All language subtitles for Ghostwatch.1992.BluRay.1080p.REMUX.AVC.LPCM.DTSHD.MA.2.0-LEGi0N

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 shuttered 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.
- ...turn the light off.

Mum said if you don't...

Right.
All right!

Mum!

Mummy, it's back!

It's back!
Mum!

Help 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 broadcast 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 going to be interviewing
the medium who tried, unsuccessfully-

-to exorcise 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.

And she's going to take 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.

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,
there's a very particular reason-

-we're keeping a beady eye
on the proceedings tonight. Michael?

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

-she was going to spend the best part of her
night in the most haunted house in Britain.

Of course, we're
talking about Sarah Greene-

-and Sarah is our reporter who'll be spending
the night actually inside our haunted house.

- She's 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 programme.

- 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?

They 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.

Stains got on clothes from
nowhere, out of thin air.

- And the central heating went.
- 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 house, my home, my family.

It's OK.
- Over to you, Michael.

Dr. Lin Pascoe, it's a
disturbing interview, that, isn't it?

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-

-when, 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.

It 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 programme.

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 Ghostwatch.
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 the 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, though --

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 front line-

-and you stay all cosy 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-

-through to voices, presences,
the feeling of being watched-

-electrical interference, so, you know,
your TV, lights, telephone-

-right along at the far end of the spectrum
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.

But we have our image
analysis equipment linked in.

The tape is time-coded.

And atmospheric condition and temperature
are logged on screen by sensors.

Those are like the little burglar alarms
with the red lights.

Except they're triggered
by cold instead of heat.

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 front line of this vigil-

-as psychical researchers call it.

Now, the first person is actually
standing right behind the camera.

And if he hands it 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?
I'll hand this back to you.

- What's the best way to demonstrate it?
- Well, if we can kill the lights.

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

- There you go.
- Right, how's that?

- I can see you quite clearly now.
- Yes, so can I on the 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 shoulders, actually?

It's not bad. Who needs a Steadicam
when you've got Chris Miller?

That's what I say.

- Oh, yes, there we are.
- Yeah, there we are.

- Somebody wants to get in the frame?
- If only they could see what they look like.

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

OK, now we've got our vision back,
I think it's time to meet sound.

Man of sound mind here, Mike Ayton.

Not only can this gentleman hear an ant
scratching its back legs at 50 yards-

-he's also the unofficial chairman of the
Adrian Edmondson Lookalike Society.

Right on.

If you're not scared of ghosts,
be scared of that.

How are you feeling about tonight?
Are you a bit nervous at all?

We'll see.

- How about you, Chris?
- I'm OK.

- Are we ready to go in then?
- Yeah.

OK, well, we'll see you later.

And 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.

Could 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.

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...

We ran a computer programme 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, well-

-I was going to 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 programme.

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
being in a circus or a war zone.

A war zone?

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, though.

All right, yes, we're all hopeful.
Let's take a phone call.

Mike Smith, what have you got for us?

- This is Emma Stableford and she's from Slough.
- Thank you. Emma?

- Emma, hello?
- Oh, hello.

I did have a story, but there's actually
something else I'd like to say to Dr Pascoe...

- ...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?

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 vague, 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...

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,
and 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, OK?

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.
- OK, Emma, thanks a lot.

Bye-bye.

I'll 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?
- Yeah, 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 was 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.
- Was it your idea, this, Smithy?

Well, I had a bet with your husband I could
get a four-letter word out here 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 --

Well, look. Look, 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.
- With pleasure.

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're in on this.

I think you're in a certain amount of trouble
with your endorse of 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 of 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-

-where 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 28, 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, Suzy, say what happened next.
- No, you say it.

- 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 thudding.

All around you?

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

- Did anybody else hear it?
- Yes, Suze 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, it's 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?

Down 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.

And was that exactly how he
looked when you saw him?

Yeah, he was disgusting.
Really disgusting.

- It's a good picture.
- Thank you.

- Keep it. It's a present.
- Oh, thank you very much.

