B (5:31)

Notes. Well, this is from, like, two days ago. I saw large overhead lights, lots of people, big spaces, but also small spaces. I sensed a staircase, although it's not as grand as the one that I drew. There was maybe a guy with a mustache, maybe in a suit, maybe a tuxedo, big sort of handlebar. He kind of mustache. City noises, wind. I wrote down stars. I think it was like I could sense there was some sort of view, you know, panorama. But then today, earlier, this would be from this morning, I wrote restaurant Club Pavilion, Old house again. I wonder if there were, you know, those, like, thundering noises, like when pots and pans crash to the floor, Those kinds of noises. And then just now, here at the site, I noticed that lots of limestone. We are near running water, and we know about that. I wondered if this place was connected to trains, if people hear noises from those offices upstairs when it's all locked up, no one's in there. Steps on the stairs. I wonder if this is an old. This looks like a storage room down here in the. In the cellar. This was some sort of store or, like I said, with the trains, like, with the depot kind of thing. I'm getting a lot of, like, kind of similar clay pit vibes about the store and the storage underneath and all that. But I've also just been in this room, and right here, there's a hum of. You can feel the limestone vibrating. I could feel it with my hand. And then I got again the image of a. Like, in shadow, but a man in a suit in a dark suit. But that's all I've gotten so.

A (7:03)

Far. Now, before we jump into Kate's walkthrough, I want to pause and highlight a few things Jeffrey picked up on early on in the night. Impressions that, interestingly enough, brushed up against both Moonshine's history and its reported activity. One of the first things he mentioned was a train. At first glance, that may seem random, but historically, it's actually right on the mark. The very first train to arrive in Austin did so on Christmas Day, 1871, stopping on the Waller Creek Bridge just one block east and two blocks south of Moonshine, before actually heading to the original depot, only a few blocks in the opposite direction. So the energy of trains and industrial movement would have been woven into the environment here for decades. Jeffrey also talked about loud crashing noises. While that doesn't tie to a specific event, symbolically, it does echo one of the most common themes in this case, the falling objects shattering glass and plates and dishes dropping on their own. Phenomena that moonshine's staff have reported for years. And lastly, he mentions seeing a man with a handlebar mustache. Nothing specific enough yet to match a known presence, but we do have two male energies frequently reported here. The cowboy associated with the main bar and the more unpleasant male presence often felt in the carriage house bar outside. It's too early to draw conclusions, but these early impressions helped set the tone for what we were about to uncover. With Jeffrey's update out of the way, I wanted to check in with Kate next and see what she was picking up on. She was in the Sunday.

C (8:28)

House. Okay, so before we got here, I got heavy smoker, someone's home. I wrote down man three times, a woman and a child, maybe mother, daughter, loud music, drink glasses clanking, and a lonely man at a bar. And then some. Since being here, I've written down touching, hair, pacing. I keep hearing this, like, pacing up above. There's a woman on the stairs going down to the speakeasy. So far, I've picked up on an older man. He has, like, bigger glasses. And the reason why it caught my attention is one, when we walked into that bar cave, he was, like, so present in there. There's a lot of different emotions going on. Like, there's some pride that's happening. They're proud of, like, where things are and like the community. A lot of the spirits like the music. They like the dancing. I think I keep seeing a little boy, and it's, like, around the corner type of energy. So I'm trying to explore that and see what that is. Also, lots of touching. So I think other people probably feel touching or like touching on their heads. I also picked up pacing. Also, I wrote that some of the ghosts here are, like, dramatic, and they like to act things out to, like, occupy themselves. I think they've been here for a really long time, so they really entertain themselves. And it's funny. They want some credit for that for being funny. Something's going on with the water. They don't like it. I wonder if there was, like, a pipe leak recently or something happening with the pipes. And that's where I'm at right.

