Celebrity Help! My House Is Haunted Season 3 Episode 6

Reality Insight Hub

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Transcript

00:01She don't have to be sorry

00:04Thankfully, there are three people

00:08Murder?

00:09That said murder

00:11It's a murder

00:12Who can help?

00:13I've lost her energy

00:14Go on

00:15I've lost her

00:16What? What? What was that?

00:18No, don't

00:19What's the matter?

00:21In the name of the father, the son of the spirit

00:23Amen

00:24You can move on

00:30Is there any spiritual presence making yourself known to you?

00:43I have this electricity running through my body like an energy

00:50So I don't know whether we're dealing with a poltergeist

00:54Or something's energy-driven

00:57In this investigation

01:01Already shitting myself

01:02I don't like anything that I feel might be a threat to my own

01:06A celebrity and his family tormented by spirits

01:09Getting a bit of a goosebump vibe going on now

01:11I can't shake this feeling of being watched

01:14There's always the feeling that you're never on your own

01:18A barbaric entity

01:20The eviscerated innards ripped out

01:22And harrowing evidence that terrifies our team

01:25The shadow

01:26The shadow

01:27Is here

01:37Are you guys scared?

01:38I am fascinated

01:40By what's been happening

01:41Mm

01:42How about you?

01:43There is this element of anticipation

01:46I don't know

01:47Maybe it's an excited feeling

01:49Unlike Barry and Jane

01:50Medium Ian asks not to be told anything about the case

01:54So he knows he's getting direct communication with his spirit guides

01:58I feel as if I've got a problem with my speech

02:02Really?

02:03I have to think about what I'm going to say

02:05So I don't know whether that's connection to the spirit or connection in other ways

02:12But I just feel that I can't speak properly

02:16The team have been called in to investigate paranormal activity in this newly converted four bedroom farmhouse set on 15 acres of land

02:25You know what?

02:35I'm not sure whether I want to get rid of this ghost yet

02:37I'd like to find out a little bit more about them

02:39This is the home of multi-platinum selling opera singer Russell Watson

02:44Moved into the house just under two years ago now

02:53I live here with my wife Louise and our 1001 pets

02:58When we first moved here I didn't really get a sense that anywhere in the house was affected

03:04Until I walked into the piano room

03:07It's a sense of something just doesn't feel quite right

03:16The Nissan Hut just oozes that kind of paranormal feel

03:22And it's right next to the woods

03:24Everybody that goes in that place they don't like it and they don't feel particularly comfortable there

03:28Getting a bit of a goosebump vibe going on now

03:30And I stood outside and out of the corner of my eye

03:34I could have swore I saw someone sat on the tractor

03:37So I turned round to look at the tractor

03:41And nothing

03:42So I was like, ooh

03:44We checked the CCTV cameras

03:46And we didn't see any evidence that anyone had either come in or left the property

03:51If there is genuinely some paranormal activity here

03:56And if there was not a pleasant entity then send it on its way

04:04Guys, we are actually here. This is the long driveway up to the house

04:14Wow

04:16So there's a lot of land isn't there

04:19Over 15 acres

04:26Hey, see you later. See you later

04:28Look

04:29Look

04:30As Barry and Jane head off to find out more about the case

04:33Ian heads inside to understand what has been affecting his speech

04:37Hello?

04:40Hello?

04:41Hello?

04:42There was like an electronic interference sound

04:57As I walked into this room here, into the house

05:03It's almost as if something doesn't want me to hear what's going on

05:09To understand what's been going on inside Russell's house, I've come to meet their housekeeper Paula

05:22In the 12 years that you've worked for Louise and Russell, have you experienced anything paranormal?

05:28Since coming to this house has always been most definitely the feeling that you're never on your own

05:34Even when I'm on my own

05:36How long after moving in did you all start experiencing activity?

05:40Oh for me it was straight away

05:41So what kinds of things?

05:42We have a piano in the back room

05:44And I'd say for the past six months you can hear keys being played on the piano

05:50Is there a logical explanation for that at all?

05:52No, no

05:53That's one of the least used rooms in the whole house

05:55And what about this feeling of being watched? Is it, you know, can you explain it and describe it to me?

05:59It's almost like somebody is already in the room when you're getting there, basically

06:06And like you're expecting to see somebody, it's a strange feeling

06:09But then there's nobody there, nobody there with you at all

06:13Which areas of the house would you say are the most active or have the most energy?

