Paranormal 911 (2019–…): Season 1, Episode 9 - He Made Me Do It - full transcript
A prison guard witnesses a terrifying encounter between an inmate and her dead brother; A paramedic is confronted by the ghost of an elderly patient's past; An EMT is horrified when a ghost hitches a ride in her ambulance.
Dispatcher:
Code 6, 105 north avenue, 52.
Yates: When I started
to approach the area,
There was a sense of fear
that kind of hit me.
The blanket of negative energy
Is the only way
I could describe it.
Can anybody hear me?
Somebody call 911?
[ door slams ]
♪♪
It was like I entered
"the twilight zone."
[ gunshot ]
And that's when I saw a shadow.
She's coming.
Quinn: I have never seen
a deceased body in that shape.
He was curled up
like a cockroach.
- [ heavy breathing ]
- hello?
Let's get a move on!
We got to get her
to the hospital.
[ panting ]
He's here.
- Hello.
- Oh, my god. You're dead.
You need to get the [bleep]
out of my ambulance.
[ siren wailing, engine revs ]
Woman: Oh, my god!
Man: 911--
please state your emergency.
I think it's a ghost!
[ creature snarls ]
[ screams ]
♪♪
[ gun cocks, fires ]
[ woman screams ]
♪♪
[ door buzzes ]
♪♪
♪♪
[ door opens, closes ]
♪♪
[ creature growls ]
♪♪
[ screams ]
Man: Officer yates, we have
an inmate in -- west wing d.
Copy that.
I'll be right there.
Narrator: Detention officer
jay yates is sent
To pick up
a dangerous female inmate
At a women's maximum
security prison
And transport her
to a local courthouse.
Prisoner is awaiting
transport in d tower.
As a detention officer,
I had many responsibilities.
One of those responsibilities
were ensuring
That the inmate population
appeared at court
In a timely fashion
when they were scheduled to go.
Narrator:
As officer yates arrives,
He mentally prepares
for the worst-case scenario.
Yates:
This was a female facility,
but that's not to say
That they were
any less dangerous than males.
In my experience, dealing with
the female population
In many ways,
they were much worse,
More violent and specifically
in this particular unit.
Narrator:
The officer pushes deeper
Into the famous d tower's
housing unit.
♪♪
Yates: It's almost like
a forgotten tower.
Officers that had been assigned
to that particular area
Would complain about faulty
wiring, bad plumbing,
Just a housing unit in disarray.
♪♪
Narrator: Yates joins an on-duty
security officer
In d tower's control room
to fill out the paperwork
Needed to transport
his prisoner.
Good seeing you.
So the officers stay in this
tower for their safety,
Which isolates them
from the inmate population
Because these are
untrustworthy individuals.
These are people that not only
broke laws on the street.
They came to our jail,
and they did the same thing.
Just you tonight?
Mm-hmm.
In the housing unit,
there's multiple cameras,
And they have multiple points of
view throughout all the units.
And it's really to make sure
that we're monitoring
The inmate population that,
if anyone's popping locks
Or breaking out of their cell,
we can see it.
As the officer was looking
at the list
And going over who exactly
I was to pick up,
I happened to look over
at the monitor.
♪♪
And that's when I saw a shadow.
♪♪
What's that?
I don't see anything.
Narrator:
He notices someone standing just
outside his prisoner's cell.
♪♪
I can't leave my post.
I'll do it for you.
I said, "don't worry about it.
I'm going to go down there
and take care of it."
There was somebody
that was in there
That wasn't supposed
to be there.
If that inmate is harmed
in any kind of way,
That responsibility
falls back on me.
Narrator: While the other guard
keeps monitoring the cameras,
Officer yates makes his way
to his prisoner's cell
To investigate.
I immediately went into
that particular unit
Where I had seen the shadow.
[ door closes ]
We call them housing units,
but don't get this confused.
This particular unit,
it's more like a dungeon.
♪♪
♪♪
When I start to approach
the area,
There's a sense of fear
that kid of hit me.
There was like a blanket
of just negative energy
Is all I could describe
that kind of hit me in waves.
My emotions kind of
were just going crazy.
Narrator: Yates reaches
his prisoner's cell
Outside of which he saw
the mysterious shadow figure.
♪♪
[ woman crying ]
Yates: I saw the inmate, and she
was just sitting there,
Like, crying.
And it kind of threw me
off guard.
Help. Help.
It's definitely unusual
to see them show
Any sign of weakness,
especially tears.
These were tough --
these were tough criminals.
These were women that made,
you know,
Some of the men in the supermax
levels look like child's play.
What's wrong?
What's going on?
Narrator:
Officer yates fears this
may be an elaborate trick,
Part of her ruse
to break out.
And it was weird because moments
before, there was no noise.
But the moment that I came in,
all of a sudden,
Now she's crying.
[ crying ]
[ electricity crackling ]
♪♪
All of a sudden, I'm feeling
this sense of, like, dread
And just depression out
of nowhere that just hit me.
I couldn't explain it.
No. No, no.
What's wrong?
No.
[ crying ]
She said, "he wants me
to come with him.
He wants me to come with him."
I'm not going.
Leave me alone!
She's, like, "him, him!"
And I'm, like,
what do you mean him?
Like, there is no him here.
Like, you mean, like, an officer
that came in here earlier?
No.
No.
And she's, like, "no!
He's standing right behind you."
Narrator:
But there's nothing there,
leading the officer to wonder
If the woman is mentally unwell.
♪♪
Man: Ahh!
Narrator: But that thought
is quickly shattered.
Man: [ demonic voice ]
she's coming with me.
[ screams ]
This literally scared
the [bleep] outta me.
Narrator:
Sent to transport a female
prisoner to a court hearing...
What's that?
...Detention officer
jay yates notices
Something outside her cell
which,
On further investigation,
Brings him face-to-face with
a terrifying, shadowy figure.
Man: [ demonic voice ]
she's coming with me.
Narrator: Not only is the figure
not an officer or inmate,
To yates, it appears
and disappears
Like a bad tv reception.
As an officer,
you're trained to act
Strong in stressful situations.
But inside, everything's telling
me to get the hell out of there.
It scared the absolute hell
out of me.
Woman: [ screams ]
Prisons are known to be infamous
For all kinds
of paranormal activity.
It's a place
where you have one of
The most negative
collections of emotion
And a consolidated group
of some of the world's
Most notorious and evil people.
And this can draw an awful lot
of negative entities
And energy towards it.
[ screams ]
[ panting ]
♪♪
He's here.
Narrator: But whatever he saw
or thinks he saw,
It's no longer there.
Yates: I had --
I had eyes on the shadow.
This thing couldn't
have gone anywhere.
There would only have been
a brief second
That this thing would
have had a chance to hide.
