In Episode 62, hosts Paul and Michelle dive into **unscripted ghost encounters during guided tours** and explore the unsettling phenomenon of **temporal anomalies known as "Chronos leaks."**[1] From terrifying spectral interactions in Savannah, Edinburgh, and New Orleans to famous historical time slips in Versailles, Liverpool, and Scotland, this episode blends haunting personal accounts with philosophical reflections on parallel timelines and human consciousness[1]. The episode closes with a lighthearted story on how to banish a ghost through sheer logical confusion[12][13]
1. Dead End Tours: When the Guide Isn't the Only One Talking[3]
Paul presents four firsthand stories from people who experienced real paranormal encounters while taking organized ghost tours[6][14]:
2. The Chronos Effect & Time Leaks[4][5]
The hosts pivot to temporal anomalies where individuals temporarily slip into the past or future[4]:
3. Personal Story: Confusing a Ghost[12]
Spooky Coop EP-62
Paul: [00:00:00] Okay, and we're gonna go in five, four, three, two, one. Hello, Michelle.
Michelle: Hey, Paul.
Paul: Hello, everybody out there. Thank you for joining us. We're-
Michelle: Thank you for subscribing, and telling your friends, and hitting the bell, and getting notifications, and hitting that little thing that, uh, you know, turbocharges us.
Paul: And makes life joyous for everyone.
Michelle: Especially for us.
Paul: Especially us. Yeah. Yes. '
Michelle: Cause you like us.
Paul: Welcome, everybody from the United States and around the world, and especially our Canadian viewers- Mm-hmm ... because half of us are from Canada originally.
Michelle: And the other half were from Canada a long, long time ago. Yeah. Native American Canadians.
Paul: Yes. So this week we have two fabulous groups of stories.
Michelle: Maybe three.
Paul: Maybe three.
Michelle: We'll see.
Paul: Yeah, okay. Yeah. And, uh, this first one you did a, put a lot of work into. Yeah. It's
Michelle: called- I collected these stories ... mm-hmm. Uh, [00:01:00] one of them was, uh, they were all from people that I knew or know now, uh, but one of them was from a long time ago.
Michelle: Mm-hmm. It was really, really cool.
Paul: Mm-hmm.
Michelle: Okay. You wanna
Paul: start? And you, you titled it, entitled it Dead End Tours: When the Guide Isn't the Only One Talking.
Michelle: Yeah, that's true.
Paul: So you know the drill.
Michelle: I know the drill.
Paul: You pay 20 bucks, you follow a person in time period appropriate clothing through a dark alley-
Michelle: Mm-hmm
Paul: and you hope to see something that makes your skin crawl. Usually the only thing you see is a raccoon or a very enthusiastic tourist from Ohio, name is probably Doug, Doug or something like that. But sometimes the tour takes a turn that wasn't on the brochure.
Michelle: Yeah. Yeah. That's happened to us more than once, like when we toured the, about Washington Hotel, Lizzie Borden House, things like
Michelle: Those are all around us. Lizzie Borden House is not that far from us. Um, anyway, tonight we're doing four stories that have to do with tours, and [00:02:00] people who had really weird, uh, encounters with ghosts on those tours. So why don't we start, and Paul, let's start-
Paul: Yes, let's start-
Michelle: Yep ...
Paul: with the moss-draped humid streets of Savannah, Georgia.
Michelle: Yeah, yeah. This was cool. I know the person this, uh, happened to. Anyway, it's a great place to start. Our first chilling story happened about a woman, uh, I'm gonna call her Sarah. That was her middle name. Anyway, she was a history teacher, and she decided on vacation to go down there because there's so much history down there.
Michelle: So her and her friend, another, another teacher, they went down there. Mm-hmm. And her, her, the other teacher was, like, so much into ghosts and everything. She was like, "Eh." So, so they went down there, and it was getting, you know, her friend said, "Come on. Come on. I wanna do one of these before we go home." So they went on this ghost tour of, you know, this, the haunted Savannah, and the old cemeteries and stuff.
Michelle: And, [00:03:00] um, so they- Ended up, like, at this, um, at this cemetery place. And, um-
Paul: Where everybody goes for a good time.
Michelle: Yeah.
Paul: Yeah. So she was in town on, on a work retreat, and found herself with another night with little to do, and she decided to take her friend's suggestion and go with her on this tour.
Michelle: Yep, yep.
Michelle: Mm-hmm. And, um, anyway, it was a part of the town where, I don't know if you guys know this, you probably do, there was a whole bunch of people who died in that area of yellow fever way back when. 'Cause, you know, hot and humid, and germs just went everywhere. So thousands of people were killed one summer by yellow fever.
Michelle: I guess it happened several summers. And, um, anyway, she was, like, not into it, so she kind of gravitated towards the back of the group, just like, "You know, I don't wanna get involved. I'm just gonna- ... stand here rather mortified," you know? So-
Paul: So Sarah was leaning on the wrought iron gate at the edge of the cemetery.
