Highgate Cemetery Turns Grief Into Architecture And Ghost Stories

A cemetery that invites you to pack a picnic sounds impossible until you meet Victorian London. We’re heading to Highgate Cemetery, where a public health crisis and a radical new “garden cemetery” idea turned burial grounds into landscaped parks and then, decades later, into the kind of overgrown Gothic maze that practically writes ghost stories for you. We walk through the design choices that make Highgate feel like a built-in underworld, from the sunken Egyptian Avenue to the shadowed Circle of Lebanon and the hillside layout that keeps Victorian class divisions alive even in death. 

From there we get into the rituals that shaped the era’s relationship with grief. We talk strict mourning phases, the heavy black veils, and the unsettling fact that some mourning fabrics were treated with chemicals that could harm the people wearing them. We dig into memento mori traditions like hair jewelry and post-mortem photography, plus the superstitions that still raise goosebumps: mirrors covered, clocks stopped, bodies carried out feet first, and tomb symbols that speak in code. If you’re into Victorian history, cemetery architecture, and death culture, this is the deep end. 

Then the haunt reports begin. We compare recurring Highgate sightings: a towering shadow entity tied to cold drops and sudden silence, the “Mad Mother” tearing through the West Cemetery, a Swain’s Lane encounter where something manifests from brickwork and shoves a man flat, and a red-eyed figure at the gates that leaves a driver frozen in place. We also explore the melancholic nun that seems to bend distance itself, and the most beautiful story of all: a concert pianist’s grave where witnesses say sorrowful music rises from beneath the stone grand piano. 

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Transcript

Cold Open And Welcome

SPEAKER_03 0:00

Between the realm of the dead and the journeys of the living, join Josh, Jamie, and Elisa as they delve into the vast world of the paranormal and breathe life back into the history of the departed.

SPEAKER_00 0:11

Hey everybody, welcome to the Paranormal Peeps Podcast. I'm Josh.

SPEAKER_01 0:16

I'm Jamie, and I'm Elisa. And today

Why Highgate Was Built

SPEAKER_01 0:19

we are going to start talking about the Highgate Cemetery. This one has an architectural design of just pure gold. Like not gold in color, but it's like genius. Okay. It wasn't built to be spooky, but it was built to change how people view death. So because back then it was scary. Death was like the end, the nothing after, right? Right.

SPEAKER_00 0:49

And I still think death for a lot of people is still scary though.

SPEAKER_01 0:53

Oh, for a hundred percent. But I think as time goes on, people's view of death changes a little bit.

SPEAKER_02 0:59

Yep. Yeah.

SPEAKER_01 1:00

But when Stephen Gary and the landscape architect David Ramsey laid out the Highgate in 1839, they were working against a backdrop of pure horror. So London churchyards were overflowing, and they literally would have bones breaking through the soil, and gases from the decomposition were making people sick.

SPEAKER_03 1:20

Oh, nasty.

SPEAKER_01 1:21

Yeah. And so they were having issues with their cemeteries. And so with Highgate, they designed it so that it would be the exact opposite of that and that it would be stunning and theatrical, you know, kind of an experience. Right. Versus just putting your people to rest and being done with it. So they created Highgate specifically. Um they had specific design choices and historical context that gave Highgate its unique haunting atmosphere. The Victorians invented the garden cemetery movement. So turning burial grounds into public parks. They planted weeping willows, use an exotic trees to create this romantic landscape. And it was explicitly designed for families to pack a picnic, stroll through the grounds, admire the scenery, which they wanted to like romanticize death versus it being a miserable, horrible experience. Right. Which I can understand that. Yes. But they go from one extreme to the next. And I wonder if it was hard for them to change that view a little. I don't know. I think it would free for me. I mean because it wasn't gradual. It was just like here's macabre, and then there's like first here's these bones poking out of the earth. And gas. And gases of decomposition. And then you get all this glorified, beautiful cemetery that you want to walk through.

SPEAKER_00 2:46

And let's go pack a picnic.

SPEAKER_01 2:47

And let's go pack a picnic. Let's go have a stroll and have some nut.

SPEAKER_00 2:53

I don't, I mean, I'm not to say there aren't people today that go and have a picnic at the cemetery, but it's definitely not like high on most people's list of places to go have a picnic.

SPEAKER_03 3:05

Well, I think when you think of a picnic, that's the last place you think of having one.

SPEAKER_00 3:09

It is for me.

SPEAKER_03 3:10

Yeah. Uh not me. I actually used to do that all the time.

SPEAKER_01 3:13

I loved it.

SPEAKER_03 3:14

Well, you know, but that's you.

SPEAKER_00 3:16

But you're weird. You're like ghosts or something. I know.

SPEAKER_01 3:20

It's like a weird thing. But like I love cemeteries for the fact that they're so peaceful. You know, they really are. Cemeteries are different than they were then, you know, when you're having overcrowded cemeteries versus now it's like you have a max and then they have to build a new one. Yeah. You know, they don't really do the same things as they did back then, where before it was like, here, let's just dig a hole and stick as many people as we can in these, you know, plots, where now it's like, okay, well, you got one or two people that you can stack on top of each other, but we're not really going to do anything beyond that. Right. Yeah.

SPEAKER_03 3:58

Yeah. Well, I mean, even Josh and I like to stop at cemeteries. There are three of us.

SPEAKER_00 4:04

We love stopping at cemeteries. This is not the place where I would think to go have a picnic lunch.

SPEAKER_03 4:08

Well, I mean, think about this way, like on our road trips when we've stopped before. Yeah. Say, like we stop and we're like, oh, we're a little hungry. Oh, I got some snacks in the car. I mean, before you get long, you know you're sitting there eating in a cemetery. So I mean, it's like you're having a picnic. You're just not putting out the checkered blanket and the basket. Yeah. It's true. But, you know.

SPEAKER_00 4:29

I mean, there are some very peaceful and serene cemeteries.

SPEAKER_03 4:33

Look at the one in Wyoming. Yes. That we went. Yes. Like with all the deer, and like I really liked that cemetery.

SPEAKER_00 4:42

That was really neat. That was a fun place.

SPEAKER_01 4:44

Yeah. So they created an environment where the living and the dead were meant to mingle in nature. This blurred the line between the two worlds and laid the perfect psychological groundwork for future ghost stories.