[ footsteps ]
♪♪
[ door opens ]
Narrator:
Hearing footsteps nearby,
He gives chase into
an adjacent corridor.
♪♪
The corridor fills with a dark,
all-consuming energy.
[ electricity crackling ]
♪♪
The shadow wasn't
visible anymore,
But the presence
of something was.
♪♪
[ woman screaming ]
♪♪
[ snarling,
screaming continues ]
♪♪
What's wrong?
♪♪
She kept screaming,
"he wants me to come with him.
He wants me to come with him.
He wants me to come with him."
I won't do it.
You can't make me.
And she says, "my brother,
he wants me to come with him."
Narrator:
The woman explains the figure
yates saw was her brother,
Her dead brother.
She then tells me that
he committed suicide
Prior to that day.
♪♪
She said that her brother was
asking her to join him in death.
I'm scared.
[ growling ]
Man: She's coming with me.
I want her.
♪♪
[ screams ]
She's coming with me.
Yates: It terrified me.
I can't even begin to explain
how terrified I was
At that particular moment.
I want her.
[ woman screaming ]
Yates: There was some
negative energy at work
That was trying to take her.
She's coming with me.
Leave me alone!
Get away!
- She's coming with me.
- Please!
Yates: This thing was attempting
to possess her,
And then maybe for her
to actually hurt herself.
She's coming with me!
[ screams ]
I realize that what she meant
by him wanting to join her
Was that he wanted her
to take her own life.
[ growling ]
No.
Put your hands
through the cell.
I'm going to get you
outta here.
I won't do it.
You can't make me.
Leave me alone.
She's coming with me.
Get away.
You're in danger.
We're in danger.
[ roars ]
♪♪
Yates: When I opened the actual
cell door itself,
This thing disappears.
Come on.
Had I not come to that door,
I think, when I did,
I think this would have been
a whole different conversation.
Narrator: Yates rushes
his patient out of harm's way.
Thank you for doing this.
And the tragedy
that could have been.
She says,
"thank you, officer yates.
I appreciate this."
♪♪
Man: And how did you interpret
that thank you?
I think she really was
thanking me
That I got her
out of harm's way.
I think she feared
for her own safety.
I felt more relieved the further
we got away from that
Area to the door
from whatever this was.
But I had a duty as an officer
to contact medical
For a psychological evaluation
to make sure she was okay
Because she was obviously
distressed.
When I walked her to medical,
you know, they evaluated her,
And she got a clear bill
of mental health.
She didn't want to return
to that unit,
And they were okay with it.
They actually -- she was moved
to a different location.
♪♪
Keyes:
Spirits sometimes can manipulate
the thoughts of humans.
Energy of her brother
had worked its way into her.
Her thoughts were being
manipulated to hurt herself.
♪♪
[ screams ]
♪♪
Yates: This jail that was darker
than just a jail.
That there was some type
of something going on there.
That place was haunted.
♪♪
I expect anyone watching this
To question the validity
of the story.
I would with anybody that would
come on and tell a story.
And I would definitely
not believe it.
And I honestly
wouldn't believe it
Had it not happened to me.
♪♪
♪♪
♪♪
[ gunshot ]
♪♪
[ siren wailing ]
Narrator:
It's another busy night
For new york paramedic
malcolm dean and his partner.
I'd always been in the medical
end of things,
And I liked helping people.
I also liked the adrenaline
of the job.
I was working
in a high crime area.
On any given night, you would
do a lot of gunshots,
A lot of stabbings,
a lot of assaults.
Narrator: Late into their
graveyard shift,
Dean and his partner respond
to a mysterious 911 call
Placed from a residential
building.
It was something odd
about the call.
The dispatcher called us
on the radio
And said that a job had just
popped up on her screen,
And she didn't know
where it came from.
She doesn't have any
other information on the call.
♪♪
Narrator: While dispatch tries
to pinpoint the specific unit
Where the call came from,
The paramedics stand
by outside the building,
Waiting for further instruction.
Dean: We were parked on
the street corner.
This was a high crime area.
A lot of the apartments were
vacated, so it had an eerie,
Almost a ghost-like appearance
to it.
♪♪
[ knock on window ]
A gentleman came up to the
passenger side of the ambulance.
I'll show you
where to go inside.
Follow me.
He said that we needed
to go inside,
That there was somebody
that we needed to take out.
We weren't exactly sure why.
Dispatcher:
Unit 249 to 32nd and 55th.
Unit 249.
We've arrived
at the location.
Dispatch 173, go ahead.
Shall we go?
This way.
Dean: It was unusual.
We did call the dispatcher
on the radio,
But she still didn't have any
other information on the call.
We have no idea what type
of call we're going into.
We're following somebody
that we're not
Exactly sure
who that person is.
And we're going into a building
that was,
For the most part,
abandoned.
We had a certain sense
of apprehension.
Narrator:
All the veteran paramedics know
Is that somewhere
inside the derelict building,
Someone placed
an emergency call,
And their life
may be in danger.
We were fairly experienced
in walking into situations
That were sometimes dangerous,
So we had a level of caution
walking into the building.
We had all of these cues
that something was not right.
Neither one of us
could figure out what it was.
Please, follow me.
♪♪
We were hesitant to go in
Because we had no idea
what we were walking into.
Once we got to the apartment,
we attempted to reach dispatch.
This is dean.
We're 10-6 here.
[ static on radio ]
Hello?
For some reason, we couldn't
get through on our radios.
The dispatcher wanted to know
what apartment we were in
So the dispatcher
would notify the police
To ensure our safety
and make sure that,
If anything went wrong,
we had backup.
Narrator: They quickly notice
they're not alone.
Dean: There was a woman
sitting in a chair
In the middle
of the living room.
It was extremely odd that she
was sitting just in the chair.
She wasn't talking, wasn't at
that point looking at us.
Narrator:
Assuming she placed the call,
malcolm and his partner
Move in quickly
to assess her condition.
[ indistinct conversations ]
Dean:
The gentleman said nothing.
He just led us to her and said
that she needed to leave.
There was nothing
outwardly wrong with her other
Than she wasn't speaking to us.
I was asking her, going through
our normal questioning,
What's wrong?
Is anything bothering you?
Weren't exactly sure
what was going on with her.
And the gentleman gave us
no information.
For our paramedics,
we look for medications.
We look for walkers.
We look for things that'll give
us some idea of what's going on.
She needs to leave.
You need to take her out now.
Narrator: While the man insists
they take the woman away,
The paramedics still have
no medical reason to do so.
With the amount of experience
that we had,
We felt that,
between the two of us,
We would have known
what was going on,
And we had no sense of what
was going on in the apartment.