06:17It's almost like a certain half of the house, which is nearest to the woods

06:21Is probably where I would say the activity was

06:25Where's it coming from?

06:40That's piano music

06:47It sounds as though it's coming from that direction

06:50Through that wall

06:52I can see a piano in the distance

06:59But I don't know where that music's coming from, I can't explain that

07:09Did you just hear that woman scream?

07:13It sounds as though it came

07:15From the other side of this wall, which potentially is the woods

07:18The more I try linking with this female energy

07:25But this person has been muted for some reason

07:32There seems to be a link

07:36With this female and this house in some way now

07:40I've come to meet genealogist Paul McNeil

07:41Whose research might be able to explain what could be haunting our celebrity's home

07:53Congleton obviously is a beautiful rural area

07:54Have you managed to find anything to tell me?

07:56Yeah, well there's a big story happened in the area on a very local level

08:00So in November 1776, a farmer had gone out into his fields and he had two young labourers with him

08:01They literally found him

08:02They found him

08:03They found him

08:04They found him

08:05They found him

08:06They found him

08:07They found him

08:08They found him

08:09They found him

08:10They found him

08:30a dismembered body of a woman, so arms cut off, legs cut off, head cut off, tongue cut out,

08:41innards ripped out, all distributed into the river down there.

08:46And this genuinely happened, this isn't folklore or legend, this is a real story.

08:511776, this was fully documented at the time. It was Jack the Ripper, basically, locally.

08:58And when they got the head out, a local woman looked at her head and said,

09:02that's Annie Smith, local ballad singer.

09:05Oh, so she was known in the area?

09:07She was like a busker, so she would sing ballads and hope that someone would pay her.

09:12How old was she, Paul?

09:13She was 22.

09:14And the story goes that she had left home, walked across the fields through Congleton and never came back.

09:23That's terrifying.

09:27I saw a man in black staring straight at me, and he was really creepy.

09:40I know we're close to the woods.

09:49I am drawn to the woodland.

09:54I've got a funny feeling that this man's aware, is conscious, so I feel like he would be able to communicate with us.

10:01Whether he wants to or not is another thing, but I do feel that he would be able to communicate.

10:06But I really need to find out who he is and why he is here.

10:12I'm with genealogist Paul McNeill, who's uncovered horrendous local history about a brutal murder in a field near Russell's Farm.

10:25They mounted the search, and one guy in particular was very vocal about what he was going to do if they found out who did it.

10:31Local constipors said, we need to find out more.

10:33So he looks at the body again, and he says, the way it's been taken apart, it looks like it's somebody that knew what they were doing.

10:40So, you know, the tendons have been cut in a very specific way.

10:44He said, well, that's the kind of thing that a butcher would do.

10:47Oh, my God.

10:47So the guy that had been shouting and screaming about what he was going to do to the guy that did it, he was a man called Samuel Thorley.

10:54He was kind of unpopular, and he'd been working with local butchers.

10:58They were reporting that he was taking pieces of raw meat and eating them.

11:03This is taking a sinister turn, Paul.

11:05So they said to his landlady, has there been any strange behaviour lately?

11:08He said, well, there was one thing.

11:10He brought some pork home and wanted me to cook it for him for breakfast, and he had some, but it made him ill.

11:17And he told me to throw it away because there was something wrong with it.

11:19He said, but it looked all right to me, so I decided to keep it.

11:23So they take the pork to a local surgeon.

11:26He looks at it and he goes, that's human flesh.

11:29Oh, God.

11:31Was it Annie?

11:33Yeah, he eviscerated her.

11:34He'd taken the larger cuts of meat, if you like.

11:37So she was a ballad singer, and he cut her tongue out.

11:41What happened to him?

11:42They catch him, bring him in, confront him with the evidence they've got, and he just admits it.

11:48No remorse about what he'd done, no regrets.

11:51So they hanged him.

11:52He was actually hanged in 1777, but the murder was 1776.

11:56Wow.

12:00That man I saw, I think he'd have come in here.

12:04I'm calling out to the man, the man in black I saw.

12:10Can you tell me why you're drawn to this area?

12:14It wouldn't surprise me if somebody had seen this man in here.

12:20Because there's a huge amount of energy around here, in this building.