Tell you what, why don't we put it up
somewhere where everyone can see it?

Where's a good place?

- On the fridge in the kitchen.
- On the fridge?

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.

Well, it wasn't me.
I don't even write like that.

- So I said "Who was it then? Who was it?"
- Yeah. Who? Or what?

Michael?

Lots of questions there
that need answering-

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

I'm 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...
- 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.

Don't see anything myself, do you?

- Can we rewind it?
- Sure. Yeah, let's rewind it.

- Can we play it again?
- Yeah. - Can we play it back, VTR?

There you are.
Back a bit more.

- Yeah. Is that all right?
- Yeah.

- Can we go forward slowly?
- Sure, sure. Yeah.

I'm doing that now.

Am I slow enough?

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?

- You see the curtain on the left-hand side?
- Not really.

I'll tell you what we'll do.
We've got a piece of...

- Adam! We've got a 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.

Perhaps you... Yes, that's right. Just
draw on it as you would a normal pencil.

Right, I think there's a sort of shape
there, a face maybe, and a human form.

- I think the shadow's caused it.
- I wonder, it's...

What if it's that thing, you know,
where you put your dressing gown-

-on the back of a 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.

- It's easily done, isn't it?
- I think that's it, exactly.

Faces in the fire.

Human perception is such that
the first thing you attempt to create-

-in any abstract shape
is a human face or form.

OK. All right, then. Well, I'm sorry to
disappoint you, but I 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'll have 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, we used to call it
when I was a kid.

Why have you boarded
it up like this, though?

Well, one night last January,
I got it into my head...

...to try and find one of my letters,
the solicitor's letters about my divorce.

All of a sudden, the door stuck.

Like somebody was trying,
was 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.

Did -- The girls got you out eventually?

The thing is, when I was in
there, I swear as God's 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 when I got out, my head went, my knees.

Pam, let's go sit down. Come on.
Tell us what happened next.

Well, after Glory Hole, I wrote to
the council to try and get us moved.

But they wouldn't take it seriously,
you know, like I was lying.

I 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.

Look at these.
You've got a lot of coverage.

"I BELIEVE IN THE DEVIL, SAYS SPOOK HOUSE MOTHER"

- Did you say that?
- No, I didn't, no.

"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?

- Were you apprehensive?
- Yes, but --

I told her it was a 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.
- OK, thank you very much. Now...

Pam, thanks for letting us see that.
They're ready for you now in the other studio.

Pam is 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 programme 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.

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-

-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."

Pamela, I understand that you're quite keen
to share your experience with our callers.

Yes. I want to tell everyone that...

...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, 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 affected me-

-because at the time I didn't realise
how much it affected me.

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.

We'll -- If you'd stay in the studio there
we'll come back to you in just a moment.

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 the camera there.

This is called Angels of the Odd,
and it's the 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 here.

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

Well, we did extensive interviews.

And we also use the Ganzfeld Technique.

That's what we're seeing now, and that's
where all the sensory inputs are blocked off.

- Deprived, yeah.
- Deprived, yes.

And you're just feeling the white sound,
white noise through the headphones.

- 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.

We should also warn our viewers
of a nervous disposition that-

-the things on this tape that they
might find a little bit distressing.

At one point we filled Suzanne's mouth with
coloured 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.

Mum, it's coming towards me, Mum!

...right across the kitchen floor...

It's 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, Suze.

...like a teddy bear.

One step,
two step, tickle...

Who are you?

- What's your name?
- Jesus Christ.

- Jesus Christ? Are you joking?
- Ha ha ha. Very funny.

Are you dead?

Are you in heaven?

All good children go to Heaven

'cause I smell blood.

Fe fi fo fum.

Bizarre. And chilling, too.

A forensic scientist 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...

And we asked Suzanne to see if
she could imitate the voice recording-

-and she wasn't able to do so
for more than a few seconds.

Well, that's her trying it there.

Round and round the garden,
like a teddy...

- 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 in the walls, knocking.

The sort of normal noises you
associate with poltergeist activity.