Paul: The gate [00:04:00] was across from the one they entered through, and she looked side to side at the old stones, and she was not looking ahead at the tour guide when she felt a hand come to rest on her shoulder.
Michelle: Ooh. You know what? You're giving me the creeps. Anyway, she thought it might've been another person.
Michelle: Actually, she thought it was one of the guides, you know, kind of saying to her, "Get in. Go, go, get into the group," 'cause she was kind of away from the group.
Paul: Mm-hmm.
Michelle: And so she turned around to say to her, "You know, it's okay, it's okay," but no one was there. And, um, no one was there at all.
Paul: There we are. Oh. We were off-centered.
Michelle: Yeah.
Paul: Now we're centered.
Michelle: Oh, and my- I broke my mic.
Paul: Just exacerbate the situation. Yes, go ahead.
Michelle: Anyway, no one was there.
Paul: Where's that club here? There we go.
Michelle: No one was there. So she turned to the front of her
Paul: Mm-hmm. She, yeah, she turned around to the guy to the front, and she still felt the hand was there.
Paul: This time it changed from what was [00:05:00] once just l- a little touch to a, a weighted lean. Mm. She said just a shoulder lean. She described it as more of a, the pressure of a person leaning their entire body against her. Wow. Moreover, she could feel the texture of cold, rough skin through the thin fabric of her blouse.
Michelle: Yeah. And then she was like, it was hot, so she didn't have a jacket on or anything. Mm-hmm. But, um, then she tried to move away from it, like, quick away, kinda get away from it, and it didn't really, you know, it didn't really help. And then she heard in her ear, like, like, literally, like someone was whispering in her ear, uh, you know, "You're standing on my porch, honey."
Michelle: You know, "Why you standing on my porch?" And she said that somebody physically bumped into her. It was like a person was bumping her off the porch. And then she had this pressure all over her, and she felt so ice cold. She didn't know [00:06:00] what was going on. It was like, it was like, "Why you standing on my porch, honey?"
Paul: Ooh. Why, thank you.
Michelle: Ice
Paul: cold. Did you think that I was a little bit tired or something and I needed that? All right. So, and the kicker, the guide mentioned five minutes later that a s- that, that that spot where she was standing used to be the entrance to a house that burned down in 1820. Maybe the previous owner didn't like loiterers hanging out on her porch- Hmm
Paul: Michelle.
Michelle: Yeah, maybe not. Uh, especially when they're reading podcasts.
Paul: Oh. Unbreakable.
Michelle: Yeah, you are. Next, uh, let's head to the dark, damp, and frankly- Get
Paul: closer to your microphone.
Michelle: Oh, I'm sorry. Let's, let's ... My microphone's broken. I'm just kind of- Yes, I
Paul: know.
Michelle: Yeah. Anyway, let's go to the dark, dank, and damp, and frankly terrifying Blair Street Vaults of the Edinburgh, Scotland.
Paul: Oh, hi.
Michelle: Hi.
Paul: If you've been there, you, [00:07:00] you know it's claust- I can't do a Scottish accent. No,
Michelle: don't- Don't bother ... 'cause then you just start- So if you've been there- I, I'll just send you down to the- I'll just send you down to the work
Paul: core. Okay. So anybody who's been there, you know it's claustrophobic. Uh, Mark, who was an IT consultant from London, was on tour that went deep into the sub levels.
Paul: The group was moving through a narrow corridor when Mark stopped to tie his shoe. He looked up, and the group was gone.
Michelle: Yep. It, it was just totally gone, and, um, anyway, I know it's an old trope. It's like, oh, s- you know, haunted castle. Some guy bends over, ties his shoes. He stands up, and everyone is gone. Why do people always have to tie their shoes in castles?
Michelle: Why don't they just wear- I
Paul: think it's the moisture. It's cold. It loosens up the strings.
Michelle: Or why don't they just use slip-ons?
Paul: It's completely nonsensical what I just said.
Michelle: Maybe- They, they s- they- Maybe ghosts untie their shoes because they-
Paul: I think that's it.
Michelle: Yeah. Anyway, um, so Mark was, uh, on tour [00:08:00] at this place, uh, and in Scotland, you know that, uh, it can be really claustrophobic 'cause they have these really narrow castles and just the slit windows for the old, you know, the old
Michelle: They don't want people coming in and attacking, so they ... You know, so anyway, um, he stopped to tie his sh- untie his shoe, a- I mean, to tie
Michelle: it. And the floor was, like, really hard stone, and so he should've been able to hear them walking away, but he didn't really hear anything. He just felt... I'm sorry. I, I keep leaning back. Um, he just kind of all of a sudden kind of felt dizzy. He thought it was 'cause he stood up fast after tying his shoe.
Paul: Right. So you know the one that can get really claustrophobic in the narrow subterranean halls?
Michelle: What?
Paul: Well, his, his shoe after it became untied, and he stopped and he tied it. He fell a few yards behind.