[ music playing ]
♪♪
All of a sudden, I heard music.
I could smell cigarette smoke,
could smell cigars.
♪♪
♪♪
I saw a bar with people
that were dressed in more '20s
Or '30s type clothing.
♪♪
[ wolf whistle ]
I felt like I was transported
to the 20s or 30s,
And that I was
in the middle of a speakeasy.
♪♪
Everything that was
in that scene was gone.
The man with the cane,
he knew what was going on.
She needs to leave.
You need to take her out now.
He put his hand on my shoulder
and said that,
"you need to take her out."
♪♪
It was like I entered
"the twilight zone."
There was one lady,
very pretty, very young.
She started walking towards me.
I realized that it was
the same woman.
♪♪
The same woman
that was in the chair.
I got the sense that the woman
was trapped there.
[ gasps ]
[ gunshot ]
[ groans ]
[ woman screams ]
Narrator:
Responding to a bizarre 911
call, paramedic malcolm dean
And his partner are led
into a derelict building
By a mysterious man
with a cane.
Where they discover a woman
Suffering from an
unexplained condition.
Dean:
All of a sudden, I heard music.
Narrator: And they are thrust
into a 1920s speakeasy.
When you see something
like that,
It just scares
the hell out of you,
And then all of a sudden,
it disappeared.
I don't know what was going on,
but it didn't make sense.
The man with the cane was
just standing in the corner.
I had the sense that he had
orchestrated what was happening.
She needs to leave.
You need to take her out now.
Narrator: Drawn into the surreal
experience,
Malcolm can't deny
the uncanny resemblance
Between the young woman
from the past and his patient.
And then I realized
that it was the same woman.
The first thing
that came to mind
Was that this might be
some type of time warp
Where these paramedics
were pulled into this time
And were able to interact with
the spirits that were there.
Dean: I feel like
when she looked at me,
That she was letting me know
That I had to take the elderly
woman out to make her okay.
When people get into
these time warps,
Their brain has different waves,
different brain waves,
And that alters
the perception of time.
She needs to leave.
[ woman screams, gunshot ]
Narrator: As the disturbing
manifestations intensify...
You need
to take her out now.
...The woman's
condition worsens.
I think that she was stuck,
and that she needed somebody
To spiritually release her
from the apartment.
A time warp or a time loop
that someone gets pulled into
Is a state of confusion, almost,
where someone is just seeing
Or experiencing an event
that happened in time.
It's just a visualization
or an auditory sound
That just keeps
playing over and over.
♪♪
Dean: We took her
out of the building,
Brought her out
to the ambulance.
The gentleman
with the cane told us
What hospital
he wanted her to go to
And said he would
meet us down there.
♪♪
It was about 2:00
in the morning,
So there was no one
on the streets.
So we were going through
red lights.
Let's get a move on!
Narrator: Back in the ambulance,
the mystery behind
The bizarre sequence of events
Only deepens
with a call from dispatch.
The dispatcher was calling us
on the radio,
And she said she'd been
trying to call us for an hour.
And we didn't realize we were
even in there for an hour.
It's part of the whole
weird night.
Keyes: The paramedics
had entered that time loop
Where you have conscious spirits
interacting with the living.
The living generally
have a lapse of time
In the physical world.
Narrator:
As they speed to the hospital,
The woman's blood pressure
starts to drop.
We got to get her
to the hospital!
When people get into
these time warps,
They are continually
Going through a tremendous
amount of suffering.
[ siren wailing ]
Narrator:
Malcolm and his partner
rush the woman into urgent care
For a full assessment.
I told the nurse
that was doing triage
I'm not exactly sure
what's going on with her,
But maybe you guys
can figure it out.
Narrator:
Only to come face-to-face
with another baffling mystery.
♪♪
Dean:
The man with the cane actually
beat us to the hospital.
It was so shocking to us.
There was no way
that this gentleman
Could have beat us there,
Even if he had taken a cab,
even if he had a car,
There was no way that he could
have beat us to the hospital.
That completely freaked me out.
He was very calm and collected
And shook both our hands,
said thank you.
[ indistinct conversations ]
♪♪
All my clinical tests
had come out normal.
[ machine beeping ]
Keyes:
Taking her back to the hospital
could have connected her
With that part of her experience
That she needed
in order to move forward.
And this would emotionally
or psychologically release her
From the location
that she was trapped in.
She actually put her hand
on mine and said, "thank you."
And it was just weird.
That was the only thing she said
during the entire time
That we were with her.
I was going back out
to get the paperwork.
Narrator:
Malcolm looks for the man,
Wanting to inform him of
the woman's improved condition.
When I went back in,
he wasn't there.
I asked my partner.
He didn't come out.
So we have no idea
where he'd went.
I never quite understood
what his part of it was,
But I had a tremendous sense
that he --
He knew exactly
what was going on.
Keyes: I believed the man
that initially approached
The paramedics was either
an angel or a spirit guide.
Quite often when they come
to somebody,
They will appear
in a very extravagant way.
And a way that someone
will notice them
And that will get
their attention.
And that indicates
that this is something
That is probably orchestrated
from the other side
To pull help to this woman
to try to get her out of there.
She was spiritually trapped
in that --
For whatever reason
in that time frame.
♪♪
♪♪
♪♪
♪♪
Hello!
[ knock on window ]
♪♪
Hello!
Are you all right?
[ knock on window ]
[ heavy gasps ]
[ knock on window ]
hello!
♪♪
[ gasps ]
[ phone rings ]
Dispatcher: Car 16, patient
is unresponsive.
Possible cardiac arrest.
Proceed at once to 1162
east lake road.
Copy that.
We're on our way.
[ siren wailing ]
Narrator:
Racing to the 911 call is emt
trisha quinn and her partner.
Quinn: The call was a possible
cardiac arrest.
A cardiac arrest is considered
Where there is no response
from the patient.
I love being an emt because
we can help people
That need the help.
We can try and make a difference
in somebody's life
When it's one of their
worst days of their life.
Narrator:
While trisha and her partner let
the caller know they've arrived,
The 911 operator
back at the base
Tries to gather more data
on the victim.
Hello!
Paramedics.
They do a reverse 911 call
to that home address
Because we're hoping that maybe
they're able to get to the phone
And tell us if they're injured
or if they're hurt.
[ knock on door ]
Hello!
Paramedics?
We banged on the door,
but there was no response.
So we needed to gain entry
to the house.
[ door opens ]
♪♪
Somebody called 911.
♪♪
[ door slams ]
Narrator: With no trace of wind,
the door slams shut.
Hello!
♪♪
I finally saw the gentleman
on the ground.
Narrator: Most strange
is the position of his body.
Quinn: He was curled up
like a cockroach.