Egyptian Avenue And Circle Of Lebanon

SPEAKER_01 4:58

In the 1830s, Britain was utterly obsessed with ancient Egypt, fueled by architectural discoveries and Napoleon's recent champ campaigns. I almost said champagnes. Campaigns. The Victorians viewed Egyptian culture as the ultimate masters of death and eternal preservation. To get to the top of the hill, visitors pass through a massive sunken stone archway flanked by heavy lotus capped columns called the Egyptian Avenue. Because it's cut directly into the hillside, it naturally feels like entering a subterranean tomb or a little literal underworld. At the end of the avenue sits a ring of 20 catacombs built around a massive pre-existing cedar of Lebanon tree called the Circle of Lebanon. The Victorians chose this layout specifically because the cedar tree symbolized eternal life in the Bible. It naturally casts a deep permanent shadow over the stone vaults below. Highgate's architecture was designed to enforce Victorian social hierarchies even after death. The cemetery is built on a steep hillside and where the wealthy were buried at the top of the hill, in spectacular Gothic mausoleums closest to the light, and the grand views of London. Deep inside the hillside, Gary built the terrace catacombs, which could hold over 800 bodies in small sealed recesses. To make it more dramatic, he added a hydraulic lift in the chapel above. A coffin would be lowered slightly silently through the floor during a funeral service, disappearing into the dark earth below while the mourners watched.

Class Catacombs And The Hydraulic Lift

SPEAKER_01 6:57

They deliberately designed the cemetery the cemetery to age gracefully, but they didn't anticipate the financial collapse of the private cemetery system in the mid-20th century. When the maintenance money ran out in the 1960s, nature took over. The IV s Ivy swallowed the Gothic spires, roots, and cracked the Egyptian stone. And the intentional romantic shadows turned into catastrophic pitch black labyrinth. So it goes from one extreme to the next.

SPEAKER_00 7:30

But you know what it makes me think of, though? What? Of um The Last Crusade. When they break into the the catacombs.

SPEAKER_03 7:40

Underneath the church.

SPEAKER_00 7:41

Underneath the church.

SPEAKER_03 7:42

Yeah.

SPEAKER_00 7:43

Because that's how they were buried in that in that mausoleum. They were just in those little alcoves in the which I don't know, kind of makes sense.

SPEAKER_01 7:53

I mean 800 bodies. I couldn't imagine.

SPEAKER_00 7:56

That's not that much though. I mean, it's a it's it's if you think about it, like think of the Paris catacombs.

SPEAKER_03 8:03

Oh, for sure.

SPEAKER_00 8:04

And that's thousands of bodies buried there.

SPEAKER_03 8:07

Bones. Yeah.

SPEAKER_00 8:08

Well, bones now.

SPEAKER_03 8:09

But they're arranged.

SPEAKER_00 8:10

Yes, they are arranged in spectacular fashion, right? But even um our modern day cemeteries have in cases well more than 800 people.

SPEAKER_03 8:22

Depends on the cemetery, but yeah.

SPEAKER_00 8:24

Yeah. Some have like thousands. Like if you look at the one in Louisville, I think it's the largest cemetery in the country, and that's got probably tens of thousands of people buried there.

SPEAKER_01 8:35

Yeah. Which is so cool. I don't know. It's like, how do you plan for that? How do you plan for how many deaths are when you begin to know? Because back then people died way more than they do now. Way more often. Yeah.

SPEAKER_00 8:50

Well, yeah, it's like you look at uh all of the child graves.

SPEAKER_01 8:54

Yeah, like the mortality rate for kids wasn't great.

SPEAKER_00 8:57

No, it was terrible. You know, you go you you see the cemeteries and it's like one you know, you still see the family plots, so it's like mom and dad, and then there's like nine children, and you look at this the ages, and it's like zero, zero, two months, zero. It's like whoa.

SPEAKER_01 9:15

Or toddlers. Yeah, not great for kids.

SPEAKER_00 9:19

No. Yeah, but how yeah, how do you plan for that?

SPEAKER_01 9:22

Yeah, I don't know. So

Victorian Mourning Rules And Toxic Fashion

SPEAKER_01 9:26

Victorian mourning culture is the ultimate backdrop. The Victorians didn't just grieve, they turned death into a highly regulated, deeply aestheticised, I don't know how you could say that right, lifestyle. So they made it like aesthetically pleasing, right? When Victor Queen Victoria's husband, Prince Albert, died in 1860, she entered a state of permanent mourning that lasted 40 years. The rest of the British society followed her lead, creating an intricate set of rules that dictated what you wore, how you acted, how you buried your dead at fashionable yards like Highgate. Morning attire was strict, expensive, and legally enforced by social expectation. It was designed to visually signal a person's level of grief to anyone that passed you on the street. For a widow, the process lasted over two years and was broken into a rigid phase. The first was deep mourning. It was one year and one day. The widow wore solid black dresses made of like a heavy, dull silk called, I think it's called crepe, with crinkled texture that absorbed light instead of reflecting it, which I thought was interesting. I didn't ever think about it like that. Because I've seen it plenty in TV shows and movies or whatever, but for it to absorb the light instead of reflecting it, that makes sense. Because you're grieving and you're taking everything in. Right. She had to wear a heavy crepe veil over her face in public to isolate herself from the world. The second morning was nine months, and the heavy veil was lifted, and slight fabric textures like silk or satin were allowed, though the clothing remained entirely black. Half morning, which was six months, the widow could finally introduce muted colors back into her wardrobe, specifically gray or lavender, mauve, and white. Crepe was heavy, heavily treated with chemicals like arsenic and copper to achieve its deep matte black color. It ruined easily in London's damp weather, staining the skin and giving off toxic fumes. Many widows actually suffered respiratory illnesses or skin conditions from their own morning clothes. Oh, that's terrible. That's awful. Not only are you mourning, all of a sudden you have this crap on your face. Like it's like stained black, and then you got then you have respiratory issues. You can't breathe.

SPEAKER_00 11:53

And this is why widows died within two years of their husbands.