Michelle: Yep.
Paul: [00:09:00] But there was only one way to go, so he wasn't worried,
Michelle: right?
Paul: Yeah, it
Michelle: was just a long straight
Paul: hall.
Paul: Just go this way, one hall. He figured he'd just catch up. He clearly saw a man standing at the end of the hall wearing a long wool coat and a flap. A flap? Sort of a flat cap. With a flap, you know?
Paul: For you ESL people out there, we're not talking about him. Mark assumed he was a- Which, what's an
Michelle: ESL?
Paul: Uh, English sign language.
Michelle: Oh.
Paul: Mark assumed he was a character guide. When he looked at the man at the end of the hall, he noticed that the hall ended in a T.
Michelle: Yep.
Paul: T. And it could go right or left. So he, I, I guess he was relieved by that, and the guy with the costume must be posted there to make sure that stragglers, you know- Went the
Michelle: right way
Paul: get, get the right way. That was his, you know, reasonable thinking. So Mark called out, "Hey, where did the group go? Uh, do I go left or right?" The man didn't speak. Instead, he, he pointed to an open doorway on the left and walked [00:10:00] through it. Mark followed, expecting to find the, the tour group. Instead, he found a room that was completely empty, filled with nothing but dust and the smell of stale air and rot.
Paul: Rot. Rot.
Michelle: Must've been dead. Rot. I said rot, not rat. Okay. The man didn't speak to him. Instead, he just pointed to that door, right? Mm-hmm. And, and so, uh, Mark was just standing there. When he turned around, he went to ask the man, "Why did you put me in this place? What's going on?" You know? And when he looked back to the corridor, the man was absolutely gone, of course.
Michelle: You know, I mean, it's a ghost story, right? Um, and Boo. No surprise , right? But of course, he said this really happened. Um, and, uh, the man was gone, and what was in the hallway at the end of the hall where the T went was a picture, and the picture was an old painting, and the painting looked just like the guy.
Michelle: There was an electric light [00:11:00] over it, which I'm sure wasn't there at one time, but there was a painting of this guy, looked just like... Look at this. Looked just like the guy in, that had moved him over to that room. Mm-hmm. And Mark s- Mark saw it, and he noticed that, um, that the guide, the guides were... Not the guides, the, um, tour was standing down the, like, was standing down the corridor he just walked down.
Michelle: The one where he stopped and tied his shoes, they were coming up that corridor. It w- they were looking at him like, "How did you get past us? That doesn't make any sense." Now, you know, that was just really weird. Mark, um-
Paul: He look- So he looked in front of him, and he was shocked to see there was a thick, red velvet rope between him and the hallway.
Michelle: Yeah, that was weird.
Paul: He knew, he knew he, he hadn't moved, moved one when he came in or, or stepped over it either in order to get into the [00:12:00] room.
Michelle: Yeah, there was a, that velvet rope between the...
Paul: So I guess he's not saying the r- the ghost was rude, but he, he could have h- at least moved the velvet rope for him a second time so Dave didn't have to get caught.
Paul: Mark. Did I say Dave? Yeah. I meant Mark. I'm sorry. Yeah. Thank you.
Michelle: We're using the no- nomiker, nom-
Paul: Moniker.
Michelle: Moniker.
Paul: Mm-hmm.
Michelle: Not Monica. We're not calling him Monica either.
Paul: No.
Michelle: No, we're calling him Mark.
Paul: Though there's nothing wrong with that So with that, my dear- Right, that's true ... let's get to the next story.
Michelle: Yeah. Yeah, 'cause the, the, he didn't... Never mind. I think-
Paul: Our third story takes us to the French Quarter in New Orleans.
Michelle: I-
Paul: Francie was on a private tour of an old mansion that had been converted into a museum.
Michelle: That's true. The tour was small, just Francie and three others. They, it was just a small little place, so they didn't take a lot of people.
Michelle: It was like a small place. Francie told us this. Remember at one of those- Mm-hmm ... uh, [00:13:00] meetings we had, right? Mm-hmm. There were four of them, and they went... When they were in the master bedroom of this place, behind velvet ropes, they could look into the master bedroom. They were, like, in the hall- Mm-hmm ... and there were velvet ropes.
Michelle: You could see- Mm-hmm ... into the master bedroom. They were telling stories about the woman who haunted the place and her dead husband.
Paul: And that was in the 1890s, right? Yeah,
Michelle: they all died in
Paul: the
Michelle: 1890s.
Paul: Yeah. So Francie was looking into the large, ornate vanity mirror on the hallway hall. Um, and she saw the reflection of the room behind her.
Paul: She saw the guide and the other tourists, and looking into the room, a woman standing in the corner of the room.
Michelle: Right. At first, you know, she saw this in the mirror. She was, like, looking over here. Mm-hmm. Yeah. And the room was over there. She was looking in the room, got kind of bored, started looking around the hall, and in the mirror she saw this woman in the room.