12:29This man in black for me feels quite dark and quite sinister.

12:33The lady I'm seeing who can't speak is trying to warn me of this man in some way.

12:42I'm convinced of that.

12:43With phantom music playing inside the house, I'm meeting with stable hand Jasmine to find out what happens outside.

12:53The creepiest part of the farm to be at is the Nissan hut.

12:58I can't shake this feeling of being watched while I'm in there.

13:01I'll get my knife to cut the baling twine with.

13:04Yeah.

13:05I'll put it down, go to fetch a bale and come back in and the knife has been placed back on the shelf.

13:10Are you joking?

13:11Any other items or objects that mysteriously move?

13:14It tends to be like if I line all the hay nets and I come back and they're all slightly sort of like thrown askew.

13:22You can't help but notice certain things have moved while you're in there.

13:26I'm always looking over my shoulder because it's like it feels like you're being watched and there's always sort of that eeriness about it.

13:34Now, this place is big.

13:36There's like 15 acres of land.

13:38Yeah.

13:38Where across the land or the property do you feel most impacted by this?

13:44So definitely towards the Nissan hut but also the forest.

13:49Sometimes I've looked after the house during the night and stuff and you can hear whistling and you can believe you hear voices and stuff up there.

13:57You can feel a presence sort of coming from the forest.

14:01There's also by the swimming pool and I've heard other people that have heard certain things or felt certain presences along that side.

14:11Now we've done our research on the case, it's time to meet our celebrity homeowner.

14:16Hi, guys.

14:16Hello, mate.

14:17How'd you get on?

14:18Can you remember on the journey here that I said that was a lady trying to communicate with me and she couldn't speak?

14:25Yeah, yeah.

14:26Well, she's here.

14:27Oh.

14:28When I found out about a murder locally in the late 1700s, a young woman called Annie was brutally murdered.

14:36She was actually a ballad singer.

14:38A singer?

14:39Yeah.

14:40And do you know the interesting bit?

14:42She had her tongue cut out.

14:44No way.

14:45Do you know whose house this is?

14:46No.

14:46Russell Watson.

14:47A singer?

14:48Yeah.

14:48Wow.

14:49Wow.

14:49Very talented.

14:50Very talented indeed.

14:51Yeah?

14:51Russell's wife, Louise, is also joining us for this investigation, as she's also concerned about what or who is lingering in the property.

14:59Hello.

15:00Hello.

15:00Hello, Russell.

15:01How are you?

15:01Hi.

15:02Nice to meet you.

15:02Nice to meet you, Russ.

15:03Hello.

15:04Hi.

15:05Lovely to meet you.

15:05Hi.

15:06There's a lot going on, guys.

15:07I'm sorry to say.

15:08Do you?

15:09We'd like to make a start with our trigger session.

15:12Now, normally, this is best with you guys with us, if you're up for that.

15:18Yeah.

15:18Let's go inside.

15:19Come on.

15:20I think so.

15:20Go on.

15:21Lead the way.

15:21We'll be fine.

15:24We start our investigation in the living room, where I'd like to record some EVPs or electronic voice phenomena.

15:31Have you ever done any form of spirit communication in your home?

15:35Never.

15:35No.

15:36I'm getting shivers.

15:38The other day, the people that come to basically service the pool every couple of weeks, the lad was round, and he said,

15:47Do people normally come down here?

15:49And I went, What do you mean?

15:50And he says, Because there's someone just been stood up there, all dressed in black, and he was staring.

15:57So the man I saw, dressed in all black, near your shelter, was just stood staring, and then just disappeared.

16:06It's got to be the same man.

16:07Really creepy.

16:09Well, you know, when I meet up with historians, what I didn't expect to be talking about was a brutal murder.

16:16The young lady who was murdered was Annie Smith, that it happened in the late 1700s, so we're going back a long time.

16:22But something that brutal can echo through the generations, and can leave land tainted.

16:28So, we're going to use digital voice recorders, and we're going to call out, ask some questions, and then we'll play back the recording to see whether or not there are any responses.

16:38responses. EVP recording number one, for our son Louise to call out, front room.

16:43Is there anybody there?

16:49If there is, can you respond to us somehow?

16:55Annie, are you here, in the room, trying to interact somehow?

17:02Do you feel that?

17:03That cold?

17:04Yeah.

17:05You just feel cold.

17:07I'll play back the recording.