SPEAKER_01 11:58

It wasn't because their heart was broken, it's because their dang morning dresses were full of arsenic. Because photography was still a luxury and child mortality rate was high, keeping physical pieces of the deceased was a vital comfort. The Victorians took the concept of momento mori, which means remember you must die, to a highly tactile level. Hair does not decompose, making it the most perfect symbol of eternal life. Locksmiths and jewelers would take hair from the deceased and intricately weave into bracelets, watches, chains, brooches, and rings. Families would hire photographers to take their final portrait of their deceased loved one. The dead were often posed on couches tucked into beds or arranged with family members to look as if they were merely sleeping. So families hired professional mourners called mutes, which I didn't know about this. These men stood outside the deceased house and walked ahead of the hearse to Highgate, dressed in black capes and top hats, looking completely miserable. The glass hearse was pulled by black horses wearing massive arrangements of dyed black ostrich feathers. If you were poor, you had fewer horses and fewer feathers. If you were rich, the display was extravagant. Though dying out by the late Victorian era, some rural areas and early Victorian traditions still utilized a sin eater. This was a poor person paid who paid a small fee to eat a piece of bread and drink ale over the corpse, symbolically absorbing the dead person's sins so that their soul could rest.

SPEAKER_03 13:42

Interesting. I have never heard of anything like that. I had neither. Like that's a new one on me.

SPEAKER_00 13:48

I haven't heard that, but it's it makes sense though, because it's bread and wine.

SPEAKER_01 13:54

Yeah, it's like the sacrament.

SPEAKER_00 13:56

Exactly. That's exactly what they were doing. They were essentially doing the sacrament over the corpse to absolve the corpse of sin.

SPEAKER_01 14:05

Interesting. Kind of like their way of taking the sacrament, maybe.

SPEAKER_00 14:10

Yeah.

SPEAKER_01 14:10

Like their last repentance. Because that's that's what the sacrament is for, is to help you with repentance, right?

SPEAKER_00 14:18

Right.

SPEAKER_01 14:19

So that makes sense that somebody would do that as like their last token. And maybe that can kind of turn it from like a creepy version to a more like sanctified version of dying, taking the sacrament over the body as a symbol of like cleansing them from any sin that they may have done from the last time they took the sacrament.

SPEAKER_00 14:39

Yeah.

SPEAKER_01 14:39

I don't know.

SPEAKER_00 14:40

It's just it it's a weird job.

SPEAKER_01 14:42

Yeah. And they're paid to do it.

SPEAKER_00 14:44

So what do you what's your job? I'm a sin eater.

SPEAKER_01 14:49

Well, like I used to say when I know. When people used to ask me what I did for a living before I had my kids, I said I slept spit for a living. Although I was a dental assistant.

SPEAKER_02 14:59

I'm like, I slept spit.

Superstitions And Grave Symbol Codes

SPEAKER_03 15:06

Right.

SPEAKER_01 15:06

The Victorians were deeply superstitious, and many cemetery traditions were rooted in a primal fear of the dead returning. The moment someone died in a house, every mirror was covered with black cloth so that the deceased soul wouldn't get trapped in the reflection. Clocks were stopped at the exact moment of the death to ward off bad luck and signal that time that had ended for the departed. Coffins were always carried out of the house and down the paths of the highgate, feet first. This was done so that the corpse couldn't look back at the house or the living and tempt another family member to follow them into the grave. Monuments at Highgate were covered in a visual code. A broken column meant a life cut short. An upside down torch meant a life extinguished, but with the flame burning upward to symbolize that the soul's ascending. And carved ivy meant undying remembrance. So here

The Tall Shadow Entity Reports

SPEAKER_01 16:03

are the known haunts that have been at Highgate. Because of the sheer volume of common graves and dense overgrowth, the cemetery isn't usually haunted by a specific name ghost tied to a single tombstone. Instead, there are specific types of apparitions that are constantly spotted in very particular zones of the graveyard. There is an entity in the catacombs and vaults. Witnesses claim that this creature, described as a tall, dark, gliding silhouette over seven feet tall with hypnotic piercing eyes, predominantly loitered near the terrace catacombs and the circle of Lebanon. Locals believe the entity was a medieval European nobleman who practiced black magic and was brought to England in a coffin by followers before Highgate was even built. Encounters here almost always involve a sudden, unnatural drop in temperature, and multiple witnesses in the 70s claimed that their watches and clocks completely stopped the moment they felt the entity's presence. Wow. That's interesting.

SPEAKER_00 17:14

Yeah. It would be interesting is if their watches stopped at the same time.

SPEAKER_01 17:19

Like if you had a watch and I had a watch and they stopped at the same time?

SPEAKER_00 17:22

No, like so like multiple people are, you know, over the time have been there. Do their watches always stop at like 325?

SPEAKER_03 17:30

Oh, I see.

SPEAKER_00 17:32

Like the time of their death.

SPEAKER_03 17:34

That would be really interesting to see. That would be cool.

unknown 17:38

Yeah.

SPEAKER_03 17:38

Road trip.

SPEAKER_01 17:39

Okay.

SPEAKER_00 17:41

We're driving.

SPEAKER_03 17:42

We're driving over there.

SPEAKER_00 17:44

Okay, well instead of just a pond. We should be able to drive over a pond, right?

SPEAKER_01 17:49

Across the pond.

The Mad Mother In The West

SPEAKER_01 17:52

In the sunken pathways, one of the most frequent terrifying sightings is a frantic female spirit called the Mad Mother, who sprints frantically between the overgrown tombstones. This haunting doesn't happen on the neat paved paths. It happens deep within other sections of the West Cemetery where the terrain is uneven and heavily sunken. That's where it's I get kind of creeped out, is when they're all sunken. So like when the coffins break down. I feel like that gives like an extra creepy vibe.

unknown 18:29

Yeah.

SPEAKER_02 18:30

Yeah. Well it totally would.

SPEAKER_01 18:32

Because Highgate was built on a steep hill, decades of rain, mudslides, and massive tree roots have shifted the earth. Tombstones lean at impossible angles, and some stone slabs have cracked open completely choked by ivy. It creates a catastrophic labyrinth landscape where you can't see what is around the next corner until you step into it. Which I've seen the pictures and that's legit. Oh, so there will be pictures.

SPEAKER_00 19:00

I hope so.