Michelle: So she thought this was an actress 'cause the woman was kind of moving around, [00:14:00] and she thought, "Wow, this is kind of a nice tour. They even have period actors in it." And, um, so she turned around to look back in the room thinking, "Well, maybe they're gonna give a little show or something," but the woman wasn't there.
Michelle: She wasn't there at all. And, um, so then she looked back in the mirror, and in the mirror the woman was standing, like, right close to the mirror now. Like, so they were almost face to face, and she was like, "Ah." You know, people, "What's the matter?" "Uh, uh, um, uh," you know?
Paul: So Francie didn't scream. She just walked out of the house.
Michelle: Very quickly.
Paul: She said on, on one hand she felt like, like if she had stayed one more second longer, the woman would've stepped out of the mirror and taken her place. But on the other hand, she wondered if this was just some high-tech projection.
Michelle: Yep.
Paul: She- And the mirror was part of a computer projection because the woman wasn't visible outside of its frame.
Michelle: Yeah, Franc-
Paul: A logical conclusion- Right ... and a very quick thought.
Michelle: And she started thinking, "Oh, they're taking [00:15:00] advantage- Mm-hmm ... of us." C- Francie was very, um, w- what's that word? Uh, pragmatic.
Paul: Pragmatic.
Michelle: Yeah, she was very pragmatic. She was one of those people had to- Mm ... see it to believe it, and h- a- and she would always look for a logical explanation.
Paul: Mm-hmm. Right.
Michelle: Yep. And so, um, she, when she, uh... When that happened, she got outside and she sat on the porch swing. This place, you know, was very, very... She, actually it was kind of cute. Mm-hmm. Anyhow, she sat on the porch swing, and she started thinking about what she saw. And as she was sitting on the porch swing, she picked up her phone.
Michelle: She thi- thought she'd call her mother and tell her mother what happened, maybe get some thoughts from her mother on it. Mm-hmm. And tell her about the experience, and then without a warning, in the, um, that hot summer air started to get really cold around her. And the swing began to- Eeh, eeh, eeh ... moving on it.
Michelle: Yeah, she was on it, and all of a sudden it started swinging. [00:16:00]
Paul: Right. So she sighed deeply, and she was now convinced it was all a haunted house setup.
Michelle: Yeah, 'cause she- Right? ... she was like- Ha ... "Oh, come on." Yeah. "They put the air conditioner on. They have a mechanical swing."
Paul: Right. So she w- she walked to her car. She looked around to be sure no one was hiding inside.
Michelle: Yeah, she didn't want one of those-
Paul: Right ... what
Michelle: do they call that?
Paul: Yeah. Jump scare. A jump scare on her. Sat down and locked all the windows and doors and- Boop, bo, bo, bo, bo ... called her mom.
Michelle: Do, do, bo, bo, ba, do.
Paul: When, will you stop r- rustling your papers? I c- can hear like thunder in my headphones. I can't imagine what it's like for the poor listener.
Paul: When she was talking to her mom, her phone cut out, then started to play a pretty song like a jukebox.
Michelle: Like a music box.
Paul: It was a haunting song she said, too. The song was permeating the whole car ju- And just then, a white mist filled the cabin of her car.
Michelle: Someone was vaping.
Paul: No. Dare we say ectoplasmically vaping.
Michelle: Yeah. The mist came together, and it formed that same woman she [00:17:00] saw- Inside the house
Paul: Hmm
Michelle: And it was like, she said that it really got her. She started looking around everywhere at first- Mm-hmm ... to make sure that nobody had planted anything in her car, but then she was like you know? And, and then the woman all of a sudden, it really appeared next to her sitting in the car.
Michelle: Mm-hmm. And the woman put her hand on Francie right at, right on her wrist actually.
Paul: It's giving me the creeps when you do that. The hair on the back of my head is standing up, and there's only a few of them. There's not
Michelle: many left. I'm a ghost, again.
Paul: So the ghostly woman put her hand on Francie's wrist.
Michelle: Yep.
Michelle: And, um, and- She
Paul: calmed
Michelle: Yep, she calmed right down. She said- That's weird.
Paul: Yeah
Michelle: Yeah. She said that, um, when the ghost talked to her, though, the ghost said, "You're very lucky that you have such a nice mother that you could talk to your mother." And then she said to her, "You have a wonderful mother. She's not cross to you, and she's not cruel like my mother."
Michelle: [00:18:00] And she said, "My mother was, was very, um, cross and very cruel. You must pity me." She's the one who put me in the grave. Didn't she say that?
Paul: Yeah. "
Michelle: She's the one who put me in my grave. You must pity me."
Paul: What a lousy ghost life.
Michelle: Yeah, what a lousy ghost life. If you're gonna be a ghost, you might as well be a ghost somewhere fun.
Paul: Mm-hmm.
Michelle: Doing somewhere fun for your afterlife.
Paul: We're going to Broadway.