A (10:20)

Now. Kate was already picking up on a number of sensations and impressions. Nothing we could draw firm conclusions from yet. But several things caught my attention as possible threads connected to Moonshine's known replacement sports. She mentioned sensing the presence of a woman and child together. That immediately made me think of Catherine and possibly the little girl spirit so many staff members have described. She also referenced the sound of drink glasses clinking, which ties into one of the most consistent themes here. Glassware falling, flying, or breaking on its own. Kate also picked up on the feeling of a lonely man at a bar, which parallels the recurring reports of a cowboy spirit many believe lingers around the main bar area. And she described the sensation of hair or the top of the head being touched, which is strikingly similar to what dozens of guests have reported experiencing at the famous Table 34 in the main dining room. She also noted a woman moving on the stairs leading down into the speakeasy, a detail that aligns with what many believe about Catherine's presence in that space. But then she honed in on something unexpected. An older man with glasses. In Kinfolk, this figure seemed especially vivid to her, suggesting a strong, intelligent presence rooted deep in that cellar. We didn't know who he might be yet, but this impression would become much clearer later in the night. Finally, Kate questioned something about water pipes flow, the movement beneath the building. At the time, it didn't mean much, but as the night unfolded, that detail would take on a surprising amount of relevance. So make note of that at this point in time. Jeffrey had now made his way over to the Carriage House Bar, also known as the Patio Bar, a spot with a long history of reports involving a more unsettled, sometimes aggressive male presence. Since this area has produced some of the strongest experiences for staff over the years, I wanted to check in and see what else Jeffrey was picking up in this.

B (12:11)

Space. So the last thing I wrote was the man in a suit. But then when I came out here, I was like, does he yell at people? Like, do they hear him, him yelling? Or like, hey, you. You know, kind of a thing with. Does he, like, scare people by yelling at them? And then I'm getting kind of almost like a man in black vibe. Like a guy maybe in shadow, but like, with a hat and, like, a black suit or a black coat.

A (12:36)

On. I don't.

B (12:37)

Really. I can't really tell the age. He's not super old, he's not super young. Just, you know, average, I guess, but kind of tall, taller than I am. They might be at the foot of the stairs, and they catch him up at the top going, you know, yelling at them or something. And then I heard. And this Was when I passed this bar, I was like. Like, do they hear plates and glasses sliding across the tables and bars? Those kinds of noises, but nobody's there. Or maybe things are actually. Do they actually move? You know, they come back and things have been moved. But then when I was sitting outside in this. Over by that fireplace area, I was getting a lot of residuals of the. Of, like, the outside between all these little buildings, because it looks like they were all separated. Separate little building, but connected. I was hearing, like. Do I hear a train whistle, like from a steam train? Or maybe it was barges coming in with cargo, But I'm like, crates, luggage, people moving. The hustle and bustle of people. Traveling kinds of things, traveling clothes. I was getting images, like, from, like, 1900s, people all dressed up, you know, with steamer trucks and all that. Just sort of flashes. And that's when I started getting kind of overloaded. So that's why I came back into the other thing. But it's. But again, with this much limestone and that running water and the amount of commerce and activity that had. I mean, because this place is still here, they haven't knocked it down. There's tons of. Just a cacophony of residuals, but nothing scary or sad yet. Just, like, busy and really active. You know, kind of exciting. Lots of daytime images, but the stuff with the man in the restaurant stuff is nighttime.

A (14:11)

Stuff. And that was in the restaurant.

B (14:14)

Area. The man downstairs and in the restaurant.

A (14:17)

Area.

B (14:18)

But. And then. But I.1 when I was out there is when I got the impression I wondered if he, like, stands on the stairs and yells at people. Or like, when they're, like, around the. You know, one of those things, like, out of the corner of your eyes, someone standing.

D (14:29)

There.

B (14:29)

But. Or maybe they just hear him, but, like, like, yelling, like he's mad at them. Not like, boo. But like, hey, get out of here. I don't know. It's like he's not cranky, like, angry about something, maybe. I don't know yet. I want to try and get into a place that's quiet and see if I can sense more from him, because I didn't hear him. It was just kind of an image that I got real.

A (14:49)