17:08Our son Louise to call out, front room.

17:13Who is that?

17:14Our son Louise to call out, front room.

17:18Is there any...

17:19It sounded like a whisper.

17:21Our son Louise to call out, front room.

17:25It sounds like Bethany.

17:27It does.

17:28Is there anybody there?

17:29That's my sister.

17:31My sister's named Bethany.

17:33Out of interest, does your sister, she comes here?

17:37Yeah.

17:38We were going up towards the stables to check on the horses, and I said, oh, I just need to refill a hay net.

17:45And she went, I don't get in any further.

17:46And I went, what do you mean?

17:48And she won't go in, would she?

17:50No.

17:50She won't go near it?

17:51I would like for you to go in there on your own.

17:55If you call out in there and find out who potentially is affecting the space, is it this male entity?

18:03Yeah.

18:04It's going to be a bit scary for me, but I really want to know what's going on.

18:10Having heard a spirit who we think is Annie say Bethany, Louise and I head up to the Nissen hut to try and contact the man dressed in black.

18:20Well, we'll be watching on from the nerve centre.

18:22I'll leave Louise with the Alice box, a device with a bank of words spirits can manipulate and a blindfold to heighten her hearing.

18:32Oh, my God.

18:36Go easy on me, Annie.

18:38Already shitting myself.

18:39She looks pretty scared.

18:43I can feel the tension, can you?

18:45Yeah.

18:45From here, it's almost like the car before the storm.

18:51Head.

18:52Head.

18:53Oh, my God.

18:54She was decapitated.

18:55She was.

18:56Her head was removed and it was her head that identified us.

19:06Shift.

19:07Oh, my God.

19:09Can I?

19:10Oh, right.

19:12Okay.

19:13I'm going.

19:15I'm getting off.

19:17I'll just stand.

19:19And you can tell me.

19:20Don't have me.

19:21Don't worry.

19:22I'm just going to stand because she's told me to shift.

19:26I think we need to send Russell in to see if Russell's energy will change the atmosphere in there.

19:33Do you want to go in, Russell?

19:34You're up for that.

19:37It's me.

19:39I think he'll go in quite domineering.

19:42She told me to shift.

19:43Well, it's my tractor.

19:45Maybe that's why.

19:46If this spirit really feels threatened by Russell...

19:52Yeah.

19:52This is almost the ultimate offence, isn't it?

19:55Okay, so...

19:56Sitting on the tractor.

19:58Was it you I saw on the tractor?

20:03Was it you in the woods?

20:06Were you in the woods by the swimming pool?

20:09She.

20:10She.

20:12She.

20:13She.

20:14Oh, sorry.

20:15Oh, wow.

20:16She.

20:17It was her.

20:18Annie.

20:18She's been near the pool.

20:23Finished.

20:24Finished.

20:26Is that finished?

20:27Is that you finished, Annie?

20:28Maybe we end it there.

20:32Maybe the spirit's just the same, finished.

20:35Bizarre.

20:36Okay.

20:36Well done, guys.

20:37To continue our trigger session, we decide to split up.

20:45Russell and I head to the piano room,

20:47an area he feels the present's strongest.

20:50While Ian and Barry take Louise to the pool,

20:53where Ian saw a figure dressed in black by the woods.

20:56I don't have a good idea on my own.

20:58I'm okay if I'm with people.

21:00But you get the feeling of being watched from up here, don't you?

21:03Yeah.

21:04Yeah.

21:04Do you want to turn the icebox on and maybe call out?

21:07Having heard she earlier,

21:09we need to understand why Annie is here.

21:11The Alice box will provide her with a bank of words and sounds to communicate.

21:16Did you hear that?

21:18Is that a laughter?

21:19Was that like a...

21:20I thought it was a bird at first, but there was something going on there.

21:23Where are you now?

21:26It was a black shadow or something moving.

21:33Wait.

21:34Can you come down?

21:35Can people walk up there?

21:39We're not halfway up now.

21:40What do you want?

21:46Dispose.

21:48Dispose.

21:48He disposed of the body and her head was found.

21:53Yeah.

21:53Let's just create a bit of energy and maybe try and entice her forward with a song.

22:09Yeah.

22:09I think it's the room in the house that is closest to the pool area in the woods, isn't it?

22:15I'm going to run this device.

22:17This is a spirit box.