- What about this here, though?
- Well, this is my favourite, 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?

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

This is some wreckage evidence,
if you like.

This is an extraordinary assembly of...
Let's have this cup here, for instance.

Let me show that on the camera there.

Now, how did these breakages occur?

Were they dropped?

Well, the army did some
analysis of this for us, and they said-

-it had been caused by intense
temperature change, not by impact or shock.

Really?

Just temperature?
There you are, the headless lady.

And lots more besides here.

And clocks and watches
just stop when they're in the house.

I mean, I just gave up wearing one.
There's no point.

And the favourites in a situation like
this, of course, are spools that are bent.

Quite remarkable.

It's a couple of regular
little Uri Gellers those sisters, isn't it?

Yes, they weren't even in the room
sometimes. You just opened the drawer.

- And you saw 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 we are.
We're going live over there.

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
and throat 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 as it is, is now centred on Suzanne?

Well, certainly as a
female approaching puberty-

-she does conform to the
classic, typical poltergeist focus.

Broken family background, she's introverted.

She tends maybe to direct
her stress and anxiety inwards-

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

- Pow.
- I see.

I think we've still got Mrs. Early
there in our outside broadcast studio.

Yes, there you are.

Mrs. Early, I don't know quite if you
heard that, what Dr. Pascoe was saying.

She said that Suzanne was
the classic, typical poltergeist focus.

She was the person who 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 the Glory Hole?
It doesn't, 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 an 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.

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 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 lesions on Suzanne's face?
- Scratched by her fingernails.

- She's not lying. Believe her.
- I'd love to.

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.

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 it. - What you 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 a palm reading-

-or a counsellor, a confidant, 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.

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?

Right. What we'll do now-

-let's go straight over to Sarah
in Foxhill Drive.

Sarah, what's happening there?

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.

How 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's a sort of ghost story.

It happened...

...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 a 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 coal 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,
and then the face went.

Well, 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 straight away.

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,
because it's intriguing.

You all right?

OK. 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? OK.

Well, tell you what, if you look up to
that camera there-

-yeah, little thing there, and you speak
into here, you can say goodnight to her.

- Night, mum.
- Night, love. Sweet dreams.

- Night, Kim.
- Remember, there's nothing to be scared of.

To bed.

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

Well, in one sense, the paranormal is no
more scary than the weather or the tides.

I mean, all those things can harm us,
but we can also understand them.

- Gonna leave that light on?
- Yeah.

- All right.
- Goodnight!

- Keep warm.
- Yes.

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
the central heating switch is on.

- You OK, Suzanne?
- Yes, thanks.

Plenty of crisps? Yeah?
Good. All right.

Now, guys, I think we've earned ourselves
a cup of coffee, don't you?

Pam told me where everything was.

It's there.

- Mike, how do you take your coffee?
- Black, one sugar please.

- Okay, What about you, Chris?
- Milk, one sugar please.

Do 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?

I think I might have heard
something earlier. Sort of...

Just like an animal scratching its feet,
but they don't stick out in this camera at all.

- Don't they?
- No.

And I noticed earlier my watch had stopped.

- Really? What time? When?
- Just before we went on air.

I said watches have a hard time.
It's par for the course, I'm afraid.

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.
And we're OK anyway.

Look - we've got an old hand to help us
over here. Now just put the kettle on.

- Do you want a cup of tea or coffee?
- No thanks, I'm having orange juice.

- Can you get me a glass, please?
- Where? Are they just up here?

- Yeah, that's right.
- While you're in the fridge-

- ...just pass us the milk.
- Oh, yeah. Sure.

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...

That first evening, with duvets being
tugged off, etc, being quite amusing.

We'd been laughing about it.

It wasn't at all malevolent or nasty.
But this particular day 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 again and me-

-and saw...sort of 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.

I lost my temper with it for the first time.

I say, it, this presence, whatever it was,
and 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...
This really was disgusting...

We found excrement smeared on
a cupboard door in the bathroom.