Michelle: No, we're not.
Paul: Hey, look. Look at that. See? I'm ethereal.
Michelle: I'm a ghost. We have to do a really good, uh,
Paul: show- So anyway, Francie's eyes filled with tears. The ghost woman's sorrow was so strong, and as she cried, the ghostly woman drifted back into the building, and Francie was alone.
Paul: But regardless, she stayed in the car until her friends finished the tour and came out.
Michelle: Yeah. Now, honestly, do you... She said that when she told everybody what happened, um, they all said they believed her- [00:19:00] Mm-hmm ... and they all saw the, the emotions on her, but she still didn't know. You know, she was like, "I wonder if they really believe me," you know?
Michelle: Mm-hmm. Anyway, if you've been on a ghost tour and ghosts, uh and was more than active than just a guide saying, "Oh, look over there, that's where so-and-so lost his head. And look over there, that's where so-and-so's dri- blood dripped out the wall," or, "Look over there, that's where she took an ax and whacked him 40 times," tell us, tell us what you saw, you know?
Michelle: Let us know.
Paul: I don't know if you ever wanna be the one who gets an extra uninvited tour on a ghost tour.
Michelle: Yeah, that would be cool.
Paul: You know? Well, that's what's happening if you see something like that, huh?
Michelle: Yeah, that would be cool.
Paul: Uninvited tours.
Michelle: Yeah, the uninvited ghost tours. Okay. That's really, really cool actually.
Paul: Okay, so that is-
Michelle: Let's, let's [00:20:00] stop ...
Paul: our first-
Michelle: And change the subject
Paul: completely ... first series. Let's stop and compli- No conjunction whatsoever. Okay, now- No
Michelle: conjunctions? Yeah. Conjunction, junction-
Paul: What's your function? ... what's your function? To connect things together.
Michelle: Like-
Paul: To act as a bridge ...
Michelle: ghosts and time leaks.
Paul: All right. So our, our next story is about time travel.
Michelle: Yeah. Somebody, when we did the other s- other podcast, we mentioned t- uh, time leak- Mm ... about that woman, uh, who all of a sudden drove her car and things were all different.
Paul: Mm-hmm.
Michelle: They asked us about different types of time leaks, so we are telling you about the Chronos effect
Paul: Right
Michelle: Yep.
Michelle: It's a different type of time leak
Paul: Yeah, not the sci-fi version with chrome cars and flux capacitors
Michelle: That's too bad
Paul: This is a paranormal version
Michelle: Remember when Squidward went into the future and everything was chrome?
Paul: Mm.
Michelle: Mm.
Paul: No, I don't actually.
Michelle: No?
Paul: No. You'd think I would. I watched every single-
Michelle: SpongeBob
Paul: SpongeBob with our- I think [00:21:00] everyone's- ... with our youngest daughter ... watched every
Michelle: single
Paul: SpongeBob. Anyone with children, we all you have our empathy.
Michelle: And most without.
Paul: I know. Yeah, so this is the kind where you, of time travel, where you turn a corner in a modern sidney, ci- city and you suddenly find yourself in 1910
Michelle: Yeah Okay It's called the chronos leaks.
Michelle: Um, anyway, these are moments where the fabric of time seems to, like, drip through the holes it makes in it.
Paul: Mm-hmm.
Michelle: You know, it's, um, actual- where people actually seem to slip.
Paul: Like a seam or an, dare we say, an edge?
Michelle: Mm. Kind of. You know, like that- Mm ... Rip Van Winkle thing, where he sp-
Paul: Yeah, so we're not talking about physics.
Michelle: Nope.
Paul: We're talking about the terrifying, disorienting truth of being displaced in time.
Michelle: That's true. M- And- Not even like our Japanese guy's story. Mm-hmm. This is different.
Paul: Yeah.
Michelle: So let's start with the [00:22:00] granddaddy of all time slips. That's what this says. The
Paul: Moberly- the Moberly-Jourdain incident.
Michelle: That's right.
Michelle: Mm. Two Oxford professors, Charlotte Anne Moberly and Eleanor Jourdain, were visiting the Palace of Versailles in 1901.
Paul: They were looking for the Petit Trianon, but they got lost. They wandered into a garden, and suddenly the atmosphere changed. The heat vanished. I guess that means it got cold. The colors became muted.
Paul: Or it could have
Michelle: just became warm.
Paul: Yeah, or, okay. The colors became muted, almost like a painting. They saw people dressed in 18th century clothing, including a woman who looked exactly like Marie Antoinette.
Michelle: You know, that time period really smelled bad.
Paul: Did it?
Michelle: Yeah, they didn't have deodorant. They wore those big, big dresses and those huge cravats.
Michelle: Oh. And they used to put on huge amounts of, uh, perfume.
Paul: Did anyone ever write a book entitled Stinky Europe?
Michelle: No- ... but they did, uh ... There was a book called, uh, Underwear Through the Ages- [00:23:00] Was there really? ... or something like that. Something like that.