In almost 20 years
of experience,
I have never seen
a deceased body in that shape.
♪♪
The gentleman had a condition
called rigor mortis,
Which means his limbs
or his extremities were stiff.
Their odd shape suggests
he had recently been sitting.
Like, the rigor set in while
he was sitting in the chair.
♪♪
Narrator: But how he wound up
on the floor
Suggests someone might have
placed him there.
So, you think someone
moved the body?
Do you think someone's
in the house?
We were told by dispatch
That there was nobody else
in that house.
Unit 7,
victim is deceased.
Dispatch coroner
to address on file.
Copy that, unit 7.
So once we've determined
that the party is deceased,
And there is no help
that we can give,
We then call the coroner.
Narrator:
While her partner goes outside
to wait for the coroner
And ready their vehicle
for transport,
Trisha stays with the body.
♪♪
Quinn: It was extremely strange,
But I felt almost obliged
to stay in there with him
Just for a little bit longer.
I'm sorry.
Man: Why did you say
"I'm sorry"?
I said I was sorry
because I felt bad
That we couldn't be there
to help him when he was dying,
And that he died alone.
♪♪
[ heavy gasps ]
♪♪
It was somewhat sad that he had
obviously passed away
With nobody there.
♪♪
I was looking at a picture down
the hallway off the living room.
Man: Hello.
I heard a gentleman's voice go,
"hello."
Like somebody was there
That we were disturbing
them in their house.
Narrator: Trisha follows
the sound into the main room
But finds only
the dead man's body.
If someone is in the house,
why would they be hiding?
♪♪
There was a kitchen,
and it wasn't in shambles.
It was actually
very neat and tidy.
♪♪
Hello?
[ heavy gasps ]
♪♪
Hello?
Narrator: Trisha knows this
can't be her partner's voice.
He's still outside, and
the coroner has yet to arrive.
Quinn: There was a bathroom
to the left.
There was nobody in there.
There was no chance that
that voice came from outside.
That voice had clearly
come from the hallway.
♪♪
And I walked a little bit
farther down the hallway.
♪♪
Thinking, "oh, there's got to be
somebody in there
That we missed."
Hello.
And again, it was a voice
of an elderly gentleman,
But there was nobody in there.
At that point,
I was extremely freaked out
That I was in a house...
Hello?
...With a dead body...
Can anybody hear me?
...And a voice saying hello
when there was nobody else
In there
when I was completely alone.
♪♪
Narrator: With no clear answer
for what's going on,
She decides to stay
with the body.
♪♪
[ man coughing ]
♪♪
Impossibly, something under
the sheet begins to stir.
[ coughing continues ]
♪♪
♪♪
When I saw that face,
it freaked the [bleep] outta me.
Narrator: Emt trisha quinn
and her partner
Respond to a possible
cardiac arrest
In a residential neighborhood.
Paramedics.
Only to find a deceased man
in an impossible position.
He looks
like he's sitting.
Man: Hello.
Alone in the house...
Hello!
...Trisha suspects someone
is playing tricks on her.
[ man coughs ]
Until she discovers it's the
dead man lying on the floor.
♪♪
When I saw that face,
it freaked the [bleep] outta me.
♪♪
At that point, we turned
the scene over to the coroner,
And we left.
Narrator:
Not able to make sense of the
strange voices inside the house,
Trisha keeps the unexplained
experience to herself.
♪♪
At that point, I didn't tell
my partner anything.
Narrator: And the emts move on
to their next call.
Unit 22, 10-98.
Available for assignment.
Copy that.
We were driving around
in our ambulance.
[ electricity crackling ]
♪♪
And the lights decided
to come on in the back.
They're controlled by switches,
And they were just going on
and going off.
We couldn't explain
what was going on.
We thought that somehow maybe a
short was flipping the switches.
♪♪
We found the light switches
had actually been flipped on.
When neither of us
had been back there.
And it was really weird.
Spirits of comprised of energy,
So it's easy for them to
manipulate electrical devices.
I believe these
are sometimes warnings
That perhaps you're treading
on very dangerous ground.
♪♪
♪♪
Oh, my god.
Quinn: Suddenly,
in the rear view mirror,
There was an old man's face.
I about wrecked the ambulance
because I thought
Somebody had climbed
into the back of our ambulance
And was hiding back there.
There's somebody
back there.
♪♪
At that point, we were both
very nervous because I thought,
Is this the person that is
messing with our ambulance?
♪♪
Narrator:
Trisha discovers the back
of the ambulance is empty,
But someone has clearly
left their mark.
We realized that the switches
had actually been flipped.
Narrator: But who would want
to endanger the paramedics?
We stood out of the outside
of the ambulance,
And that's when I told him
about the hello that I'd heard.
♪♪
♪♪
Man: Hello.
Again, I heard "hello,"
so at that point, it shocked me.
♪♪
Hello.
♪♪
Narrator: Trisha can't make
sense of what she sees.
Hello.
It was that old man in the back
of the ambulance.
Narrator: She knew she left
the dead man's body
With the coroner back
at the victim's house.
We both know that there
was nobody
That we left in the back
of the ambulance.
Hello.
Hello. Hello.
♪♪
I believe that this was
a classic example
Of an attachment.
After the moment of death,
You're just kind
of in between worlds.
All you know is, you're not
in your physical body anymore,
And that's very confusing.
That's very jarring.
That's very scary.
So we look for anyone
we could latch onto that
We might see as
a stabilizing, grounding force.
When I was leaving,
I told him I was sorry,
And my partner asked,
"why would you say
you were sorry?"
And I said I felt bad that
we couldn't be there for him.
♪♪
I still felt bad
for the old man.
He's following us around,
but we can't have a ghost
That freaks us out,
Turning my lights on
in the back of the ambulance.
So at that point, we decided
he needed to go ahead and go.
You need to leave!
You need to go now!
I'm sorry
we couldn't save you.
I basically yelled
at the old man,
"you're dead.
I'm sorry we couldn't save you.
Your house'll be okay,
But you need to get the [bleep]
outta my ambulance."
♪♪
[ bird cawing ]
It would seem like he just
needed the affirmation
That he was dead.
♪♪
Brewer: A lot of times,
it doesn't occur to us
To just verbalize
our intention
That we can actually
just tell a ghost,
Ask a ghost to leave,
that it's time to move on.
♪♪
I'm sorry.
In the state of death,
there's not just a shock
That we experience,
but there's also a fear
Where we might resist
the pull of the light
And still make
a last-ditch attempt
To cling to our
physical dimension.
♪♪
And a first responder
is a person that's come
To give their assistance
would be the first person
You would imprint yourself on,
attach yourself to.
He was just sad.
I don't think he meant
to scare us.