SPEAKER_01 19:01

So here's a ghost encounter of the madmother. This account is based on a report from October 1971 involving a local college student named Lydia Vance, who was a photographer enthusiast. She snuck into the West Cemetery late one afternoon to capture the way the autumn light hit the decaying gothic vaults. It was just past 5 p.m., right as dusk was setting. Lydia had wandered off the main path of the West Cemetery, deep into a section where the graves are completely choked by overgrown ivy and massive knotted tree roots. The light was fading fast, casting long distorted shadows across the leaning stone crosses. Lydia stopped to adjust her camera lens when she noticed an unsettling shift in the environment. The distant hum of North London traffic suddenly stopped. The birds in the canopy above went entirely silent. She described it as entering an acoustic vacuum, a pocket of absolute suffocating stillness where even her own breathing sounded too loud. Immediately following the silence, a heavy, overpowering smell filled the air. It wasn't the smell of a standard autumn decay, it was the rich, pungent scent of freshly upturned wet earth and stagnant water, as if a deep trench had just been dug right next to her. A violent, frantic scratching sound scattered the silence. It sounded like someone aggressive aggressively ripping thick vines off stone and digging their bare fingernails into the hard mud. Lydia turned toward the sound. Bursting through the thicket of yew trees was a woman. She was dressed in a tattered, filth streaked Victorian morning dress, but she had no veil. Her face was gaunt, and her hair, long silvery grey, flew wildly in the direction as if caught in a localized gale. The woman didn't look at Lydia. Her bloodshot, manic eyes were locked entirely on the ground. She sprinted with a terrifying, jerky, unnatural speed between the headstones. She dropped to her knees in front of a nameless cracked stone slab, violently clawing at the dirt and the ivy covering it, sobbing hysterically. Terrified, Lydia dropped her camera and tried to back away, but she tripped over a tree root. Hearing the noise, the entity abruptly stopped digging. She snapped her head toward Lydia. Her expression wasn't one of malice or anger, it was pure, unadulterated, wide-eyed horror. The entity lunged forward, sprinting directly at Lydia. Lydia shielded her face, expecting a violent collision. Instead, the moment the figure reached her, the wind from the woman's form instantly dissolved. A violent, freezing blast of wind swept over Lydia, dropping the temperature so severely that her breath missed it in the air. The sound of the woman's frantic sobbing echoed inside Lydia's ears for several seconds after the air went still. When lit when Lydia later developed her film from that evening, the photos she took right before the encounter were completely ruined. The negative showed intense light bleed and strange smoke distortions across the frames, despite her camera functioning perfectly before and after she entered that specific section of the cemetery. Lydia escaped physical injury, but she reported that the freezing air that passed through her left a distinct emotional residue. She experienced a profound, overwhelming wave of grief and nausea that lasted for hours after leaving the cemetery gates. Okay, that would be very disturbing, right? That would freak anybody out.

SPEAKER_00 22:34

It's like a zombie.

SPEAKER_01 22:36

Yeah. I don't care how much you've investigated or how much you love ghost hunting and all of that stuff. That would creep anyone out.

SPEAKER_03 22:43

Yeah, and it's that story, that's something that'll stay with you. If if you went through that, that would stay with you.

SPEAKER_01 22:50

Making eye contact is a whole different experience.

SPEAKER_00 22:55

Well, yeah, it was eye contact.

SPEAKER_03 22:57

Intelligent eye contact eye contact. Yeah, is the thing.

SPEAKER_00 23:01

It was eye contact and then recognition and then movement.

SPEAKER_03 23:05

Wow.

SPEAKER_01 23:06

No thanks. Yeah, nope.

Swain's Lane Wall Phantom

SPEAKER_01 23:10

So this ghost encounter is of Swan's Lane. Imagine walking home between two walls holding 170,000 corpses. The air drops 20 degrees, and before you can run, something solid, dark, and seven feet tall steps out of the brickwork and knocks you flat on your back. That wasn't a campfire story. That was a report filed to London police and local newspapers in the winter of 1970.

SPEAKER_00 23:39

Wait, did you say 170,000? Yep. That's a lot of bodies.

SPEAKER_01 23:45

Like I said, how do you freaking plan for that?

SPEAKER_00 23:48

That's a lot of bodies. You just stack them like make buildings out of them, I guess.

SPEAKER_03 23:52

You just you just wing it. Really, really deep holes. Corpse condo.

SPEAKER_01 24:05

That's a new name for him. We're going to corpse condo. Instead of catacombs, we're going. Corpse condos. So Swain's Lane, this is a deeply recessed, incredibly narrow and steep road that slices directly between the west and the east sections of Highgate Cemetery. On either side of the asphalt, you are boxed in by towering weathered Victorian stone walls topped with rusted iron gates. It honestly sounds gorgeous to me.

SPEAKER_00 24:37

Very gothic sounding.

SPEAKER_01 24:38

Yes, which I love. Towering trees from the inside of the graveyard's canopy over the lane, blocking out the moonlight. Even today it feels like a claustrophobic damp and completely cut off from the rest of London. The encounter took place late one night in the winter of 1969, 1970. A local man was walking home, taking a shortcut up the steep incline of Swain's Lane, right alongside the outer wall of the West Cemetery. As the man walked up the hill, the normal city sounds of London completely vanished. I feel like there's a common theme. The air grew intensely, unnaturally cold, a classic sign of a localized drop in thermal energy. He reported a sudden, overwhelming psychological weight, describing a feeling of intense dread and the distinct sensation of being watched from behind the stones. Looking ahead, he witnessed a tall, dark, featureless shadow manifest seamlessly out of the solid gray bricks of the cemetery wall. It didn't walk, it glided smoothly across the narrow pavement toward him, completely silent. Unlike typical ghost stories where phantoms passed through a person, this entity had a physical force. As if it intersected with the man, he was viol as it intersected with the man, he was violently shoved backwards. The impact was strong enough to throw him completely off his feet and knock him flat onto the cold asphalt of Swain's lane. Paralyzed with fear on the ground, the man watched the towering shadow loom over him. Just as the encounter reached its most terrifying point, a car turned the corner at the bottom of the hill. The moment the vehicle's high beam headlights swept over the lane and illuminated the man's body, the dark entity instantly dissolved into a thick, localized patch of gray mist, which quickly drifted away through the iron bars of the cemetery gate. I've seen that gray mist before, especially like in pictures. In places that we've been to, and we've taken pictures and you see that gray mist or whatever.

SPEAKER_02 26:45

Yeah.

SPEAKER_01 26:46

But to go from an apparition to a gray mist. That's interesting. That is interesting to me. I'd like to see that. But I also wonder if it's because when it's so cold over there and you have moisture and it turns misty and there is a lot of fog and stuff there, if it's easier to see that. Oh. I wonder if the atmosphere because it's different, makes it. That's interesting. We have really dry where we're at. So it would be hard to create a fog. Create a fog and create a mist. Yeah, that's an interesting point. Something to think about.