Paul: So this is a doctoral thesis no doubt, or it came from one I'm sure.
Michelle: Anyway, let's go th- You know? Through time travel- California ... without talking about their underwear.
Paul: Somebody was microdosing on mush- I think
Michelle: all my sh- What they didn't realize until later is that they had walked straight into 1789.
Paul: Mm.
Michelle: They were seeing the Palace of Versailles as it used to be. Mm-hmm. I keep looking at him.
Michelle: I'm sorry.
Paul: You're supposed
Michelle: to be lookin'- I should be looking at you guys.
Paul: No, I've been looking at you too, my dear. Oh. There's nothing wrong with where you're looking.
Michelle: Oh, okay.
Paul: It's just if you're looking strange- It was- ... then,
Michelle: you know, that's another story ... it seemed to be on the eve of the French Revolution.
Michelle: Mm-hmm. And they were just seeing ghosts that had been there from the past. You see how this differs? They're, they are seeing the past.
Paul: Mm-hmm.
Michelle: Yeah.
Paul: Right. The detail that gets me is, is they describe the smell of the air, the stagnant, heavy smell of decay- Yeah ... which matched historical accounts of the palace grounds during that exact year.
Paul: They didn't just walk into a memory, they [00:24:00] walked into a ripple in time.
Michelle: See, I told you they stunk.
Paul: Stinky Europe Our next story, the street that wasn't there. Take it away, my love.
Michelle: Okay. A man named David. This is David. This is not Mark. We didn't change his name. This is David. Um, anyway, he was walking through Liverpool, England, in 1996.
Michelle: He was looking for a specific shop. He turned down a street, and suddenly, the, the modern cars vanished. The pavement turned into cobblestone, and-
Paul: It was a Mark Wahlberg movie setup. No, it wasn't. No, it wasn't. He saw people in Victorian-era clothing. He saw a shop with a sign he didn't recognize. He parked his car, which was a modern Saab, and got out.
Paul: Is this a Saab story?
Michelle: Yes.
Paul: Okay. He said the air felt thick and electric. He walked up to the shop window and saw items that hadn't been sold in 100 years.
Michelle: Yeah, he tried to [00:25:00] talk to the man walking by, but the man looked at him in pure terror. He was like, "Uh, what shall you do, young-
Paul: Yeah.
Michelle: Uh-huh ... uh, I don't know.
Michelle: He was, uh- Language couldn't have been- "Please, sir, may I have some more?" Okay. Um, anyway, he tried to talk to this guy. Uh, but David was... It was like David was a ghost. He, he, he scared the heck out of him. David got back in his car at that point, and he never looked back. He just drove down the cobblestone road, and next thing you know, he, uh, it was just modern again.
Paul: Mm-hmm. So he'd slipped into a pocket of the past that was still playing on a loop, like a city had ghost files on its own history. And sometimes you accidentally hit the play button, my love.
Michelle: Yeah. You know, what was weird is that they saw him like a ghost.
Paul: Mm-hmm.
Michelle: You know, that's h- it was like that's why the guy got terrified.
Michelle: Nobody looked at his car in that time and went, "What the heck is that?" It was like-
Paul: Mm ...
Michelle: ghost cars. [00:26:00]
Paul: So our
Michelle: next one- Anyway, one more big, one more harrowing thing that happened. I am sorry. I think they can still hear me. One more harrowing
Paul: thing- Everybody can hear you from here to New York.
Michelle: That's true.
Paul: You have a voice.
Michelle: I do. Uh, one more thing that happened in 1935, a British pilot named Victor Goddard, um, was flying ... A lot of people know this one. Uh, he was flying over an abandoned airfield in Scotland.
Paul: Mm-hmm.
Michelle: Mm-hmm. And he saw a guy dressed in Scottish dress that brought him into a-
Paul: Oh, yes ... blade room. I remember this.
Paul: Okay. Yeah. Mm-hmm.
Michelle: He, he was flying over this airfield. All of a sudden, it looked brand new. The hangars were painted. Mechanics with yellow uniforms were running all over the place. Mm-hmm. They were sitting next to planes. There were planes, and there were ladders up to the planes. Mm-hmm. People were fixing them, loading them.
Michelle: It was a very, very busy airport.
Paul: Mm-hmm. So he flew over and was confused because the airfield was supposed to be in ruin.
Michelle: Yeah, 'cause it- He- ... was supposed to be, you know- And as he- ... a war ...
Paul: right.
Michelle: It- After a war ...
Paul: and as he [00:27:00] flew away, the vision faded. Years later, the British military rebuilt that airfield, and the mechanics did wear yellow uniforms.
Michelle: And there were planes like he described 'cause, you know, this is 19, uh, 39. They didn't-
Paul: 35.
Michelle: 35. They didn't have the type of planes he described at- Mm-hmm ... the time.
Paul: Right.