We had already, in fact, found
such things in various parts of the flat.

This is the first time we actually found
anything smeared like that on the door-

-so it had to be cleared up,
and it was really horrible.

And from someone who believes in ghosts
to someone who's not quite sure.

Let's join Craig Charles.

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 going to give you
a little guided tour of the community.

And we're going to meet some people who
are pretty upset about some weird goings-on.

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

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

Gets me fit this job.

I tell you what, Michael,
I hate Halloween.

I hate apples.
I hate duck apples.

I hate little kids all dressed up in...
Like the devil.

And I'm going to meet
this woman, Yvonne Everly.

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

And she's going to tell us
some pretty peculiar things.

Yvonne Everly.
Yvonne?

Which one?
You're Yvonne. OK.

Yvonne, can you tell me about some of the things
that have been going on around here?

Well, we live opposite Pam
at number 43.

And one night, ages ago now,
we had 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 to us
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 no joke.
I mean, it's not very funny.

I mean, some really weird and
horrible things happen around here.

What kind of weird things?

Well, there was that wee girl
that went missing.

- Judy Welland.
- Judy Welland. It was in all the papers.

- What happened to her?
- Nobody knows.

I mean, she just disappeared.

And then, well, I know you're always
reading about people that were knifed-

-and all that sort of thing, but somebody was
knifed around here that was five years old.

Five years old?

OK, 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 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?

- Well, it was about here.
- And how had it died?

Well, it had been cut open,
like something in a butcher shop.

Can you imagine the kind of person
that would do something like that?

And is that all that happened?

Well, it was pregnant.
There were foetuses 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 going to try and find
the guy who tried unsuccessfully-

-to exorcise Foxhill Drive -
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 rail guard.

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

- Well, I'm a spiritualist.
- A spiritualist?

Yes, and through God, I've
been given the task, when I can-

-to help spirits that may have lost their way.

So you... You exorcised 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?

I had this overwhelming sense of evil, of...
Spiritual decay is the only way I can describe it.

I was physically sick for a week.
I smelt 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 from their past too, somehow.

Yeah? - Ah, hey, trick-or-treaters, I think.

- What's your name?
- Katie.

- And your name?
- Billy.

- Billy and Katie. Sounds a little bit like --
- 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 you got?

Yeah, we've definitely got
something here. Just look at this.

- Now, can you see this?
- I certainly can, clearly.

Well, there's no way
it could have 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.

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 working?

Yeah, we'll do that for you.
I'll turn the light off first.

OK.

Here we go.

I'll put this...
Hope it's strong enough to hold me.

There we are.

- Anything?
- There's nothing dripped off here, first of all.

No stains on the ceiling? No?

- The floor's concrete...
- 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.

Can you take a sample for us?
Have you got anything that you could...?

Yeah. What can we use for
a sample? Something to scrape it up.

- I got a lens duster.
- Good, I -- That would do.

Here we are.

Yeah, we're going to use this to...
Can I give you this hanky?

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

Here we are.

You see, look, it's typical.
Typical poltergeist.

If you pour water from a jug, it's almost
impossible to avoid getting an erratic outline.

These pools are perfectly oval.
They're unbroken.

- Oh, Suzanne!
- Is she all right?

- You OK?
- Yeah, I've just got a bit of a icky tummy.

Oh, let me get you some
Enos 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've got the samples?

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.

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've seen?

Well, poltergeist activity has
a pattern, a menu, if you like.

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

And then the third stage is
physical phenomena, moving objects.

And do you think that, in fact,
what we've seen 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 Tripp from Neath.

Pick up the phone there, please, Doctor.

Let's talk to Kevin.

- Hello, Kevin.
- Hello?

Yeah, 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.

- You ain't gonna believe this, I'm telling you.
- Well, you try us, Kevin.

Well, my mates were
around to watch the videos-

-and we put on the programmes
about ten minutes ago.

I had this sandwich, a cheese
and pickle sandwich it was.

And, well, it frightened me to bugger it.