22:18Okay.

22:18Now what this does, this sweeps through AM and FM radio frequencies.

22:22The theory is that spirits, because they're operating on a different frequency, can actually communicate through this.

22:29So whenever you're ready to ask.

22:30Abide with me, first falls the eventide.

22:42The darkness deepens, Lord with me abide.

22:51Anni?

22:55Are you here with us?

22:59It's okay to talk.

23:03Talk.

23:05Do you want to sing?

23:07Do you want to sing for us, Anni?

23:11Cruel.

23:12Anni, are you there?

23:14She is here.

23:17Sing for us.

23:20Oh, no!

23:27Me, me, me, vocal scales.

23:29Oh, my God.

23:32But we did hear Anni.

23:34Yeah.

23:37After an active spirit triggers, we come back together to send off our homeowner.

23:42How was yours?

23:45Pretty interesting.

23:46We've got a huge amount of investigating to do, and obviously we need to get further evidence of Samuel's presence.

23:52But what would you like us to do if we do identify the spirits and make contact?

23:57Would you like us to get rid of them?

23:58Yeah, 100%.

23:59Sure.

24:00Cleanse the property and the land.

24:03Yes, please.

24:04You leave us for the night and we're going to crack on.

24:06Okay.

24:07Cheers.

24:07Cheers, guys.

24:08Bye.

24:12After connecting with both Anni and potentially her killer Samuel, it's time for me to take the team to the nerve center to talk them through the camera placement for the investigation.

24:25That was an interesting spirit triggers.

24:29Yeah.

24:30Now, it's a very large location with a lot of land, but I've got eight cameras set up across the property.

24:36I've placed camera number one downstairs in the hallway.

24:39Yeah, and that's where I could hear, like, electronic interference, and it was interfering with my energy.

24:44Camera number two is in the dining room.

24:46I've placed the third camera in the living room where we began spirit triggers, and that's where I was aware of that female.

24:53The fourth fixed infrared camera is in the piano room, and that felt quite cold and quite sinister and dark in there.

25:00I've placed camera number five downstairs in the music room.

25:05The sixth infrared camera is looking at the swimming pool outside.

25:09I was just drawn to the woods.

25:11Camera number seven I've put in the woods, and the final fixed infrared camera is located in the Nissan hut, looking at that tractor.

25:20And that's where I saw that shadow of that man in black.

25:24I'd like us to head back inside, maybe reconvene in the living room.

25:27Okay, okay.

25:27Yes, camera, good.

25:30We need to make contact with the man in black I saw earlier in the investigation.

25:36Could this be Anni's killer, Samuel?

25:39I'm going to run Echo Vox.

25:41Samuel, are you here?

25:44Because the room's gone very cold.

25:47Samuel, can you identify yourself, Pete?

25:50Repeat your name.

25:55What was that?

25:57I heard chop up.

25:59Chop.

26:00Just to chop up.

26:03Oh, my God.

26:05Samuel, did you like the taste?

26:08You see, the reports actually say that he didn't like it, so he had some and said, no, it's gone off, it's bad, throw it away.

26:21Samuel, what did you do to Anni?

26:25Get out.

26:26Get out.

26:27Get out.

26:28Get out.

26:28Samuel, we're not leaving.

26:31I'm an arsehole.

26:37That was arsehole, that was him.

26:39You can call us all the names you like, but we're not leaving this house.

26:42Are you still chasing Anni?

26:49Yes.

26:49OK.

26:50I'm going to turn to the team.

26:53Receiving over.

26:54We have some footage that we'd like you to come and see in, uh...

26:59Footage.

27:00Footage, let's go.

27:07All eight cameras are constantly recording and being monitored throughout the investigation.

27:12It'll be interesting to see what the team have captured and where.

27:17What have you got, Jazz?

27:18Wait till you see this.

27:19Go on.

27:20Whoa, what was that?

27:25Oh, my God.

27:26What on earth was that?

27:27That's that black shadow.

27:29Where did it come from?

27:30Definitely coming from the woods.

27:32All our crew accounted for, so this dark shadow we've captured might be Samuel luring us to the woods.

27:38That's amazing stuff.

27:40I'll take the thermal imager.

27:41Mmm.

27:42All right, let's go.

27:47I'm going to put the hex comm on.

27:50Is Samuel Thorley with me now?