♪♪
After that, we never saw
the face in the mirror,
And we never had any problems
with our lights again.
There is stuff
that we don't understand.
If I have one piece of advice,
Careful how you talk
to the dead.
♪♪
Code 6, 105 north avenue, 52.
Yates: When I started
to approach the area,
There was a sense of fear
that kind of hit me.
The blanket of negative energy
Is the only way
I could describe it.
Can anybody hear me?
Somebody call 911?
[ door slams ]
♪♪
It was like I entered
"the twilight zone."
[ gunshot ]
And that's when I saw a shadow.
She's coming.
Quinn: I have never seen
a deceased body in that shape.
He was curled up
like a cockroach.
- [ heavy breathing ]
- hello?
Let's get a move on!
We got to get her
to the hospital.
[ panting ]
He's here.
- Hello.
- Oh, my god. You're dead.
You need to get the [bleep]
out of my ambulance.
[ siren wailing, engine revs ]
Woman: Oh, my god!
Man: 911--
please state your emergency.
I think it's a ghost!
[ creature snarls ]
[ screams ]
♪♪
[ gun cocks, fires ]
[ woman screams ]
♪♪
[ door buzzes ]
♪♪
♪♪
[ door opens, closes ]
♪♪
[ creature growls ]
♪♪
[ screams ]
Man: Officer yates, we have
an inmate in -- west wing d.
Copy that.
I'll be right there.
Narrator: Detention officer
jay yates is sent
To pick up
a dangerous female inmate
At a women's maximum
security prison
And transport her
to a local courthouse.
Prisoner is awaiting
transport in d tower.
As a detention officer,
I had many responsibilities.
One of those responsibilities
were ensuring
That the inmate population
appeared at court
In a timely fashion
when they were scheduled to go.
Narrator:
As officer yates arrives,
He mentally prepares
for the worst-case scenario.
Yates:
This was a female facility,
but that's not to say
That they were
any less dangerous than males.
In my experience, dealing with
the female population
In many ways,
they were much worse,
More violent and specifically
in this particular unit.
Narrator:
The officer pushes deeper
Into the famous d tower's
housing unit.
♪♪
Yates: It's almost like
a forgotten tower.
Officers that had been assigned
to that particular area
Would complain about faulty
wiring, bad plumbing,
Just a housing unit in disarray.
♪♪
Narrator: Yates joins an on-duty
security officer
In d tower's control room
to fill out the paperwork
Needed to transport
his prisoner.
Good seeing you.
So the officers stay in this
tower for their safety,
Which isolates them
from the inmate population
Because these are
untrustworthy individuals.
These are people that not only
broke laws on the street.
They came to our jail,
and they did the same thing.
Just you tonight?
Mm-hmm.
In the housing unit,
there's multiple cameras,
And they have multiple points of
view throughout all the units.
And it's really to make sure
that we're monitoring
The inmate population that,
if anyone's popping locks
Or breaking out of their cell,
we can see it.
As the officer was looking
at the list
And going over who exactly
I was to pick up,
I happened to look over
at the monitor.
♪♪
And that's when I saw a shadow.
♪♪
What's that?
I don't see anything.
Narrator:
He notices someone standing just
outside his prisoner's cell.
♪♪
I can't leave my post.
I'll do it for you.
I said, "don't worry about it.
I'm going to go down there
and take care of it."
There was somebody
that was in there
That wasn't supposed
to be there.
If that inmate is harmed
in any kind of way,
That responsibility
falls back on me.
Narrator: While the other guard
keeps monitoring the cameras,
Officer yates makes his way
to his prisoner's cell
To investigate.
I immediately went into
that particular unit
Where I had seen the shadow.
[ door closes ]
We call them housing units,
but don't get this confused.
This particular unit,
it's more like a dungeon.
♪♪
♪♪
When I start to approach
the area,
There's a sense of fear
that kid of hit me.
There was like a blanket
of just negative energy
Is all I could describe
that kind of hit me in waves.
My emotions kind of
were just going crazy.
Narrator: Yates reaches
his prisoner's cell
Outside of which he saw
the mysterious shadow figure.
♪♪
[ woman crying ]
Yates: I saw the inmate, and she
was just sitting there,
Like, crying.
And it kind of threw me
off guard.
Help. Help.
It's definitely unusual
to see them show
Any sign of weakness,
especially tears.
These were tough --
these were tough criminals.
These were women that made,
you know,
Some of the men in the supermax
levels look like child's play.
What's wrong?
What's going on?
Narrator:
Officer yates fears this
may be an elaborate trick,
Part of her ruse
to break out.
And it was weird because moments
before, there was no noise.
But the moment that I came in,
all of a sudden,
Now she's crying.
[ crying ]
[ electricity crackling ]
♪♪
All of a sudden, I'm feeling
this sense of, like, dread
And just depression out
of nowhere that just hit me.
I couldn't explain it.
No. No, no.
What's wrong?
No.
[ crying ]
She said, "he wants me
to come with him.
He wants me to come with him."
I'm not going.
Leave me alone!
She's, like, "him, him!"
And I'm, like,
what do you mean him?
Like, there is no him here.
Like, you mean, like, an officer
that came in here earlier?
No.
No.
And she's, like, "no!
He's standing right behind you."
Narrator:
But there's nothing there,
leading the officer to wonder
If the woman is mentally unwell.
♪♪
Man: Ahh!
Narrator: But that thought
is quickly shattered.
Man: [ demonic voice ]
she's coming with me.
[ screams ]
This literally scared
the [bleep] outta me.
Narrator:
Sent to transport a female
prisoner to a court hearing...
What's that?
...Detention officer
jay yates notices
Something outside her cell
which,
On further investigation,
Brings him face-to-face with
a terrifying, shadowy figure.
Man: [ demonic voice ]
she's coming with me.
Narrator: Not only is the figure
not an officer or inmate,
To yates, it appears
and disappears
Like a bad tv reception.
As an officer,
you're trained to act
Strong in stressful situations.
But inside, everything's telling
me to get the hell out of there.
It scared the absolute hell
out of me.
Woman: [ screams ]
Prisons are known to be infamous
For all kinds
of paranormal activity.
It's a place
where you have one of
The most negative
collections of emotion
And a consolidated group
of some of the world's
Most notorious and evil people.
And this can draw an awful lot
of negative entities
And energy towards it.
[ screams ]
[ panting ]
♪♪
He's here.
Narrator: But whatever he saw
or thinks he saw,
It's no longer there.
Yates: I had --
I had eyes on the shadow.
This thing couldn't
have gone anywhere.
There would only have been
a brief second
That this thing would
have had a chance to hide.
[ footsteps ]
♪♪
[ door opens ]
Narrator:
Hearing footsteps nearby,
He gives chase into
an adjacent corridor.