Quick. It was interesting to hear Jeffrey describe another male presence here, one that felt angry, loud and forceful. Staff have long reported that the carriage house bar carries a heavier, more aggressive male energy. So the tone of what he was picking up didn't surprise me. But one detail absolutely did. As Jeffrey was explaining what he sensed, he suddenly blurted out phrases that he felt his presence was yelling. And one of those phrases was, get out of here. What struck me was how close this was to one of the most chilling accounts that we documented in part one. If you remember, Sonia, who had never shared her full experiences with anyone, described being alone in that upstairs office when suddenly a disembodied voice screamed at her to get out. She hadn't even told her co workers this story. And in all the cases I've ever covered on this show, we've never had a psychic independently pick up that phrase. So it's something I really didn't want to overlook in this moment. However, Jeffrey believed this presence was male, while Sonja felt certain that the voice that she heard was female, possibly Catherine. But it's just that overlap in the language that's still significant to me. Jeffrey also mentioned the imagery of luggage movement and travelers. People coming and going with bags, almost like a steady flow of temporary guests. And that immediately brought a Sunday house to mind. Historically, that small building served exactly that purpose. Families traveling into Austin for Saturday market and Sunday church would stay there overnight. The original owner, Henry Hoffines, would clear out the space each weekend, so visitors had a space to rest. So the impressions that Jeffrey was getting, travelers, movement, people passing through, fit uncannily well with how that part of the property originally functioned. He also picked up on a train whistle, sliding or shifting noises, and the feel of daytime business, commerce activity, goods being moved around and such. All of which lines up with the early history here. Hofines worked as a freighter, the constant movement of trade goods. And then there's the fact that Austin's first train line passed just a block or two from where we were standing. None of this was definitive yet, obviously, but these early impressions were beginning to echo pieces of Moonshine's past, and that's always worth noting. It was now time to check in on Sarah. We had originally planned to meet her at the Sunday house and then take her upstairs to explore the admin offices above the main building. But when we arrived, she'd already been drawn up into the small loft above the Sunday house. So we gave her a little more time to sit with whatever she was picking up. Once she felt ready, I brought Sarah up to the admin offices so she could explore that space for the first time and give me a full update on what she'd sensed during her first hour alone on the entire property. Before we hear from Sarah, there's something very important I must share with you listeners for the sake of transparency. As you know, our psychics never know where they're being taken. They arrive completely blind. No history, no reports, not even the name of the location. That's central to how I keep the process controlled and authentic. Well, sadly, after we arrived at Moonshine, I learned that Sarah had been loosely involved in a separate project years ago that also touched this location. She was involved with a podcast, which you might know already, the real ghosts of and Nicole Ricardo, our friend investigating this place. However, she never visited the site and none of us knew about the overlap beforehand. But it's something that I want you listeners to be aware of when for transparency. But because of this fact, it's naturally going to shift how we evaluate her impressions tonight. One of the core principles of the show is that psychic readings can only be validated if we know they had no prior access to the details of a haunting or history. In Sarah's case, because she may have been exposed to a lot of the lore and historical findings, we won't be able to treat a lot of her impressions as clean, blind reads. That said, we don't want to remove her from this case. So there are two ways to look at her walkthrough. The moments that line up with commonly known reports and the moments that fall outside of anything she could have reasonably encountered before. I'll help guide you through both as we listen. And I want to add this, I know many of you have been waiting years to hear Sarah return to the show. We've missed her, too. And despite this pretty large wrinkle in the process, I still felt it was important and worthwhile to include her in this investigation. Her presence, her intuition, and her history with our team bring a lot of heart to the night. So with that context in mind, here is Sarah's first update at.

D (19:14)

Moonshine. This is a more mischievous energy, a little different than all the other ones, which is odd because one of the woman in the pack patio, like the actual overhang. I guess she just doesn't come in here. Okay, let me see. Maybe they'll show up. Oh, this is the same one that's down in the. This is the same spirit that's down in the main area between the kitchen and the. I think it's the same one. I can't get a. I just know that. That like if you're up here alone, it's probably a lot of fun. Lots of noises, lots of walking around, but mostly like, it's like almost like a zip of a shadow, like something that will come in, come back out, or like a darkening that happens in each one of the doorways, specifically this one Bathroom's not fun either. Maybe if you're in there, you'll hear. You know, you're alone, but you'll hear, like, people walking in and out, things like that. But this one is specifically from down south there. It comes up with them. So it's not even part of the house itself. I think it's just something that kind of came in and liked it and stayed. The energy, maybe, of the. The, you know, the hustle, bustle of the framework. So it's really weird. It's a really weird. Why doesn't she come in here? I'm trying to get her to come in. So when we did the walk.

A (20:37)

Through. Yeah, you got a.