I was minding my own
business, and this dirty great plate-

- ...sitting on the arm of my chair just dived off.
- Sure, Kevin.

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

- Kevin, how close were you to the plate?
- Miles away.

My mates, they went white, they went.

Yes, yes. All right,
Kevin, I think we've had enough.

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 sceptical 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.

- Sarah.
- From in here, wasn't it? Did you hear it?

- Yes, this way.
- Where?

You picking this up, too?
Let's put the light on.

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

Move the bed.

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?

Shut! I can't get it open.

- Pipes! Pipes is downstairs! Downstairs!
- ...says she can hear him in the kitchen!

Now, you get back to bed.

Just get back to bed!
Yep, to bed, all right?

Back into bed.
- Downstairs. Come on.

It's stopped.

I can't hear anything now.

What are these?

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?

Upstairs...
The children!

- Come on.
- No, Sarah.

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 appeared.

She's not appeared on the landing.

Suzanne, where is she?

It could be a piece of its usual misdirection.

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.

Clever kid!

Suzanne, are you OK?
Are you all right?

- Come on.
- It wasn't me.

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

It doesn't matter.

Well, 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 committed work like you've been through-

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

I'd be the first to admit it
if I 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
precedes 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...
- 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 school book?
- 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, darling. Mum's here.

It doesn't matter.
Can you hear me?

Why, Suzie?
You can tell me.

- To show them.
- You didn't have to show them. Not like this.

Why?

Tell them you don't tell lies, Suzie.

It's all a mistake. She doesn't know
what she's... She doesn't know anything.

Do you, love?

- We 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... 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.
- What hypothesis?

- These are disturbed attention seekers.
- Rubbish.

You played into their hands.

Prime time TV, Alice in
Wonderland couldn't take it anymore-

- ...the end of illusion --
- This is not the end, please believe me.

I almost... I almost feel
whatever's 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 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.

Mike Smith, what's happening?

- What's the story?
- Well, the strange thing is-

-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
it's an old man or a woman-

-bald with a skull-like head, dark eyes,
or some are just saying holes for eyes-

-and 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-

-this is important.
Can somebody in the gallery-

-tell me if it's possible to access the tape
interviews I shot at the university, please?

- I'm sure it will be, yes.
- In view of what's happened-

- ...there's a sequence I need to find.
- Yeah, they're saying they can get to it-

-some time further on in the programme.
Yes, okay. We can do that for you.

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 was a lot
older than the other part of the house.

And it had a nasty feeling.

It was cold.

Doors opened.
Things fell off the wall.

Ornaments shattered.

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

My bedroom was in part of that house,
part of that old part of the house, and...

...shadows would move at the end of my bed,
so I asked for a nightlight.

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

-which made the situation worse, in a way.

Can we just clear the set?

Well, something's gone
very wrong with that ghost story.

Probably our poltergeist.
What do you think, Dr. Pascoe?

Anyway, we'll try to get back to that
before the end of the program.

Meanwhile, what do we do?

We go back to your calls,
that's what we do - Mike Smith.

The only one I've got for you
at the moment is this woman - try her.

She wants to remain anonymous,
wants to take part of the programme-

-but insists on anonymity. Try her.

OK, Mike, thanks.
Doctor, pick the phone up.

- Hello?
- Hello?

- Yes.
- Hello, am I on?

Yes, 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?

I'm sure your children are in shock.

Also I want to say I think it's high time,
probably, that your kids were in bed.

I mean, it is past the 9 o'clock
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 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, it's Halloween.
They're overexcited.

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.
- 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'm going 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.

Please, believe us.
Right, now, I think that, Dr Pascoe-

-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 you ever seen him, then, Kimmy?
- Pipes? Yeah.

And what's he look like?
Can you describe him to me, then?

Well, he's really old.

This eye's got all... Blood all
over his eye and scratch...coming out.

And then he's bald over his head.
And then he's got a nose.

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

- And he's got a dress on.
- Does he?

Yeah. It's all really long. And it's black.
It's got buttons all the way down.

And then lots of petticoats underneath.