Michelle: Yeah. He had seen the future. He had slipped through this time leak, but on- You see these things. They're seeing them.
Paul: Mm-hmm. It, it's
Michelle: like
Paul: they're- That hadn't happened yet, yeah.
Michelle: Yeah, in this case, hadn't happened yet. Yeah. The other cases were behind.
Paul: Right. Mm-hmm.
Michelle: But, um, but, uh, they're really going through time? Probably not. With the Cronus effect, it's like they're going through time in a spiritual way.
Paul: Mm-hmm. So that's the paradox, isn't it?
Michelle: Yeah.
Paul: If he saw the future, does that mean the future is already written?
Paul: And if he saw it, did he accidentally influence it? It's sort of a closed loop. The more you look at it, the more your brain starts to melt.
Michelle: Yeah, or if the past, if they went into the past-
Paul: Mm-hmm ...
Michelle: and, you know, [00:28:00] like that butterfly effect. If you, if you're going to the past and you step on the butterfly, does that kill Hitler?
Michelle: Or does it- Mm ... cause Hitler?
Paul: So tempting.
Michelle: Mm. Yeah, let's go in the past and see what happens.
Paul: So the paradox, can we change the past, Michelle?
Michelle: I, I honestly don't know. Or have we already changed the past? Mm-hmm. You know, there are so many timelines. They say that if you make a dec- Like, if I make the decision to rattle my paper and annoy you- Mm-hmm Is that started a timeline, and if I made a decision not to rattle my paper and it didn't annoy you, that started a different timeline.
Michelle: And if I decided to cluck like a chicken, 'cause we're in the spooky coop- Mm-hmm ... that starts another timeline. So every decision you make or I make or any of our viewers make, every s- every s- decision starts a new timeline.
Paul: You know, multi- And
Michelle: if all those timelines play [00:29:00] out-
Paul: Mm-hmm ...
Michelle: maybe in a timeline that somebody started in 1920, created Hitler, didn't create Hitler, created Hitler who stayed an artist, you know?
Paul: But, but if you go back in time and change something, do you, do you erase yourself? Or potentially erase
Paul: so various theories suggest something one way or the other. You don't change your past, you slip into a parallel past. That could be. You're a tourist in a reality that isn't yours, and it's like a, a book with multiple versions of the same story.
Paul: You aren't editing the book, you're just reading a different page. But the consequences, people who've experienced time slips often report time sickness, feeling disconnected from their own timeline, and feel like they're living in a world that's just a little bit different from the one they left.
Michelle: Almost like the, um, man- uh, I wanna say Mandela, um, Mandela effect.[00:30:00]
Paul: Mm, sort of.
Michelle: Sort of.
Paul: Sort of, kind of.
Michelle: Maybe. If you, if you go back-
Paul: Except we're looking at it from the past
Michelle: forward. It's almost, it's almost like that whole section of, uh, like a... Well, anyway, um,
Paul: uh- It's, and you are a perfect example of our next point. It's the ultimate dislocation. You're a stranger in your own home.
Michelle: Yep, that's me. You
Paul: are. Who are you?
Michelle: I'm always strange. Do I know you? Yeah, but this is a different type of strange.
Paul: Your face seems familiar.
Michelle: I'm not a stranger as in you don't know me. 28 years familiar. I'm just strange in my own home.
Paul: Mm-hmm. So time isn't straight or linear. It, it's a tangled mess of threads, and sometimes you just happen to grab the wrong one.
Michelle: That's what they say.
Paul: There is truly one single moment of consciousness, one that is always changing.
Michelle: That's what they say deja vu's from.
Paul: Yeah. We're not-
Michelle: When we reach another layer of ourselves.
Paul: Mm-hmm. We're, we're, were it not for the illusion of linear time that [00:31:00] we've created, we would all face an impossible challenge to effectively live out of our days.
Paul: Live out our days.
Michelle: Yeah.
Paul: So- Out of our days, I guess you could do that, too, to live out our days. But there is really o- truly only one moment of consciousness that has ever existed, and it's this moment right now.
Michelle: Right.
Paul: And it's like a, an incredible mirac- '
Michelle: Cause-
Paul: Ever-changing-
Michelle: Well, if you think of it this way, okay
Paul: massively beautiful moment ...
Michelle: if eternity never began 'cause it's eternal, and if eternity never ends because it's eternal, and, and if eternity is in all places all where in every dimension and every place, then where are you? You are-
Paul: In the center ...
Michelle: you're in the center 'cause you- Always ... could go in every- Mm-hmm
Michelle: direction, every place, everywhere. No matter where you are, you're in the middle.
Paul: Which then suggests
Michelle: that- That no matter where you are in time-
Paul: Mm-hmm ... '
Michelle: cause eternity goes in all directions [00:32:00] time-wise, you're right now. 'Cause in any direction, it's then or will be or whatever. So all, so you are in the middle now, and you're in the middle here.
Michelle: Mm-hmm. So if you're here and now in the middle, where's everybody else? They're all here and now in the middle.
