?

Yes.

Mum!

We've seen,
we've seen Mike come out.

We've seen Kim.

We've seen, we've seen Pam.

So that leaves Suzanne

and Sarah.

Now, now where are they?

Where can they be?

Have you seen them?

Must be still in there.

What are these shapes?

Where are we?

Look, what are we seeing here?

The infrared camera.

Who's that?

Suzie?

It's Sarah.

Is it?

Suzie, are you there?

Can she hear us?

Chris?

Down here.

- Where are you?
- Here.

Oh, my God, you're there.

Can you see if you can
see her in that room?

Hold on.

No, she's not down here.
- I know, Chris.

Have you still got your lighter?

Yeah.

- Got it.

There we are.

Oh-

There we go.

Is it okay for you?

Is it okay?

Yeah, hold on.

Mmm-hmm.

Chris, look.

Can you see them?

Sarah, Sarah!

Mum!

Mum, help me!

Help me, Mum, please!

It's okay Suzie, we're here!

Where are you?

Mum, help!

She's downstairs.

In the glory hole.

Chris, are you all right?

Yeah.

- Hang on.
- Get off me!

Get away!

It's all right, Suzie.

Get off me.

Get away!

Come on.

Suzie?

He's hurting me.

- I can't open the door.

It's blocked.

Suzie?

You've got to try and
push it from the inside.

He's hurting me.

- Come on!

It's no good.

Get off me!

- Suzie?

Thank God.

No one's gonna hurt you.

You're safe here.

Sarah?

Sarah!

Clear the studio!

Get out!

Quickly!

- People are leaving the studio now.

The lights are blowing all over the place.

No, I'm not going out.

I'm not going.

Get the link back.

Get the link back.

If somebody can get the link back.

- Lights, I think we're losing power.

When you assure me
that my wife is safe, I'll go.

We have got
an emergency generator,

whether or not we should
bring it in, I don't know.

I'm not going-

- The studio's completely dark.

Just, just blackness now.

All the, the lights have failed.

The power's gone off.

We've got some,

some lights in the studio.

I don't know,

this camera's, I don't
know which one's working.

I mean,

There are no cameramen.

I mean, it's difficult to know

even if anybody's still with us,

but if they are, this is the scene in this

in this studio.

This totally deserted studio.

Autocue's working.

"Round and round the garden,

like a teddy bear"?

Didn't believe those stories

about Mother Seddons, did you?

Fee fie foe fum.