- Can we replay it?
- Sure. Sure, we can.

Back to the start of the description.

Can we roll it back, VT?
Back to the start of it.

- There?
- Yeah.

Well, he's really old.

This eye's got all... Blood all
over his eye and scratch...coming out.

And then he's bald over his head.

Do you see what I mean?
Kim's description exactly matches-

-what Mike's been getting on the phones.

Old, man, bald, skull-like head,
dark eyes, wearing a black dress.

She says it's black.

- Buttoned.
- Well, could they have read-

- the descriptions in a newspaper?
- 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. Sarah seems to
be trying to get our attention.

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?

Cat's 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, Kim?

- What's wrong with Suzie?
- What do you mean, what's wrong, Kimmy?

Suzanne?

Suzanne, are you OK?

It's all right, love.
Don't get upset, love. Your mum's here.

Oh, dear God.

What do you want us to do?
What should we do?

- Sarah, are you all right?
- Get away. Get away from me.

They have to stay.
They have to see everything.

Sarah, it's all right.
Don't worry.

- Some kind of allergenic psychosomatic --
- Could be self-mutilation.

She could have done it with
her own fingernails, you know.

They're saying 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.

But we can't move because she's in agony,
and she won't even let me touch her.

- What do you want me to do?
- Well, 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?

It's behind the door.

- I saw somebody standing behind the door.
- Nobody there now.

Sorry.

Pipes says she's got to be punished.
Pipes says she's the bad girl.

Darling, it's all right.
Just be quiet.

Sarah, should we send someone in now?

No, God knows how she'd react.

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

We've got to stay.
Pipes says we've got to stay.

I should tell you-

-if you joined to see the next
program that in fact we're staying-

-with what we have here from
Foxhill Drive because the events-

-are so remarkable and dramatic
that we'll 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 is-

- ...directing the violence in on herself.
- First Suzanne...

...then Kimmy, then this.

You don't know, do you?

No, I don't.

I've got to come in here.
We've got a-

-a very important phone call, which I
think you both should take right now.

Doctor.

- Hello, who am I talking to?
- Oh, hello.

My name's 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 us children-

-if we were naughty or couldn't
get to sleep, our mum used to say-

"Mother Seddons will come to get you."
Used to scare us...

...rigid. I don't know why she did.

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 childminder.

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

And she'd drown them in the big coppers.

And 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 me.

Sarah, I wonder-

-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.
Suzanne's feeling a bit better now.

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

But we feel it's probably best to
get the girl out of the house now.

Things are still feeling a bit strange.

No, we're not! Get it off!
I've got to talk to somebody.

Kimmy? Who?
Kim, who are 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.

I'd like somebody
to take care of Suzanne as well.

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

- I'm not a baby!
- No, you lied, you said you'd stay!

We will stay with you.
What was that?

Where are we going?

Just outside. Come on.
Downstairs. Just outside.

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.

Once they are, I suppose, that'll be
the end of our programme, the end of our-

-Ghostwatch programme.
I hope they...

...they are out shortly.

As we wait for them to come out,
we'll go over to our phone-in studio.

Mike, what's been happening?

Well, it's understandably
fairly chaotic here. We're getting-

-all sorts of calls.
In Derby, someone was ringing-

- to say that her clock had stopped.
- Again, a clock stopping.

Ken and Joyce Shrivener
from Telford in Shropshire-

-their radio has gone dead and the
microwave oven is pinging repetitively.

Where are they happening?
I mean, is there a geographical pattern?

How many of these incidents are there?

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.

In fact, we have loads of
instances recorded here this evening-

-of pets acting up all through the programme.
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!

Wait. We've got one here. 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've had a chance to talk to her.

So the point is there's someone
here who can 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?

I'm sorry, I can hardly hear you.

...you can hear what I'm saying.

Suzanne's a lot quieter now,
but they won't move.

They won't listen to me.

I think Suzanne's 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.

...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.

Jesus.

Kimmy?
Kim?

- Where are you?
- 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!