Red Eyes At The Front Gates

SPEAKER_01 27:29

So this encounter is at the front gates. Late one evening in January 1970, a motorist was driving past the imposing perimeter of Highgate Cemetery. As he neared a massive ornamental iron gate of the West Cemetery, his car engine unexpectedly sputtered, lost all power, and completely died. The headlights flickered out, plunging the car and the narrow lane into near total darkness. Stepping out of the vehicle into the freezing night air to inspect the engine, the driver was instantly hit by an unnatural localized drop in temperature. It wasn't just cold, it was bone chilling, dead cold, that seemed to instantly fog up the car's windshield. He reported that the ambient sounds of the city disappeared, replaced by a heavy, suffocating silence. Sensing he was being watched, the driver looked away from the open hood of his car and turned toward the towering, rusted iron gates of the cemetery. Standing just inches behind the iron bars, completely inside the graveyard grounds, was a towering shadowy figure. The entity was tall, dark, silhouette, wrapped in what looked like to be a heavy cloak or shroud. It had no distinct facial features save for one terrifying detail. Two dull, burning crimson eyes that glowed from within the shadow. The eyes weren't casting like light in a flashlight, they were hypnotic, deep red that locked into the driver's gaze. The moment the driver made eye contact with the entity, he was struck by a wave of pure irrational terror that physically paralyzed him. He reported being entirely unable to move his legs, call out for help, or even look away. He felt an intense psychological pressure, describing it as if the entity was draining the life or willpower right out of him through the iron bars. The encounter lasted for what felt like an eternity, but was probably only for a few minutes. The hypnotic hold was suddenly broken when another vehicle turned the corner at the far end of Swain's lane. The sweeping headlights hit the iron gates, and the red-eyed ghoul instantly dissolved into darkness of the graveyard trees. The driver physic the driver's physical paralysis broke immediately, and he scrambled back into his car terrified until help arrived.

SPEAKER_03 29:48

Okay, a few minutes, that's a long time. Usually you say what felt like minutes, but it was really just seconds.

SPEAKER_02 29:55

I know, right?

SPEAKER_03 29:56

But this was felt like an eternity, but in reality was minutes. But minutes is a long time for something like that.

Sound Drops And Paranormal Physics

SPEAKER_01 30:06

So I have a couple questions on this one because you know how um EMF spikes. Yes. Yep. Drain batteries. But this is a car battery. That's quite the amount of energy. That's a lot. It's a lot of energy. Which could induce how long it was. Oh, that's true. It had more energy. It had more energy to go off of. To go longer. Yeah. So I've had an experience where it felt like my energy was getting sucked out of me. It really reminded me of Harry Potter. Oh, the yeah. When the Deathly Hollows or what are those things come and suck your Death Eaters. Death Eaters that come and suck the life out of you.

SPEAKER_00 30:51

Dementors.

SPEAKER_01 30:52

Dementors. That's it. Every Harry Potter fan is like, you idiots, you got it wrong. How dare you? But that's what it felt like. And instantly I was like, nope, nope, nope. Not allowed to do that. But that's really what it feels like. And it kind of feels very similar to when you're passing out, that kind of like tunnel vision. Yeah. So when this person described that, I was like, oh, that's exactly what this feels like. I know what they're talking about. And to have that go on for that long. I couldn't imagine.

SPEAKER_00 31:25

Yeah.

SPEAKER_01 31:26

I wonder how much longer this person lived. Right? Like it took everything. Like the Dementor is sucking the life out.

SPEAKER_03 31:33

How long does it last? Because it wasn't just like seconds, it was minutes.

SPEAKER_00 31:36

Well, the interesting thing is he was driving his car, right?

SPEAKER_03 31:39

Mm-hmm. Yeah.

SPEAKER_00 31:41

And when you're driving your car, you're not running off your battery, you're running off the alternator. That's right. So if it pulled that power plus the battery power.

SPEAKER_01 31:52

It had a lot of power.

SPEAKER_00 31:53

That's a lot of energy.

SPEAKER_01 31:55

Yeah. So it'd have to be able to manifest one, which is huge, which would take a lot of energy in itself. To drain this other guy's energy for how long? I mean, it could it could possibly be 30 seconds, which felt like eternity. Sure. Yeah. Which they probably thought was minutes. Because reality is, I don't know if I've ever seen any encounter that last year.

SPEAKER_03 32:19

Yeah, I think it was, I think in re in all reality, it probably was seconds. But it was probably quite a few seconds. But it probably in reality was not minutes.

SPEAKER_01 32:26

I would say, I would say probably no more than a minute. Yeah. In reality. Or close to a minute, but not yet.

SPEAKER_00 32:32

In the world of the paranormal, a minute is like an eternity.

SPEAKER_01 32:35

Oh, yeah. Especially. Depending on what's going on. Yeah. Yeah. In any sense where you're seeing an apparition to see it for more than a split second is huge. Yeah. Big time.

SPEAKER_03 32:49

Every investigator's dream.

SPEAKER_00 32:51

Right. But it the interesting thing is this entity has been now seen theoretically at the gates, on a path, and in the catacombs.

SPEAKER_01 33:01

Yeah.

SPEAKER_00 33:03

Because they describe it all as the same thing.

SPEAKER_01 33:05

Yep. The sound goes away.

SPEAKER_00 33:08

It's seven feet tall.

SPEAKER_01 33:10

But this other one was a woman.

SPEAKER_00 33:12

Well, right. I'm not talking about her, but like on the path between the two.

SPEAKER_01 33:16

Yeah.

SPEAKER_00 33:16

In the catacombs, and now at the front gate.

SPEAKER_01 33:18

Yeah.

SPEAKER_00 33:19

It almost sounds to me like a um Undertaker.

SPEAKER_01 33:24

Yeah. But I also find it interesting that even with the woman, that it's still similar. The encounters are similar with like what leads it up to it where the sound goes away.

SPEAKER_00 33:36

Right.

SPEAKER_01 33:37

Yeah, because there's some sort of disturbance and everything goes quiet. Well, and it kind of makes me wonder if, um, and I'm I know I'm just totally throwing this out there, but what if it's kind of like a time change? You know what I mean? Like, so what if you're kind of experiencing what it was back then? Back in 1870s, 60s, 50s, whatever.

SPEAKER_00 34:07

Yeah, almost like, yeah. I mean, I I almost it's almost like a stone tape. But see, I've had this happen to me before where the noise of what I was doing was replaced by something else.