Paul: Mm-hmm.
Michelle: So we're all together right here and right now
Paul: We will discuss how the nature of reality at another time.
Michelle: Yeah.
Paul: We'll stop with time here and now.
Michelle: Okay. So do you want me to tell them my quick little story?
Michelle: Yes,
Paul: please. Tell them your little story.
Michelle: Okay, this is my quick little story. Yes. Paul and I were talking... No, no, no, no. Paul and I were talking about, uh, seances. And I was telling him about a seance, probably the first seance I had. I was in junior high school, and a friend of mine, her fr- her parents [00:33:00] just bought a house, and it was this tiny little house, but she was absolutely convinced because it was a old, old house, that it was haunted.
Michelle: Mm-hmm. And she said she used to hear all kinds of knocking and everything all night long. Right. So all of us, like, 10-year-olds were like... Or 11-year-olds, something like that, were all excited. We were gonna go do a seance at her house. So we didn't have a Ouija board or anything, so we all got together, we held our hands, and this is...
Michelle: No one was home except for her. It was after school. And we all held hands, and we all closed our eyes, and we said, "If there's a spirit here, knock once." So the knock almost immediately. We're like, "." And then a friend said, "Oh, you knocked." So we all opened our eyes, and we're saying, "If there's a spirit here, knock."
Michelle: And it went knock. And we're like, "Oh my God." And then a, one of my friends said, "If you're really a spirit, knock twice." It went knock, knock. And then, um, another one said, "If you're [00:34:00] really, really a spirit, knock three times." It went knock, knock, knock. And then me being the p-problem I am, I said, "If you're really not a real spirit, knock twice."
Michelle: And it went knock, knock, knock. And 'cause it didn't... And then, and then a friend of, another friend of mine said, "Okay, so if you're really a spirit, then knock once. And if you're not a spirit, knock twice." And so it knock once. And then I said, "Okay, now if you are a spirit, but you're not really here, knock three times."
Michelle: And we kept telling it to knock all these different ways, and we finally got it so frustrated that it was like, "If you're not a spirit, but you're the spirit of a man, but you're not- but you died in this house, but you're [00:35:00] not happy here, but you are happy here, knock three times, then knock two times, then knock five."
Michelle: And it got so frustrated, the walls started going bang, bang, bang, bang, bang, bang, bang, bang. And then it was gone forever. So if you ever, ever need to get a ghost out of your house really fast, make it knock until it's so confused it gets so sick of you it gets out of there. But that's our knocking-
Paul: There, there's other ways to do it that are probably more effective, but this will work, too.
Michelle: Yeah, get a whole bunch of 11-year-old girls to try to get it- Mm-hmm ... to knock crazy.
Paul: That's right.
Michelle: It was so funny. If you are a boy, knock once. But if you're a boy that likes, that likes cars, knock three times. But if you're not a ghost that likes cars, knock five times.
Paul: Please. Please.
Michelle: It was insane. I can't remember it all, but-
Paul: Did you want to say anything before we sign off?
Michelle: Um, don't forget to subscribe. Don't forget to like. [00:36:00] Don't forget to hit that little boost button. If you're on a podcast, like a verbal podcast, you can still like and tell your friends. If you're on YouTube, uh, give us thumbs up.
Paul: Please, we respectfully ask, please do these things.
Michelle: C respectfully asks, I demand.
Paul: So many things, I might add.
Michelle: Uh, come on, we're your favorite podcast now. So, um, let everybody know about us. Uh, repost us. Uh, you know, get us everywhere. Um, we're growing old. We need it.
Paul: Can I do the Canadian exit now, please?
Michelle: Okay.
Paul: Thank you, everyone, for joining us. We're very grateful that you've dropped by.
Paul: You can find us on YouTube now for our videocasts, as well as all of our, our podcasts. Um, podcast, of course, you can get on any, anywhere that you get your podcasts, you can find us. [00:37:00] And on YouTube, you can find us at Spooky Coop Bot- Podcast, if I could speak English, Spooky Coop Podcast. And, um, have a great week.
Paul: Be safe.
Michelle: I gotta do the Boston, uh, sign-off, too.
Paul: Okay, do the Boston sign-off.
Michelle: Okay. Um, you gotta, you gotta follow us because if you park the car listening to our podcast- Podcast ... podcast, you'll be happy and you'll be grateful, so follow us on- Well, I'll just do the, the general New England one.
Paul: Yeah.
Michelle: Yeah, general New England one that I always talk.
Paul: Okay.
Michelle: Okay? 'Cause you gotta park the car in Harvard Yard.
Paul: Everybody have a great week. Be good to each other.
Michelle: Believe it or not.
Paul: Take care of one another. Love one [00:38:00] another.
Michelle: That's
Paul: true. Until next time, when we see you- In the spooky coop
Michelle: That's a chicken
Paul: Bok, bok, bok, bok, bok, bok, bok