27:53The murderer, the cannibal.

27:57I swear someone's watching us.

27:59They are.

28:01Samuel.

28:02Is here.

28:05Just be really careful.

28:07What?

28:07What was that?

28:08Who said?

28:09What was that?

28:10Listen, shh, shh.

28:10Nobody move.

28:13Look at the fucking shadow.

28:14What?

28:15Samuel.

28:15Do you get the feeling that we're almost being stalked?

28:21Yeah.

28:21As in...

28:22And pushed further into the woods.

28:23Yeah.

28:24Who's in the woods with us?

28:25We know there's someone here.

28:26We can feel your energy.

28:29Although I can sense Samuel is giving us a run around and isn't communicating with us directly.

28:34Why don't we split up and maybe investigate the Nissan hut and the pool area?

28:43With Samuel stalking us around the property and Annie trying to communicate, we decide to split up to cover more ground.

28:56Ian and I head to the pool area and use a hex comm, a word bank specifically designed to communicate with spirits.

29:02It definitely feels like there's eyes in those woods looking down at you.

29:07Yeah.

29:08Annie, we know what happened.

29:11I don't know.

29:13I feel someone stood there, you know.

29:16Who's watching us now?

29:19Annie, is that you?

29:20What?

29:21Woods.

29:22Woods.

29:22Shit.

29:23Oh, my God.

29:24They're there.

29:25Yeah, they're there.

29:26Whilst I head to the Nissan hut to try and make contact with Samuel.

29:30God, it's creepy.

29:31Let's do some EVP work.

29:38Did you kill Annie?

29:42Did you eat her flesh?

29:48Speak to me now, Annie.

29:51Is that you?

29:54Are you here?

29:57We're in pain.

30:01Constant.

30:04Ian, I said to Annie, are you in pain?

30:08Constant.

30:09Oh, God bless her.

30:12Annie, is it because you want to speak to us and you can't?

30:16Someone's been watching.

30:17What was that?

30:17Shit.

30:18Up there?

30:19Oh.

30:20Someone's just walked straight through me.

30:24Hello?

30:26Who's here?

30:27Samuel?

30:29In the Nissan hut, something is interfering with my equipment.

30:34Thermal is not coming online.

30:37I'm not going to run necrophonic.

30:40Thermal cameras offline.

30:41Samuel, speak to me now.

30:51Where are you?

30:54Can you see me?

30:56Do you think maybe that while she's down here, he's up there almost monitoring and as soon as

31:02she is aware of him, she goes or has to go, shall we check on bus, shall we?

31:14Not a huge amount of activity.

31:16Do you know what?

31:17Yeah.

31:18I think you didn't get much because they were both down there with us.

31:22They were.

31:22Both of them.

31:23Yeah.

31:24Seriously.

31:24But isn't it interesting that all of the activity at this property is centred around

31:29everywhere adjacent to those woods?

31:31Absolutely.

31:32This building, the pool area, those rooms in the house.

31:37Do you think we should go back into the house?

31:39If we can help Annie cross, he doesn't have any control anymore.

31:43No.

31:43We can get rid of him that way.

31:44Yeah, let's try that.

31:47Samuel's presence has made Annie too afraid to come forward and make contact with us.

31:51So we need to send her to the light.

31:54To allow her to be free and out of her constant pain.

31:59In the name of the Father and the Son and the Holy Spirit.

32:02Amen.

32:03Amen.

32:06Annie.

32:09We need you to be at rest and at peace.

32:12Samuel can't follow you.

32:16Shielding you is a bright light of protection.

32:20You're at peace now, darling.

32:21You can talk to us.

32:24Sing us a song.

32:29Music.

32:31Annie, was that you playing the piano in this room?

32:35Love it.

32:36Do you love it?

32:36I should have said love it.

32:38I did.

32:38So you are the one who plays the piano in this room.

32:45Do you try and get the attention of Russell and Louise?

32:50Annie is now safe and at peace.

32:53So we now need to find Samuel to see if we can banish him from Russell's house.

32:57We head back to the Nissen hut, where I use my dowsing rods, an ancient form of divination, to communicate with the other side.

33:06Is this Samuel?

33:07Samuel, if you're with me, I want you to cross the rods for a yes response.

33:13I've just crossed.

33:15Is this Samuel?

33:16Guys, rods are crossing.

33:18Okay.