D (20:39)

Female. I got a woman, but only outside, which is really, like, out on. Like out on the patio. Like out on the patio area, right on that little railing outside. And it was like I could see everything without. Like, there was nothing. It was just like. If you looked out, it would have been just a whole bunch of trees, because I know i35 is there, but there would have been, like. She kept showing me, like, water, like a river or something that would have been that visible, like a water from there, from that spot. And she seems like somebody that didn't live here here, but worked for, like, the fan. She keeps referencing, like, the family. Where is the family? But completely different from this other man that I saw that had. He had, like, a little bit of a. Like a shadow, really fun smile, little glasses. And he kept saying, I'm not as old as people say I am, or something like that. That was kind of what it is. But she doesn't come in here, but she's always outside. So I saw her here, and then I saw her in the patio room, the patio bar, but outside the glass. But the one here, this is associated with downstairs. I feel like there's, like, two might maybe two downstairs, but I can't get it. I need to wait till it gets a little bit quiet. Maybe I can nail it. But it seemed this one's a little on the mischievous side, but not on the more dangerous side, like the other one, which is a little one. So there's another. There's another weird little flitty spirit downstairs I can't seem to nail down. I have to wait until. I need to wait until it's quiet because I need to chase it. That one is the one that's a little bit more on the dangerous side. That one is the one that causes, like, a little bit of tripping accidents. A Little bit more touching, a little bit like, just not safe. That one's the weird one, but this one's more of just like, I'm just gonna fuck with you a little bit and then leave you alone. Right? It's more like. So there's children, spirits out in the patio. I haven't seen them in indoors. I've seen more like an adolescent, like a teenager that's like, not a. Not a kid, but more like somebody maybe that's like, you know, 12, 13 years old. Like, just getting out of that kid zone into the, like, weird adolescent. That's what I'm getting. More like that. And then more on the. Again, that one's a little more on the. Little more on the dangerous side. Like, the jokes a little too far. Right. You know, that kind of like the.

A (22:51)

Adolescent. Adolescent. Okay, that's not the same one up here.

D (22:54)

Right? No, it's not the same one. That is an older spirit. Like, that seems like someone that was probably keep trying to nail down somewhere like in the. Maybe 30s, early, late late 20s, early 30s. Really weird. Because of the way that he's dressed. It almost seems like they worked here or something because she seems a little newer. Not in that time era, but the adolescent seems a lot older. The way that they're seeing the building is like when it was first built, when she's seeing it as already lived in. Like, she's been here for a few.

B (23:30)

Days.

D (23:30)

Okay. Right. And I just. I can't nail down this man yet. We'll.

A (23:34)

See. Is that the one with the.

D (23:34)

Glasses? Yeah, that's the one with the glasses. But he kept saying, I'm not that old yet. And he came to me when I was sitting in the. I was sitting in the restaurant, just sitting in a corner, just. What? Because I wanted to see what the flow was like. And he kind of came up. Came up from where? Where we came in from the backside of the sunny room? Yeah, he came up that way and kind of walked in and sat down in the chair. And he was like, I'm not as old as they think I am or something like that is what he.

A (24:02)

Said. Did he have, like. He had scruff and.

D (24:05)

Glasses? He had a little bit of scruff and glasses. Looked like he'd been working all day. Clean, kind of like old school, you know, button shirt, but super sweet. Like, the smile on his face is really big and really fun. Like, you can tell he's, like, really.

A (24:18)

Cool. Didn't have an era to him at all. Like, he was.

D (24:21)

Newer. He was newer of a Newer era, not.

A (24:24)

Old.

D (24:24)

Okay. Because of the style of like he had like the way his hair was, was really odd. And then he had a hat on. The staff was getting a lot of light, flickering, hands touching. But it's always after hours. It's always when they're like closing and nobody else is in here or when they're by themselves, it's like they target them. So I know that's, that's the danger time, but I can't nail down that.

A (24:45)

Spirit. That spirit.

D (24:46)

Okay. It was just hiding in the crowd because it's like right now it's still noisy and everything. So I think I gotta wait until they kind of all.

A (24:53)

Leave.

D (24:54)

Yeah. And then try again because I didn't want to chase them around the building again. They might like there's a little tricky things that they can catch in the cameras at night. If they sit up here for a little bit, it'll make them think that people are in the building and they're not in the building or just some kind of movement. But it's a lot in the floor down. So I'm. I want to get it quiet because I think the main floor is, is where everybody kind of just converges. And here again, I told you, it's a little bit of a trickster spirit. Nothing too crazy. This one's more like playful fun. Kind of like, oh, you're, you're pooping in the, in the toilet. I'm gonna come knock on the door or walk up and down the hallway. Right. It's just a kind of just for fun to get you to freak out a little bit. But it's not dangerous. It is the other one that is dangerous. That's the one that I'm kind of like narrowing down.