SPEAKER_03 34:19

Right. Except it wasn't silence, it was But I wonder if if that's like the spirit locking in on you and kind of bringing you into their that's what I'm saying. Yeah.

SPEAKER_00 34:30

Right, bringing to their back to their time zone.

SPEAKER_03 34:32

Or just back to their what's their reality. Yeah.

SPEAKER_00 34:36

Right.

SPEAKER_03 34:37

What they experience they hear, what they it could be a way of of psychoprojection.

SPEAKER_01 34:44

Maybe. Like you're still in normal time. Yeah. I'm not saying that you're getting taken back to the 1800s, but no, but you're but you're experiencing it the way that they experience it.

SPEAKER_00 34:53

Right. Which would make sense because I'm sure in 1800, you know, 1830, 40, whatever it would have would have been, it would have been quiet and peaceful.

SPEAKER_01 35:02

Well, yeah. And also, though, whenever um I should say, when I've had some experiences where I hear a spirit, I actually audibly hear something that's directed to me. Right. My ears will ring or like sound goes completely silent. It like I'm deaf to everything else, but then I hear the audible spirit speaking. You know, like I hear the audible voice. So I wonder if that also has correlation to this where the sound just everything stops. Yeah. I I I really want to know the physics of this. Like, how does that happen? Like, it would be really fascinating and interesting to Yes. Like, what is the scientific reasoning of this?

SPEAKER_00 35:53

It would be so hard to study though, because you'd have to do it right when it happens.

SPEAKER_01 35:57

Like, how do you do it?

SPEAKER_00 35:58

Right. You'd have to have someone that would you'd be monitored. You'd have to have an environment that is completely controlled and have a spirit.

SPEAKER_01 36:10

Do it on cue.

SPEAKER_00 36:11

Do it in a manner that you can actually like monitor.

SPEAKER_03 36:16

All I can say is good luck. Because yeah, that would be that would be quite the undertaking.

SPEAKER_00 36:23

Yeah.

The Melancholic Nun And Tulpa Theory

SPEAKER_01 36:25

So let's talk about the haunting of the nun. Ooh, because we have a good ghost nun. The apparition known as the melancholic nun or the shrouded figure is perhaps the most quintessentially gothic ghost in Highgate Cemetery. Unlike the aggressive entities or the chaotic energy of the Mad Mother, this spirit represents absolute stillness and profound echoing sorrow. This account comes from August 1973. It was reported by an art student named Arthur Pendleton, who was exploring the West Cemetery just as the evening gates were preparing to close. Arthur was walking near the older heavily shaded Victorian plots when he noticed a figure standing near a massive moss covered Gothic monument. The figure was a woman clad in long, dark, heavy habit or shroud. Her head was bowed and she was staring intensely down at a specific, nameless grave. Arthur initially thought it was a living woman in mourning, or perhaps one of Highgate's famous lifelike stone statues that had been stained dark by time and rain. As Arthur watched, he realized something was wrong. The summer evening had a light breeze and that was visibly rustling the leaves and the oak trees and moving the tall grass at her feet. Yet the woman's dark habit and heavy veil remained completely unnaturally frozen. It didn't stir a single millimeter in the wind. Intrigued and slightly uneasy, Arthur decided to step off the path to see if she needed help. This is when the encounter defied the laws of physics. She was roughly fifteen feet away from him. He took three large steps forward, and when he looked up, she was suddenly thirty feet away. Confused, Arthur quickly quickened his pace, taking several hurried steps toward her, and he looked up again and she was now sixty feet away. Standing on a completely different ridge further up the hillside, still locked in the exact same bowed posture, she hadn't walked or glided away. The physical space between them had simply expanded. Realizing he was dealing with something paranormal, Arthur stopped dead in his tracks. The moment he stopped moving, the entity finally reacted. She slowly lifted her head. Her face was completely obscured by a featureless, pitch black shadow beneath her crowl. She didn't look at Arthur. Instead, she tilted her head all the way back, staring directly up at the gray evening sky. A profound, heavy wave of intense sorrow washed over the clearing. Arthur described it as a sudden, crushing feeling of hopelessness that made his chest ache. A sharp localized drop in temperature hit him, freezing the sweat on his neck. Without a sound, the dark silhouette of the nun began to fade, thinning out until she became entirely transparent, leaving nothing behind but the empty stone monument. In most ghost stories, spirits walk, glide, or float away from the witness. This nun is famous for spatical displacement. She doesn't travel through the cemetery, she seems to bend the witness's perception of distance. The closer that you try to get to her sorrow, the further the universe pushes you away. Highgate is full of Victorian art depicting grieving, shrouded women. Some researchers believe that the nun might actually be a tulpis or a thought form, an entity created out of a collective grief of thousands of Victorian mourners who visited these very statues over a century, animating the stone's image into a permanent, tragic, spectral loop. Oh, that's intense.

SPEAKER_03 40:12

Yeah.

SPEAKER_00 40:13

You could see it being a tulpa.

SPEAKER_03 40:14

Yeah.

SPEAKER_00 40:16

Because the women were going to be wearing that same type of attire.

SPEAKER_03 40:20

Right.

SPEAKER_00 40:21

And so and if there were that many bodies being buried that often, there would have always been somebody in black.

SPEAKER_03 40:31

Yeah.

SPEAKER_01 40:32

Well, and also it's like if you like how people say that they can create something, you know, like we talk about um specific ghosts that aren't real but people have created and that has actually come to life is a tulpa. Right. So this could be very similar to that. Where it's just more naturally been created versus someone wanting like wanting it to come to life. Does that make sense? Yes.

SPEAKER_00 41:10

Yeah, difference between intention, right? Like one is I want this thing to be around, so we're going to put our energy into it versus just hack happenstance because there were just that many people there having a shared energy experience.

SPEAKER_01 41:26

Yes. Where there's so much mourning going on. I can imagine that and I mean energy is created, it can't be taken away, so it's got to go somewhere.

SPEAKER_03 41:36

Yep.

SPEAKER_01 41:37

Right. So who's to say that doesn't happen?

SPEAKER_03 41:39

Yeah, it doesn't, and energy doesn't just dissolve and go away. Just disperses. Changes form.

SPEAKER_01 41:45

Yep. Interesting to think about. That's why it's like when I die, I have so many questions. Like, I want to know all these things.

SPEAKER_00 41:53

Don't we all?