It's Bubby.

It's the fridge.

Kimmy.

Come on, darling.

- Pipes said to do it.
- Why?

Pipes said he is a bad bunny, Bubby.

Here are his eyes.

What's that noise?

Mike, where's it coming from?

Well, look at...

It's just like an earthquake.

Mike?

It's in here.
It's in the Glory Hole.

Can you just stay back over there, darling?
Stay over there.

- It's in there.
- Yeah, OK.

Just pull it aside.

Shall I get them out
of the kitchen drawer?

OK, this way. Yeah.

Mike? Oh, my God, what's happened?

Are you OK? Oh, look.
Chris... Stay there.

- I'm going to go and get help, all right?
- OK.

- Just stay there with him.
- Yeah.

Suzanne.

He's touching me.

Suzanne.

He's hurting me.
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 lost the link completely?

- No, there's nothing.
- Hang on. Well, yeah, we're on.

Please tell me...

We've lost him.
We've lost the link.

Well, the light's on.
We are definitely on.

- Sorry, there seems to be a bit of a...
- OK, we can't get it back.

...bit of a balls-up in TV speak,
I think we can say.

- You must be able to get it back somehow.
- We're finding out.

Well, nothing to report so far
from the house.

It all seems very quiet and peaceful.

I know, and I'll 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, you kids, aren't you?

I think we're off again now.

I wish someone would have said we were on
then, you know, I'm chatting away and...

Only at the BBC, love.

I think...

- OK, 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 normal.

You look happy.

Mike Smith breathes a sigh of relief,
no doubt.

Yeah. No, I'm delighted.
I was ready to... I don't know.

Well, 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'd be delighted.

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.

- What do you know about it?
- We've been into all that.

We've got the deeds and searches
going back to the year it was built-

-and the history of the site as far as
the Domesday Book and the ley 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?

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...

Hello?
Are you still there?

If you are, please go on.
Hello?

Tunstall hanged himself.

He tied wire around his
neck to a lathe and switched it on.

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.

And, of course... 12 days, they got hungry.

They got to work on... On his face.

Mr...

...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 hung up.

Sorry, but that's the way 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 Tunstall, 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 --

Poltergeist or no poltergeist --

They're 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.

- 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?

That's what you wanted, wasn't it?
We just gave you what you wanted.

Stop it!
Stop it! Stop it...

There's a wind in the studio.
Have you ever heard of wind in a...

- How many observers do we have tonight?
- I don't understand.

Jesus, Michael, we've created a séance.
A massive séance.

Where are we now?

What's this... This...
This could be live.

Is this 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.

Pam...

Mum!

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

We've seen Kim.

We've seen... We've seen Pam.

That leaves...

...Suzanne...and Sarah.

Now, where are they?
Where can they be?

- Have we seen them?
- Must be still in there.

What are these shapes?

Where are we?

- What are we seeing here?
- Infrared camera.

- Who's that?
- Suzie?

- It's Sarah.
- Is it?

Suzie, are you there?

Can't she hear us?

- Chris?
- Down here.

- Where are you?
- Here.

- 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.

There you are.

Got it. There we are.

There we go.

Is it OK for you?

- Is it okay?
- Yeah, hold on.

Chris, look.

Sarah?
Sarah!

Mum!

Mum, please help me!
Help me, Mum, please!

- It's okay Suzie, we're here!
- Clear the studio!

Where are you?

Mum, help!

In the Glory Hole.

- Chris, is this all right?
- Yeah.

Get off me! Get away!

It's all right, Suzie.

Suzie?

I can't open the door.
It's blocked. - Suzie?

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

He's hurting me.

Come on.

It's no good.

Get off me!

Suzie?

Thank you, 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.

Get the link back.

Get the link back.
If somebody can get the link back.

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

...got an emergency generator,
whether or not we should bring it in, I --

I'm not going.

The studio's completely dark,
just blackness now.

All the lights have failed,
the power's...gone off.

We've got some...lights in the studio.

I don't know...

There's cameras, but 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 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.