Jason: Are you done?
Grant: Yeah, it should be good.
Jason: Alright, lets do this.Ah, Louisiana, in the summer.
Grant: Yay.
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Jason: The plantation is such a big location that we decided to call in some help. Barry Fitzgerald in town and we've worked with him in the past. He's from Ghost Hunters International. We're also going to bring in Joe Chin and Kris Gartland.
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Jason: So Berry.
Berry: Hey Jason.
Jason: Hey, happy to have you on our turf, man.
Berry: Thanks very much. I'm actually glad to be here. it's my first time in the southern sates. And I know yous guys always wanted to see a castle, and for me I always wanted to see one of the Southern plantains.
Grant: (To Jason) Isn't that interesting, that we always wanted to see a castle and he wants to see a plantation.
Jason: Yeah.
Grant: The grass is always greener.
Jason: Yeah, it sure is.
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Grant: Oak Alley Plantation, man. Now this place sounds incredible. I mean, it's one of just the most classic plantations.
Jason: And it was used in Interview with a Vampire.
Kris Williams: I remember watching Interview to and that house, I remember just feel "ah, this house is so beautiful."
Jason: (To Berry) It was built by a French man.It should be good having you along because I know you also speak French, right?
Berry: I certainly know a few lines of French, which should come in very handy this evening.
Jason: Sweat. Well it's good to have you on board, man.
Steve: Well that's for sure.
Jason: Kris, Joe.
Kristyn Gartland: Yeah Jay.
Joe Chin: Yes.
Jason: Happy to have you guys with us as well. You know, we definitely could use the extra hand.
Joe Chin: Completely. Psyched.
Kristyn Gartland: I am totally psyched about this, and dying to come.
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Grant: I think this investigation is going to be phenomenal. Not only is the location beautiful and spacious but the reports are all over the place. ...
We got a lot of investigators tonight. The place is actually bigger than it looks, we have a lot of grounds to cover. We even invited our friend Barry. We were over in Ireland with him, and decided that it would be a good place for him to come over and investigate with us.
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Barry Fitzgerald: Jay and Grant are just giving the load down on this location and it's absolutely fantastic, and I can't wait to get started.
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Barry Fitzgerald: Meeting Joe was fantastic, and that's the first we were able to make some work together, and I must say, you know, we talked on the way out.
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Barry Fitzgerald: So Joe, where are you from?
Joe: My father grew up in China, and so was my mom. And he came over to America when he was about seventeen. And he joined the Armed Forces, where he entered into World War II.
Barry Fitzgerald: Correct.
Joe: I'm the tenth child out of eleven. Six boys and five girls.
Barry Fitzgerald: OK.
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Barry Fitzgerald: These are Oak trees, they've been there for many years. So I'd assume this is the original.
Joe: These trees look very old.
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(Chasing a figure in the thermal device.)
Joe: There it is.
Barry Fitzgerald: Is that one of those armadillo things?
Joe: I believe so.
Barry Fitzgerald: We don't have that type of creature back in Ireland.
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Steve: Here we are Dave. See this candelabra, this candle stick?
Dave Tango: Aha.
Steve: They say that the candle stick comes out of this and floats all the way like this, and it shouts over here. Like that.
Dave Tango: That's pretty cool.
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Steve: I just felt like there was someone standing next to me.
Dave Tango: Really?
Steve: I went like me arm like this.
Dave Tango: Yeah?
Steve:And I stopped myself, and I was like. "Hold on a second", like...
Dave Tango: Huh?
Steve: ... Automatically thinking like I was going to elbow somebody.
Dave Tango: Huhm?
Steve: I felt like there was somebody standing next to me.
Dave Tango: Do you do that often? or... ?
Steve: I've never done that in my entire life.
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Steve: Dave and I were investigating in the dining room, and I went to move to my left. And I thought to my head that I sort of felt next to me. You know, 'hold on, I've got to stop moving me arm that way', because I really that I was going to elbow somebody. ...