♪♪
The corridor fills with a dark,
all-consuming energy.
[ electricity crackling ]
♪♪
The shadow wasn't
visible anymore,
But the presence
of something was.
♪♪
[ woman screaming ]
♪♪
[ snarling,
screaming continues ]
♪♪
What's wrong?
♪♪
She kept screaming,
"he wants me to come with him.
He wants me to come with him.
He wants me to come with him."
I won't do it.
You can't make me.
And she says, "my brother,
he wants me to come with him."
Narrator:
The woman explains the figure
yates saw was her brother,
Her dead brother.
She then tells me that
he committed suicide
Prior to that day.
♪♪
She said that her brother was
asking her to join him in death.
I'm scared.
[ growling ]
Man: She's coming with me.
I want her.
♪♪
[ screams ]
She's coming with me.
Yates: It terrified me.
I can't even begin to explain
how terrified I was
At that particular moment.
I want her.
[ woman screaming ]
Yates: There was some
negative energy at work
That was trying to take her.
She's coming with me.
Leave me alone!
Get away!
- She's coming with me.
- Please!
Yates: This thing was attempting
to possess her,
And then maybe for her
to actually hurt herself.
She's coming with me!
[ screams ]
I realize that what she meant
by him wanting to join her
Was that he wanted her
to take her own life.
[ growling ]
No.
Put your hands
through the cell.
I'm going to get you
outta here.
I won't do it.
You can't make me.
Leave me alone.
She's coming with me.
Get away.
You're in danger.
We're in danger.
[ roars ]
♪♪
Yates: When I opened the actual
cell door itself,
This thing disappears.
Come on.
Had I not come to that door,
I think, when I did,
I think this would have been
a whole different conversation.
Narrator: Yates rushes
his patient out of harm's way.
Thank you for doing this.
And the tragedy
that could have been.
She says,
"thank you, officer yates.
I appreciate this."
♪♪
Man: And how did you interpret
that thank you?
I think she really was
thanking me
That I got her
out of harm's way.
I think she feared
for her own safety.
I felt more relieved the further
we got away from that
Area to the door
from whatever this was.
But I had a duty as an officer
to contact medical
For a psychological evaluation
to make sure she was okay
Because she was obviously
distressed.
When I walked her to medical,
you know, they evaluated her,
And she got a clear bill
of mental health.
She didn't want to return
to that unit,
And they were okay with it.
They actually -- she was moved
to a different location.
♪♪
Keyes:
Spirits sometimes can manipulate
the thoughts of humans.
Energy of her brother
had worked its way into her.
Her thoughts were being
manipulated to hurt herself.
♪♪
[ screams ]
♪♪
Yates: This jail that was darker
than just a jail.
That there was some type
of something going on there.
That place was haunted.
♪♪
I expect anyone watching this
To question the validity
of the story.
I would with anybody that would
come on and tell a story.
And I would definitely
not believe it.
And I honestly
wouldn't believe it
Had it not happened to me.
♪♪
♪♪
♪♪
[ gunshot ]
♪♪
[ siren wailing ]
Narrator:
It's another busy night
For new york paramedic
malcolm dean and his partner.
I'd always been in the medical
end of things,
And I liked helping people.
I also liked the adrenaline
of the job.
I was working
in a high crime area.
On any given night, you would
do a lot of gunshots,
A lot of stabbings,
a lot of assaults.
Narrator: Late into their
graveyard shift,
Dean and his partner respond
to a mysterious 911 call
Placed from a residential
building.
It was something odd
about the call.
The dispatcher called us
on the radio
And said that a job had just
popped up on her screen,
And she didn't know
where it came from.
She doesn't have any
other information on the call.
♪♪
Narrator: While dispatch tries
to pinpoint the specific unit
Where the call came from,
The paramedics stand
by outside the building,
Waiting for further instruction.
Dean: We were parked on
the street corner.
This was a high crime area.
A lot of the apartments were
vacated, so it had an eerie,
Almost a ghost-like appearance
to it.
♪♪
[ knock on window ]
A gentleman came up to the
passenger side of the ambulance.
I'll show you
where to go inside.
Follow me.
He said that we needed
to go inside,
That there was somebody
that we needed to take out.
We weren't exactly sure why.
Dispatcher:
Unit 249 to 32nd and 55th.
Unit 249.
We've arrived
at the location.
Dispatch 173, go ahead.
Shall we go?
This way.
Dean: It was unusual.
We did call the dispatcher
on the radio,
But she still didn't have any
other information on the call.
We have no idea what type
of call we're going into.
We're following somebody
that we're not
Exactly sure
who that person is.
And we're going into a building
that was,
For the most part,
abandoned.
We had a certain sense
of apprehension.
Narrator:
All the veteran paramedics know
Is that somewhere
inside the derelict building,
Someone placed
an emergency call,
And their life
may be in danger.
We were fairly experienced
in walking into situations
That were sometimes dangerous,
So we had a level of caution
walking into the building.
We had all of these cues
that something was not right.
Neither one of us
could figure out what it was.
Please, follow me.
♪♪
We were hesitant to go in
Because we had no idea
what we were walking into.
Once we got to the apartment,
we attempted to reach dispatch.
This is dean.
We're 10-6 here.
[ static on radio ]
Hello?
For some reason, we couldn't
get through on our radios.
The dispatcher wanted to know
what apartment we were in
So the dispatcher
would notify the police
To ensure our safety
and make sure that,
If anything went wrong,
we had backup.
Narrator: They quickly notice
they're not alone.
Dean: There was a woman
sitting in a chair
In the middle
of the living room.
It was extremely odd that she
was sitting just in the chair.
She wasn't talking, wasn't at
that point looking at us.
Narrator:
Assuming she placed the call,
malcolm and his partner
Move in quickly
to assess her condition.
[ indistinct conversations ]
Dean:
The gentleman said nothing.
He just led us to her and said
that she needed to leave.
There was nothing
outwardly wrong with her other
Than she wasn't speaking to us.
I was asking her, going through
our normal questioning,
What's wrong?
Is anything bothering you?
Weren't exactly sure
what was going on with her.
And the gentleman gave us
no information.
For our paramedics,
we look for medications.
We look for walkers.
We look for things that'll give
us some idea of what's going on.
She needs to leave.
You need to take her out now.
Narrator: While the man insists
they take the woman away,
The paramedics still have
no medical reason to do so.
With the amount of experience
that we had,
We felt that,
between the two of us,
We would have known
what was going on,
And we had no sense of what
was going on in the apartment.
[ music playing ]
♪♪
All of a sudden, I heard music.
I could smell cigarette smoke,
could smell cigars.
♪♪
♪♪
I saw a bar with people
that were dressed in more '20s
Or '30s type clothing.