SPEAKER_01 41:54

I mean so many questions.

SPEAKER_03 41:57

One day we'll find out.

SPEAKER_00 41:59

Right? I mean, that's why we've asked the questions. What's behind the veil? And the answer is always I can't tell you.

SPEAKER_03 42:04

Yeah, that's right.

SPEAKER_01 42:05

And there's a reason for that. So this one is probably the most interesting one to me, and this is the last one.

The Pianist Grave And Underground Music

SPEAKER_01 42:15

So this is the concert pianist grave. The grave of Harry Thornton in the East Cemetery is a massive favorite for paranormal investigators because it shifts the focus from a visual horror to an auditory haunting. Instead of seeing a terrifying phantom, witnesses hear this haunting. Harry Thornton was a celebrated classical concert pianist. During World War I, he and his wife toured relentlessly, entertaining British troops to keep up the morale. He survived the war, but was tragically killed in 1918 by the global Spanish flu pandemic. His grieving wife commissioned a highly unusual Grade II listed monument for him, a life-sized stone replica of a grand piano. The most famous detailed account of this musical echo comes from November 1979, reported by a cemetery volunteer named Julian Croft. It was late November, around 4 45 p.m. The East Cemetery had just closed to the public for the evening, and Julian was doing a final sweep of the pathways to ensure that no strangers were left behind before locking the gates. A freezing damp dusk was falling, and a heavy London mist was hanging low over the headstones. As Julian neared the older, quieter section of the Eastern Cemetery, the silence was broken by the unmistakable sound of a piano. It wasn't loud or abrupt, it was deeply sorrowful, intricate classical piece, later identified by Julian as a movement from Puccini. Coincidentally, lines from Puccini. Are carved onto Thornton's grave. Julian initially assumed a nearby house outside the cemetery walls had a window open and someone was practicing. But as he kept walking, the music didn't fade, it got louder. He traced the sound away from the perimeter wall and deep into the grid graves. The music led him directly to a plot of Harry Thornton. Julian stood right in front of the life-sized stone grand piano, and the sound was coming directly from the monument. Julian knelt down, placing his ear just inches from the damp stone keys of the sculpture. In his official account he stated with absolute certainty that that music wasn't coming from the air around him, it was vibrating upwards through the soil, echoing out of the hollow space between the earth, beneath the stone piano. The moment Julian realized the music was subterranean, a severe localized drop in temperature hit the plot. His breath turned to thick plumes of vapor, and a layer of frost rapidly formed over the stone piano keys right before his eyes. The music didn't fade out naturally, it reached a crescent crescendo, and then abruptly stopped mid chord, as if a hand had been suddenly smashed down or lifted from the keyboard in frustration. The moment the music died, the heavy silence of the graveyard slammed back into place and Julian scrambled back to the main path to lock the gates. On the side of Harry Thornton's stone piano, his wife had a line from Puccini's grave or engraved Sweet Thou art sleeping, safe in God's keeping, while I must weep apart. Interestingly, the specific melody witnessed reporting hearing over the decades matched the tones of the very music inscribed on the stone. Thornton's haunting carried zero malice. Witnesses don't report feeling intense panic, dread, sickness. Instead, they describe a profound, peaceful solemnity. In a classic example of a living imprint, a man who spent his final years using music to comfort terrified soldiers in the trenches continuing to play his instrument deep beneath the London fog. Highgate can be a terrifying place, full of screaming mothers and red-eyed phantoms, but if you walk the East Cemetery at dusk, you might find a different kind of ghost. One that reminds us that long after our voices fade, the things we love in life sometimes keep playing in the dark. Ooh, see now that's one I'd want to go see.

SPEAKER_03 46:43

Right?

SPEAKER_02 46:43

Yeah.

SPEAKER_03 46:44

I'd probably just go sit by his piano. By the piano and just I'd probably sit there all night and just wait. Oh yeah, that's why I'd have my picnic.

SPEAKER_01 46:55

Yeah. What better place? Put it, put a recorder out there and see if you can capture any music. Yeah. Oh, that'd be so cool.

SPEAKER_00 47:05

It would be interesting because it like put a the recorder out, put a geophone down, you know, put other pieces of equipment to see if if not only are you getting the sound of music, but the vibration of the piano creating the music. Yeah. And see if you can correlate all of that together.

SPEAKER_03 47:27

That'd be so cool.

SPEAKER_02 47:28

That'd be amazing.

SPEAKER_00 47:33

It definitely.

Visiting Highgate Tours And Vandalism

SPEAKER_00 47:34

So is that place open to the public? Because it like there seems to be mention of like locked gates and and and and like unlawfully entering after you know hours type of deal.

SPEAKER_03 47:45

It sounds like a lot of these bigger cemeteries where they're open a certain time of day.

SPEAKER_01 47:52

Well, I know from what I've read is that they do tours in certain parts of the cemetery, so which leads me to believe that certain parts are open and certain parts are closed. Um there is another very prominent haunting that happens there, but we will talk that about that in a different episode.

SPEAKER_00 48:12

Oh.

SPEAKER_01 48:14

But um, and that has been closed off because of so many people coming in and vandalizing it. And so it just ruins it for everyone. We've oh we've talked about that, how frustrating that is. Yeah, your wankers knock it off.

SPEAKER_00 48:32

Exactly.

SPEAKER_01 48:33

But it's um it's been on a lot of like ghost hunts and and things like that. So it's a popular one for over there, but only one that now you can get to if you take a tour. So like I think part of it is open and part of it is closed, but I think a lot out there too. Like when I when I went to Scotland, I mean, this is in England, mind you. But when I went to Scotland, these places are always opened. Right. Right. The gates are always opened, and you can go anytime to admire this gothic style cemetery, which is amazing and wonderful.

SPEAKER_03 49:13

I loved it. But unfortunately, if vandalism was to start happening there, I'm sure that at some point they would force, yeah.

SPEAKER_00 49:21

Well, I and I also wonder, too, if if it wasn't because of like the danger to the public. Like like the the west side was you know, it's there's sunken spots and hidden areas. Like it's like not exactly a place that you could easily traverse and probably easily get hurt if you're not careful unless you're viable for it.

SPEAKER_03 49:46

Right, but wouldn't they just tell you to stay on the paths then? I mean, that would be my thought if it was just due to sunken graves.

SPEAKER_02 49:54

Right.

SPEAKER_03 49:55

Just stay on the main paths, don't go over the city. Well, I think it's a lot of it is overgrown too.