33:19Are you the man in black, Samuel?

33:23Yes.

33:24You need to be gone.

33:25Are you worried about where you might be going?

33:30Yes.

33:32Samuel, I can't promise you the outcome, but I can help you cross over.

33:41I'm not helping you until you tell me how you murdered Annie.

33:45I said woods.

33:47Woods, you murdered her in the woods.

33:50Yeah.

33:51Yes, thank you.

33:52With Annie now in the light, Samuel can't reach her.

33:58We now need to send him to his maker, where he'll be judged for his crimes and sentenced in the afterlife.

34:05Dear Father, Divine Spirit,

34:10we ask of you to open a doorway that separates our world into yours.

34:16This house, the gardens, the woods, the pool, the Nissan shelter, is all now surrounded by love and light by God.

34:31All negative souls will be banished and have to go to be judged.

34:41We're so pleased we could help you, Annie.

34:45And we hope that the trauma of what happened to you in life doesn't follow you in death.

34:50He's going to be judged for his crimes.

34:53Amazing work, guys.

34:54Well done.

34:54As a new day dawns, we ask Russell and Louise back to their property to explain our findings.

35:06Good morning, guys.

35:07Morning.

35:08Good morning.

35:08How are you?

35:09Yeah, good.

35:10Well, we did have a very interesting experience, interesting night.

35:15So you joined us for the first part of the evening, and that was Spirit Triggers.

35:19I had this idea that maybe Annie might come forward a little bit more through music, through singing.

35:27And you very kindly sang for us.

35:30And I then began running the Spirit Box.

35:32Interested to hear them in isolation.

35:35You want to see?

35:37You want to sing for us, Annie?

35:41Cruel.

35:44Cruel.

35:45Now, we can only assume that maybe that means, you know, what a cruel thing to ask.

35:51She's had her tongue cut out.

35:53Sing for us.

35:56Oh, my God.

36:00I'll just play that again.

36:03Me, me, me.

36:05Me, me, me.

36:06Me, me, me.

36:07Yeah, me, me, me.

36:08It's the do-re-me, far-so-larty-do.

36:11Mm.

36:11Basically a warm-up technique.

36:13Me, me, me, me, me, me, me, me.

36:17We then asked you both to leave, and we began the investigation.

36:21The question was asked, are you still chasing, Annie?

36:24Are you still chasing, Annie?

36:27Yes.

36:28Yes.

36:29And then, a little bit worse than that.

36:34Um.

36:35Jane says, Annie, and I think I hear, I, Etta.

36:45Yeah.

36:46Annie.

36:47Annie.

36:47Hi.

36:48Yeah.

36:49Mm-hmm.

36:50Oh, my God.

36:51That's horrific.

36:53That's pretty sinister.

36:55So I'm going to ask the question, did you like the taste?

36:58Did you like that?

36:59Did you like the taste?

37:00Goose fat.

37:01Did you like that?

37:03Did you like the taste?

37:04Goose fat.

37:05Goose fat.

37:06It does sound like goose fat.

37:07Goose fat.

37:08Goose fat, it sounds like.

37:09It sounds like goose fat, does it?

37:10Goose fat.

37:11It does sound like goose fat.

37:12Goose fat.

37:13Goose fat.

37:14Those responses really did give us the chills, and we thought, you know, we're dealing with

37:18some really nasty person.

37:20The radio went off.

37:23Nerve Centre called us and said, we've just captured something that we want you to come and

37:27have a look at.

37:28I want you to have a look at this.

37:30You'll see it coming from here, and it almost like hovers for a short period of time.

37:36It's a shadow.

37:37Oh, my God.

37:38Do you see it stop?

37:40Mm.

37:41It pauses.

37:42I'll play that right.

37:43It's like when a person walks in the shadows behind the person.

37:48I can tell you now, there's no one in that part of the woods all the crew were accounted for.

37:53We thought, well, we're going to have to go to the woods now and investigate ourselves.

37:57It all felt like we were being watched intently.

38:00The thermal imager was working fine in the woods.

38:03I couldn't use it in the Nissan hut.

38:04Right.

38:05Something was preventing it from working, and I felt this wasn't just a technical glitch.

38:09I felt like spirit was manipulating and attacking the device as such.

38:16Now, whilst I was in there, Ian and Jane were also investigating, and they were together by the poolside.