A (25:39)

On.

D (25:39)

Okay. And this woman, really.

A (25:41)

Odd. The patio.

D (25:42)

Woman. The patio woman, yeah. So I want to nail her down, but she truly is outside. It kind of seems like maybe she's in the for like in the 1940s. Yeah. 1950s. Kind of like I used to work here or walk around here kind of thing. Right. The added, the add ons to the building. Like all of the additions are. Nobody likes them. It's messing up the, the flow, the way that they move. So disembodied heads, disembodied bodies. Right. Like where you're going to just see like.

B (26:11)

Sounds. And because of that, when we.

A (26:14)

Get back from this short break, I'll break down what we just heard from Sarah and this investigation will deepen. Stay tuned, night owls. The new year is right around the corner. And if you're like me, you have set a few healthy goals for yourself this coming year. One of my goals is to try and eat healthier and Factor Meals is a surefire way to help me meet that goal. I'd like to thank Factor for sponsoring this episode of the Night Owl Podcast. Head over to factor meals.com night owl5.0 off and use code NIGHT OWL50OFF to get 50% off your first box plus free breakfast for one year one of the first things I found out when I started trying to eat healthier while adhering to my extremely busy schedule is that it ain't easy. When you're holding down two full time jobs and trying to find time to get to the gym a few times per week, healthy meals can be a huge challenge. 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If you're looking for a gummy to relieve tension, boost energy, or lift your mood, then Lumi Gummies has the right strain for you in a variety of delicious flavors. Lumi Gummies are designed to make you feel just right, not high, so why not give them a try? Lumi Gummies are available nationwide. Go to lumigummies that's L U M I gummies.com and use code night owl for 30% off your order. Again, that's L U M I gums.com code night owl lumigummies.com code night owl. To help make sense of what Sarah's picking up, let me briefly summarize the four different presences that she identified during her first hour walkthrough of the property alone. First, she described a woman who spends most of her time around the upstairs office balcony and stairwell. That area has long been associated with unexplained footsteps and the sensation of someone approaching the office door when no one's actually there. What stood out, though, was that Sarah didn't find feel this woman was a part of the original owners. The woman felt like someone who once worked here. Instead, and unlike the most predominant spirit, Catherine, whose staff believe moves freely throughout the entire property, this female presence seemed tied specifically to the balcony, stairs and occasionally the patio area. Second, Sarah mentioned a man with glasses that she saw in the downstairs area either in the main building room, but also in the kinfolk speakeasy. Possibly what immediately caught my attention Was how this lined up with something Kate had just mentioned earlier. She, too, saw a man with glasses downstairs and described him as older. Uniquely, Sarah just announced that this spirit said, I'm not as old as they think I am. So this overlap is interesting. Third, she picked up on a young male presence around 12 to 13 who felt disruptive or potentially responsible for some of the more dangerous activity in the building. What's notable is that there are no reports of a teenage male spirit here. But moonshine does have a history of accidents and sudden, unexplainable injuries, Many of which intensified post pandemic. And importantly, the case Sarah was previously involved in years ago did not include incidents like the exploding jar in kinfolk or the severe hand injury. Those events hadn't even happened yet. Lastly, Sarah sensed a mischievous male presence in the upstairs office Very room where we were doing this particular recording. Mischief, of course, is one of the most frequently reported types of activity at moonshine. However, because this kind of behavior is widely discussed in the lore surrounding the building, this impression is a bit harder to classify As a clear and independent hit for her. With access to the upstairs offices finally available, I also wanted to bring Kate up here next. So Sarah headed down into the main building. Geoffrey made his way down into the basement. Soon, speakeasy and Kate and I stepped up into the office space for the first time together. However, she didn't pick up much inside, but when we were leaving on the upstairs balcony, she stopped.

C (32:50)

Me. There's like, layers of spirits who are here that are, like, anchored to the home. I keep thinking it's somebody's home. I keep seeing a man chopping wood, Putting things into the furnace, Very, very, like, hands on. And then separate to him is, like, a richer man. So you have, like, not poor because, I don't know, it's like two sides of the same coin, it looks like. Because this richer man, I think, like, also built his own legacy. He's standing right here, and he's really proud of that, and he's proud of what he did for his family. And then there's another man here that also built for his family. But I think this poor man had more tragedy than the older man is what it's like a harder, I don't know, like, had to work more laborious or something of that.