♪♪
[ wolf whistle ]
I felt like I was transported
to the 20s or 30s,
And that I was
in the middle of a speakeasy.
♪♪
Everything that was
in that scene was gone.
The man with the cane,
he knew what was going on.
She needs to leave.
You need to take her out now.
He put his hand on my shoulder
and said that,
"you need to take her out."
♪♪
It was like I entered
"the twilight zone."
There was one lady,
very pretty, very young.
She started walking towards me.
I realized that it was
the same woman.
♪♪
The same woman
that was in the chair.
I got the sense that the woman
was trapped there.
[ gasps ]
[ gunshot ]
[ groans ]
[ woman screams ]
Narrator:
Responding to a bizarre 911
call, paramedic malcolm dean
And his partner are led
into a derelict building
By a mysterious man
with a cane.
Where they discover a woman
Suffering from an
unexplained condition.
Dean:
All of a sudden, I heard music.
Narrator: And they are thrust
into a 1920s speakeasy.
When you see something
like that,
It just scares
the hell out of you,
And then all of a sudden,
it disappeared.
I don't know what was going on,
but it didn't make sense.
The man with the cane was
just standing in the corner.
I had the sense that he had
orchestrated what was happening.
She needs to leave.
You need to take her out now.
Narrator: Drawn into the surreal
experience,
Malcolm can't deny
the uncanny resemblance
Between the young woman
from the past and his patient.
And then I realized
that it was the same woman.
The first thing
that came to mind
Was that this might be
some type of time warp
Where these paramedics
were pulled into this time
And were able to interact with
the spirits that were there.
Dean: I feel like
when she looked at me,
That she was letting me know
That I had to take the elderly
woman out to make her okay.
When people get into
these time warps,
Their brain has different waves,
different brain waves,
And that alters
the perception of time.
She needs to leave.
[ woman screams, gunshot ]
Narrator: As the disturbing
manifestations intensify...
You need
to take her out now.
...The woman's
condition worsens.
I think that she was stuck,
and that she needed somebody
To spiritually release her
from the apartment.
A time warp or a time loop
that someone gets pulled into
Is a state of confusion, almost,
where someone is just seeing
Or experiencing an event
that happened in time.
It's just a visualization
or an auditory sound
That just keeps
playing over and over.
♪♪
Dean: We took her
out of the building,
Brought her out
to the ambulance.
The gentleman
with the cane told us
What hospital
he wanted her to go to
And said he would
meet us down there.
♪♪
It was about 2:00
in the morning,
So there was no one
on the streets.
So we were going through
red lights.
Let's get a move on!
Narrator: Back in the ambulance,
the mystery behind
The bizarre sequence of events
Only deepens
with a call from dispatch.
The dispatcher was calling us
on the radio,
And she said she'd been
trying to call us for an hour.
And we didn't realize we were
even in there for an hour.
It's part of the whole
weird night.
Keyes: The paramedics
had entered that time loop
Where you have conscious spirits
interacting with the living.
The living generally
have a lapse of time
In the physical world.
Narrator:
As they speed to the hospital,
The woman's blood pressure
starts to drop.
We got to get her
to the hospital!
When people get into
these time warps,
They are continually
Going through a tremendous
amount of suffering.
[ siren wailing ]
Narrator:
Malcolm and his partner
rush the woman into urgent care
For a full assessment.
I told the nurse
that was doing triage
I'm not exactly sure
what's going on with her,
But maybe you guys
can figure it out.
Narrator:
Only to come face-to-face
with another baffling mystery.
♪♪
Dean:
The man with the cane actually
beat us to the hospital.
It was so shocking to us.
There was no way
that this gentleman
Could have beat us there,
Even if he had taken a cab,
even if he had a car,
There was no way that he could
have beat us to the hospital.
That completely freaked me out.
He was very calm and collected
And shook both our hands,
said thank you.
[ indistinct conversations ]
♪♪
All my clinical tests
had come out normal.
[ machine beeping ]
Keyes:
Taking her back to the hospital
could have connected her
With that part of her experience
That she needed
in order to move forward.
And this would emotionally
or psychologically release her
From the location
that she was trapped in.
She actually put her hand
on mine and said, "thank you."
And it was just weird.
That was the only thing she said
during the entire time
That we were with her.
I was going back out
to get the paperwork.
Narrator:
Malcolm looks for the man,
Wanting to inform him of
the woman's improved condition.
When I went back in,
he wasn't there.
I asked my partner.
He didn't come out.
So we have no idea
where he'd went.
I never quite understood
what his part of it was,
But I had a tremendous sense
that he --
He knew exactly
what was going on.
Keyes: I believed the man
that initially approached
The paramedics was either
an angel or a spirit guide.
Quite often when they come
to somebody,
They will appear
in a very extravagant way.
And a way that someone
will notice them
And that will get
their attention.
And that indicates
that this is something
That is probably orchestrated
from the other side
To pull help to this woman
to try to get her out of there.
She was spiritually trapped
in that --
For whatever reason
in that time frame.
♪♪
♪♪
♪♪
♪♪
Hello!
[ knock on window ]
♪♪
Hello!
Are you all right?
[ knock on window ]
[ heavy gasps ]
[ knock on window ]
hello!
♪♪
[ gasps ]
[ phone rings ]
Dispatcher: Car 16, patient
is unresponsive.
Possible cardiac arrest.
Proceed at once to 1162
east lake road.
Copy that.
We're on our way.
[ siren wailing ]
Narrator:
Racing to the 911 call is emt
trisha quinn and her partner.
Quinn: The call was a possible
cardiac arrest.
A cardiac arrest is considered
Where there is no response
from the patient.
I love being an emt because
we can help people
That need the help.
We can try and make a difference
in somebody's life
When it's one of their
worst days of their life.
Narrator:
While trisha and her partner let
the caller know they've arrived,
The 911 operator
back at the base
Tries to gather more data
on the victim.
Hello!
Paramedics.
They do a reverse 911 call
to that home address
Because we're hoping that maybe
they're able to get to the phone
And tell us if they're injured
or if they're hurt.
[ knock on door ]
Hello!
Paramedics?
We banged on the door,
but there was no response.
So we needed to gain entry
to the house.
[ door opens ]
♪♪
Somebody called 911.
♪♪
[ door slams ]
Narrator: With no trace of wind,
the door slams shut.
Hello!
♪♪
I finally saw the gentleman
on the ground.
Narrator: Most strange
is the position of his body.
Quinn: He was curled up
like a cockroach.
In almost 20 years
of experience,
I have never seen
a deceased body in that shape.
♪♪
The gentleman had a condition
called rigor mortis,
Which means his limbs
or his extremities were stiff.