38:22Samuel was popping in and out and just letting his presence be known.

38:26I was holding a device, it's called Hexcom, and words come up on the screen.

38:31And as we were standing at the poolside, Ian turned to the woods and said,

38:36there's someone up there watching us.

38:38And would you believe the word that comes out in front of me on the device is woods.

38:43We started calling out for Annie, and I don't know why I asked it, but I asked, are you in pain?

38:49And the word that came out was constant.

38:52It's awful.

38:53So there is this theory, if you're trapped in limbo, you're feeling the conditions of what you passed with.

39:00And I think that's what was happening to Annie, unfortunately.

39:04Are you all right, Louise?

39:05It's mad, isn't it?

39:06Yeah.

39:07It's a lot to take in, isn't it?

39:09Yeah, a lot to take in, yeah.

39:10Yeah.

39:11I took her through the gates, and she was accepted by her loved ones.

39:16So all her conditions was then taken away, and she was back to how she was before she was murdered.

39:22We continued to use the spirit box, and all of a sudden we started to get some wonderful responses of music and singing and further communication with her.

39:32So I'll play this.

39:34Annie, sing with the song.

39:40Music.

39:42Yeah.

39:43But then that followed straight on with this.

39:47Singing.

39:50Singing.

39:51And then a question was asked, Annie, was that you playing the piano?

39:57Because we heard piano sounds, piano keys.

40:00Annie, was that you playing the piano in this room?

40:04Mate.

40:05She laughed.

40:06She laughed.

40:07Why didn't you?

40:08Annie, was that you playing the piano in this room?

40:12Mate.

40:13She laughed.

40:14She laughed.

40:15Why didn't you?

40:16And then finally, I think a really key question that needed to be asked was,

40:20Samuel, were you the man who was seen stood or sat on the tractor?

40:26Samuel, just answer the question.

40:29Are you the man who stands named for the tractor?

40:33Yes.

40:34You?

40:35Yes.

40:36The answer to your question, then.

40:37Mm-hmm.

40:39No easy look, absolutely petrified.

40:42That's just, look, I can't, I can't believe it.

40:45I just can't believe that.

40:49It's so scary.

40:51Mm-hmm.

40:52What about you, Russell?

40:53What a tosser.

40:58I really don't like this guy.

41:02Yeah.

41:03You look fuming.

41:04Yeah.

41:05I don't like anything that I feel might be a threat to my own.

41:11I feel Annie was drawn here because of the connection with music.

41:17And she could hear your voice.

41:18And I feel Samuel was brought here because he was a murderer who murdered Annie.

41:23So he was following her.

41:24Well, it was a decision that we decided to make to send him to the maker.

41:32Good.

41:34I also surrounded your property, your woodland, your boundary with love and light of Christ.

41:43And it's protected.

41:45And he can no longer come into this land, into your boundary.

41:50Annie, I've left her to come back if she wants to, because she loved it here.

41:57And I think she had, it's making me emotional.

42:01She had an amazing connection with you, Russell, with your music.

42:05And I think it'd be very selfish of me to say you can never come back here

42:08because I think she loved to listen to your voice.

42:11She said your voice was beautiful.

42:14But I need you to know that Samuel is gone.

42:18How do you feel?

42:19A sense of relief in many respects.

42:22Closure.

42:23Certainly that he's on his way, but with regards to Annie, she's welcome here any time.

42:30Yeah.

42:31And I'll probably view that room very differently from now on.

42:33Yeah, me too.

42:35We go to the piano room to see if Russell is right.

42:39So how does this room feel now?

42:41A lot more warm.

42:43Normal.

42:44Yeah.

42:45Settled.

42:46And you'll feel happier to sing in here now then?

42:48Yeah, without question.

42:50How about a little song for Annie?

42:52Yeah, I mean, now that she's obviously passed over to the other side,

42:57maybe a sacred aria or something of that nature for her.

43:00That'd be beautiful.

43:01If she's still listening.

43:02If she's still listening.

43:03Yeah.

43:04But she doesn't...

43:05Sorry.

43:06No, I'm sorry.

43:07No, I'm sorry.

43:08But she's still listening to me.

43:09So, come on, sorry.

43:11In hora, in hora, mortis nostre, amen.

43:35Another case packed with incredible evidence.

43:38But who knows what the next case will bring.

43:41And I'll see you next time.

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