SPEAKER_01 50:01

So it's not being really made. So I don't know how much how well taken care of the paths are in certain areas. Right.

SPEAKER_03 50:10

One way to find out is to go there.

SPEAKER_01 50:13

I'm ready. I'm ready.

SPEAKER_00 50:14

Get the car, let's go.

SPEAKER_03 50:15

Across the pond. Our aquatic car.

SPEAKER_00 50:18

Hey, we can get an aqua car.

SPEAKER_03 50:20

And let's go see the corpse condos. Let's take the aqua car across the across the pond to see the corpse condos. Oh my goodness.

SPEAKER_00 50:30

We've been in the car for two months. I think we're lost.

SPEAKER_03 50:36

Oh my.

SPEAKER_00 50:38

Oh, that'd be so much fun to see, though. So neat.

How Cemetery Design Shaped America

SPEAKER_00 50:42

And that's the and you gotta wonder though, too, is they were the first to kind of create this park-esque nature of a cemetery. So is that where we got the tradition now to create because if you think about the way our cemeteries are laid out, most of the municipal cemeteries are the same way. It's like being in a park.

SPEAKER_01 51:09

Right. Oh, yeah. Well, and I went um out east, kind of by the we just talked about it. Gettysburg? Gettysburg. Oh my gosh. I could think it was guns.

SPEAKER_00 51:23

The bang bang place.

SPEAKER_01 51:24

The pew pew.

SPEAKER_00 51:27

It's the pew pew place.

SPEAKER_01 51:30

And when we went over there, we went to a park that had like catacombs in it. And it's basically these little it was a hill, just a little hill. It wasn't anything crazy or out of the ordinary. And in it, there were these holes that were probably like four feet by two feet.

SPEAKER_00 51:58

Small.

SPEAKER_01 51:59

With tons of bodies inside. Oh wow. Like, and then like from there, and that was like ground level. And then you look in there and it's like way deep. And there was tons of bodies in there, and there were rats coming out of there. It was it was nasty. And from what I heard was that sometimes they'll bring like a finger bone out. Ah. You know? Like it was it was kind of gross. Anyways, but there were I don't know, 15, 20 of these pockets of these little catacombish burials that you could see. Like I mean, they were dead on it. It's not like they were like laying in the ground. Like the doors were like facing you so that you could open it up as they were like kneeling on the ground. Yeah. So it was like it was I'd never seen anything like that. But you can see as it's come across America that they've the cemeteries have changed. And as the cemeteries have gotten newer the design has changed. But yeah, I wonder if it started with this idea of this parkish cemetery.

SPEAKER_00 53:09

Right.

SPEAKER_01 53:10

And it slowly turns into ones that they're not super crowded. One, we have a ton of land compared to over there, which makes a huge difference. Right.

SPEAKER_00 53:20

Yeah, it does make a huge difference in that avenue.

SPEAKER_01 53:23

Yeah.

SPEAKER_00 53:23

But in the same token, though, like it makes sense because you're talking 1836, 18.

SPEAKER_01 53:29

This is like 1860.

SPEAKER_00 53:30

1860, right. So, you know, the founding of the country 1776. Yeah, so that makes sense. That that we would we'd have the same transition of cemetery, that the old colonial cemeteries were more just put it in the ground. And then it it moved as well. Because we I mean the immigrants came over.

SPEAKER_02 53:59

Yeah.

SPEAKER_00 53:59

So those those traditions would have came with them.

SPEAKER_01 54:05

Yeah, some things over here. Yeah. And as they move out west, have it be more park-like, more Yeah.

SPEAKER_00 54:14

And but you know, they're still like, and that's another thing too. Like if you look out east, like Philadelphia, Washington, stuff like that, or Washington, D. D.C., Boston, they have a lot of gothic style cemeteries.

SPEAKER_03 54:29

Yeah.

SPEAKER_00 54:30

And then you come out west and they're very, for the most part, plain.

SPEAKER_01 54:34

Oh, very, very plain compared to what it was out in Scotland, England, over there. It's there's a huge difference in styles. But I think that, you know, here wasn't a discrepancy between rich and poor as much as it is or was over there, where it's like, or the rich is going to be buried on the top of the hill by the sun where the light can hit, and you can have the view. They're dead, like they don't care about the view, but whatever. And then the poor people are down below in the dark and dank parts of the cemetery. Right. The hidden parts of the cemetery. You know, where here it's not we don't have those discrepancies really. I mean, you have tombs that or monuments that are more extravagant than others, but they're all blended in with people who don't have as much money.

SPEAKER_00 55:34

Yeah, you can have someone who was a billionaire buried next to someone who had no money at all.

SPEAKER_01 55:40

Yeah.

SPEAKER_00 55:41

Yeah.

SPEAKER_01 55:41

And their plot is just or their headstone is just in the ground.

SPEAKER_00 55:46

Yeah.

SPEAKER_01 55:46

A flat little headstone.

SPEAKER_00 55:48

Yeah, that's true. That we don't have the aristocracy that Britain and and the European countries do. So that makes sense.

SPEAKER_01 55:56

I mean, I think you have sections where, you know, more wealthier people would buy their plots and then stick a little fence around it or something. But that's pretty much as big as it gets.

SPEAKER_00 56:08

Yeah, those were usually like family plots, right? Like this is the family tomb, so to speak.

SPEAKER_01 56:13

Right. But as for, oh, you guys can you guys get the left side of the cemetery and the rich people get the right side of the cemetery. Like it doesn't work like that.

SPEAKER_00 56:23

I mean, there were pauper's graves. Uh, those people who couldn't afford burial. Um, but those are still not the same. As as the stuff that was going on in in your in Britain at the time.

SPEAKER_03 56:40

Right.

Listener Questions And Sign Off

SPEAKER_00 56:42

So, would you visit?

SPEAKER_03 56:44

100%. No doubt.

SPEAKER_00 56:48

It'd be hard not to, right?

SPEAKER_03 56:49

It would. It would be very hard not to.

SPEAKER_00 56:51

So um, for all of our friends and listeners overseas and over in Great Britain, have you been to the cemetery? Have you had any experiences there? Let us know. And as always, stay ghosty, my peeps.

SPEAKER_01 57:05

The Victorians were deeply super spit super well.

SPEAKER_00 57:09

They were super spitus. Super spitting.

SPEAKER_03 57:14

Super spitous.