Their odd shape suggests
he had recently been sitting.
Like, the rigor set in while
he was sitting in the chair.
♪♪
Narrator: But how he wound up
on the floor
Suggests someone might have
placed him there.
So, you think someone
moved the body?
Do you think someone's
in the house?
We were told by dispatch
That there was nobody else
in that house.
Unit 7,
victim is deceased.
Dispatch coroner
to address on file.
Copy that, unit 7.
So once we've determined
that the party is deceased,
And there is no help
that we can give,
We then call the coroner.
Narrator:
While her partner goes outside
to wait for the coroner
And ready their vehicle
for transport,
Trisha stays with the body.
♪♪
Quinn: It was extremely strange,
But I felt almost obliged
to stay in there with him
Just for a little bit longer.
I'm sorry.
Man: Why did you say
"I'm sorry"?
I said I was sorry
because I felt bad
That we couldn't be there
to help him when he was dying,
And that he died alone.
♪♪
[ heavy gasps ]
♪♪
It was somewhat sad that he had
obviously passed away
With nobody there.
♪♪
I was looking at a picture down
the hallway off the living room.
Man: Hello.
I heard a gentleman's voice go,
"hello."
Like somebody was there
That we were disturbing
them in their house.
Narrator: Trisha follows
the sound into the main room
But finds only
the dead man's body.
If someone is in the house,
why would they be hiding?
♪♪
There was a kitchen,
and it wasn't in shambles.
It was actually
very neat and tidy.
♪♪
Hello?
[ heavy gasps ]
♪♪
Hello?
Narrator: Trisha knows this
can't be her partner's voice.
He's still outside, and
the coroner has yet to arrive.
Quinn: There was a bathroom
to the left.
There was nobody in there.
There was no chance that
that voice came from outside.
That voice had clearly
come from the hallway.
♪♪
And I walked a little bit
farther down the hallway.
♪♪
Thinking, "oh, there's got to be
somebody in there
That we missed."
Hello.
And again, it was a voice
of an elderly gentleman,
But there was nobody in there.
At that point,
I was extremely freaked out
That I was in a house...
Hello?
...With a dead body...
Can anybody hear me?
...And a voice saying hello
when there was nobody else
In there
when I was completely alone.
♪♪
Narrator: With no clear answer
for what's going on,
She decides to stay
with the body.
♪♪
[ man coughing ]
♪♪
Impossibly, something under
the sheet begins to stir.
[ coughing continues ]
♪♪
♪♪
When I saw that face,
it freaked the [bleep] outta me.
Narrator: Emt trisha quinn
and her partner
Respond to a possible
cardiac arrest
In a residential neighborhood.
Paramedics.
Only to find a deceased man
in an impossible position.
He looks
like he's sitting.
Man: Hello.
Alone in the house...
Hello!
...Trisha suspects someone
is playing tricks on her.
[ man coughs ]
Until she discovers it's the
dead man lying on the floor.
♪♪
When I saw that face,
it freaked the [bleep] outta me.
♪♪
At that point, we turned
the scene over to the coroner,
And we left.
Narrator:
Not able to make sense of the
strange voices inside the house,
Trisha keeps the unexplained
experience to herself.
♪♪
At that point, I didn't tell
my partner anything.
Narrator: And the emts move on
to their next call.
Unit 22, 10-98.
Available for assignment.
Copy that.
We were driving around
in our ambulance.
[ electricity crackling ]
♪♪
And the lights decided
to come on in the back.
They're controlled by switches,
And they were just going on
and going off.
We couldn't explain
what was going on.
We thought that somehow maybe a
short was flipping the switches.
♪♪
We found the light switches
had actually been flipped on.
When neither of us
had been back there.
And it was really weird.
Spirits of comprised of energy,
So it's easy for them to
manipulate electrical devices.
I believe these
are sometimes warnings
That perhaps you're treading
on very dangerous ground.
♪♪
♪♪
Oh, my god.
Quinn: Suddenly,
in the rear view mirror,
There was an old man's face.
I about wrecked the ambulance
because I thought
Somebody had climbed
into the back of our ambulance
And was hiding back there.
There's somebody
back there.
♪♪
At that point, we were both
very nervous because I thought,
Is this the person that is
messing with our ambulance?
♪♪
Narrator:
Trisha discovers the back
of the ambulance is empty,
But someone has clearly
left their mark.
We realized that the switches
had actually been flipped.
Narrator: But who would want
to endanger the paramedics?
We stood out of the outside
of the ambulance,
And that's when I told him
about the hello that I'd heard.
♪♪
♪♪
Man: Hello.
Again, I heard "hello,"
so at that point, it shocked me.
♪♪
Hello.
♪♪
Narrator: Trisha can't make
sense of what she sees.
Hello.
It was that old man in the back
of the ambulance.
Narrator: She knew she left
the dead man's body
With the coroner back
at the victim's house.
We both know that there
was nobody
That we left in the back
of the ambulance.
Hello.
Hello. Hello.
♪♪
I believe that this was
a classic example
Of an attachment.
After the moment of death,
You're just kind
of in between worlds.
All you know is, you're not
in your physical body anymore,
And that's very confusing.
That's very jarring.
That's very scary.
So we look for anyone
we could latch onto that
We might see as
a stabilizing, grounding force.
When I was leaving,
I told him I was sorry,
And my partner asked,
"why would you say
you were sorry?"
And I said I felt bad that
we couldn't be there for him.
♪♪
I still felt bad
for the old man.
He's following us around,
but we can't have a ghost
That freaks us out,
Turning my lights on
in the back of the ambulance.
So at that point, we decided
he needed to go ahead and go.
You need to leave!
You need to go now!
I'm sorry
we couldn't save you.
I basically yelled
at the old man,
"you're dead.
I'm sorry we couldn't save you.
Your house'll be okay,
But you need to get the [bleep]
outta my ambulance."
♪♪
[ bird cawing ]
It would seem like he just
needed the affirmation
That he was dead.
♪♪
Brewer: A lot of times,
it doesn't occur to us
To just verbalize
our intention
That we can actually
just tell a ghost,
Ask a ghost to leave,
that it's time to move on.
♪♪
I'm sorry.
In the state of death,
there's not just a shock
That we experience,
but there's also a fear
Where we might resist
the pull of the light
And still make
a last-ditch attempt
To cling to our
physical dimension.
♪♪
And a first responder
is a person that's come
To give their assistance
would be the first person
You would imprint yourself on,
attach yourself to.
He was just sad.
I don't think he meant
to scare us.
♪♪
After that, we never saw
the face in the mirror,
And we never had any problems
with our lights again.
There is stuff
that we don't understand.
If I have one piece of advice,
Careful how you talk
to the dead.
♪♪