It alarmed me enough that I wanted to take some pictures.
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Dave Tango: Steve never really ever admits anything like that, which to me, even though he might not admit it, means there was something behind him.
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(Trying to communicate with ghosts.)
Jason: Hello? Is anyone in here? My name is Jason this is Grant. We're to talk to you about this beautiful house. Whether it's you Selen or someone else. We're just looking to talk.
Grant: You're not in trouble, we're not he police, we're not doctors, we're not anyone how has any kind of power of you. We are just giving you a chance to let everyone know who's the head of this house. We can't offer you any kind of help, just conversation. You know, Selena, this house is not yours anymore. You like to think that you rule here, but you know that it's not your house anymore. If you want [it] to be yours you have to come and claim it. Now Selena we know you like to come in and sit on the bed and help remind people that this room.... (Grant interrupts his attempts to communicate with the spirits.)
(To Jason.) Did you see the shadow right there? It was right on the bed.
(Grant re-attempts to communicate with the spirits.)
We know you like to sit on the bed and remind people of this room belongs to you.
(Grant re-interrupts his attempts to communicate with the spirits.)
(To Jason.) Did you see that out the window?
Jason: The thing just appeared to walk by?
Grant: Yeah.
Jason: What the hell was that?
Grant: It looked like someone just peered in.
Jason: I don't know.
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Grant: We headed to the Lavender room, because that seemed like the place we could agitate Selena the most.
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Jason: While we were in the Lavender room, Grant and I both saw what appeared to be somebody walk out and look into the room from the outside porch area. So we headed quickly. ...
There was absolutely was nobody there.
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(While attempting to communicate with spirits.)
Barry Fitzgerald: Can I ask that you come forward and move something for us? Nothing too expensive so that it should fall and smash.
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(Barry talking about the black plague)
Barry Fitzgerald: A hundred and forty five miles of tunnels
Kris Williams: Really?
Barry Fitzgerald: During the great plagues. There were too many bodies. So they had to put them into wine barrels, and empty the graves down into tunnels. It's very un-befitting. Not for our ancestors, but...
Kris Williams: Yeah.
Barry Fitzgerald: That's what they done. in fact one of those people that was buried down there was Marie Antoinette.
Seven million bodies crammed in the tunnels, some of the walls were six feet thick with human bones.
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Kristyn Gartland: She's seen siting on the bed I guess.
Kris Williams: Oh, I love old photographs.
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Kris Williams: If you could, could you move something, could you tap on something, could you close the doors? Anything you feel comfortable with. As long as its in this room. We just need to know that you can hear us.
Kristyn Gartland: The door just moved.
Kris Williams: Did it really?
Kristyn Gartland: Yes! Totally did!
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(Referring to her sitting of a door moving by itself.)
Kristyn Gartland: That's what it sounded it like. That's why I kind of looked up and (bleeped out) the door's moving.
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Jason: Want to go upstairs?
Grant: Yeah, I want to see what freaks her out so much about the attic.
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Grant: The stairs are crooked.
Jason: Yeah,
Grant: Did you feel that? They all lean to the right.
Jason: The Funhouse Effect.
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Grant: On the Funhouse Effect is the combination of the angles and like a crooked house that makes you feel disoriented, like you're going to fall down because you don't know which way's up.
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Jason: Didn't she say that she gets creeped out on the fifteenth stair? That's where you hit the heat.
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Jason: This is the best part of investigating, man.
Grant: Yeah
Jason: Breaking the stuff down, debunking, finding the truth.
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Barry Fitzgerald: Oh? What was that? Something just hit me back there.
Joe: Something just hit your back?
Barry Fitzgerald: Yeah, it just sort of felt me.
Joe: It's on the K2. (In a garbled tone.)
Barry Fitzgerald: Huh?
(Berry turns around and sees Joe pointing to his K2 meter, which is blinking it's lights.)
Barry Fitzgerald: Ahh.
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