A (33:47)

Sort. Not giving you anything. I just want to ask. The one that was, like, struggled more and the one that had a little bit more Maybe.

D (33:54)

Privilege.

C (33:55)

Early. The struggling one is like early on, early.

A (33:57)

On. And the later was like it kind of. They had a little bit made or something.

C (34:01)

Okay. One side feels more like Little House on the Prairie, and the other side feels more like businessman. He's like bigger, so he had more access to food even. There's like a watch on his hand. It looks gold to me. He probably had like some sort of white colored suit or like white pants or something that I think he even went it. Now they're just completely different. It's so interesting. And they're standing next to each other. I think they recognize each other, but they stay on different.

A (34:29)

Sides. As Kate and I stood on the upstairs balcony, she began describing two male presences. She felt they belonged to different generations of the property's history and that they knew each other. One, she said, carried a heavier, harder life. The other seemed to have things a little easier. Someone with more stability, perhaps more money, or at least more access to resources. That immediately made me think of two central male figures tied to this property's earliest roots. The first is Henry Hoffines, the original owner. He immigrated from nassau, Germany, in 1845, and by 1852, he'd established a freight hauling business here in the old Waterloo compound. A physically demanding life, hauling goods to and from Mexico by Mule. In 1854, he purchased the lots where Moonshine now stands and built the original. The original limestone store and family residence. The second male figure that came to mind was Adolf Dutchy Reissig, Henry's son in law. Henry's daughter Catherine married him, and through that marriage he became part of the family business. Dutchy expanded the property significantly, adding the building that would become the cellar, which in his time operated as a domino parlor and later a saloon. And that same cellar is now kinfolk. So when Kate described the two men who knew each other, one rougher around the edges, the other with a bit more ease or privilege, those impressions immediately brought Henry and Dutchy to mind. It doesn't mean that that's who she was sensing, but the dynamic that she described did echo the roles these two men played in the property's early history. Next, I brought Jeffrey up for his solo walkthrough of the upstairs offices. As soon as he stepped inside, the first thing he focused on was the chair of one of the managers we interviewed.

B (36:16)

Jordan. Somebody likes to come and sit in his chair. I mean, they'll come in and find the chair like this. When they left it like that, you know, I still feel like maybe they hear noises from when they're outside, like someone's in this little hallway area here, you know, I wonder if they hear someone moving around in here and they know no one's in here. Distinct, you know, sounds, rumblings or whooshing of air. I mean, these old, you know, crooked floors still, you know, classic footsteps behind a closed door kind of.

A (36:54)

Thing. Yeah. And then I'm trying to figure out where the angry man would.

B (37:00)

Be. It feels like maybe, you know, that, but out of the corner of your eye or like someone, you know, a shadow figure up the stairs when they're downstairs. And like, hey, you, like, shout or just like, make angry sounds. And he seems just angry about something, but he's like, in a black coat or a black suit. He's kind of shadowy, but he's not a complete shadow figure. And he's just mad about something. But I can't really. I can't really tell, like, how. Time period or anything. It's not the same guy, the same man in the suit that I. In the Patio Bar. I got a much better read on him when I went in there earlier. But this is just like this biggest angry, angry guy. And it seems like. I want to say probably these outside stairs and then. And maybe on the patio out there. There too. It's not just the.

A (37:56)

Stairs.

B (37:57)

Okay. But, you know, they'll see him, and he's like. It's like he's just kind of standing there waiting to, like, get jump on you, like jump down your throat about something. Like you work for him or something, you know? But I don't know what he's angry about. I don't know what he's angry.

A (38:11)

About.

B (38:11)

Okay. He's not. The guy in the suit in the Patio Bar. It's not the same.

A (38:15)

Guy. Not the same.

B (38:16)

Guy? No. The guy in the suit in. I drew a picture of him. He was just standing there. He wouldn't talk. Talk to me, but he was there. He's got kind of longish hair, almost like a 70s kind of a.

A (38:26)

Look. Oh.

B (38:26)

Interesting. And it's a. It's a blue suit. He's got sandy brown hair and a mustache. Thicker, droopier mustache. Like.

A (38:34)

That?

B (38:34)

Yeah. I couldn't tell if it's him moving. It was in that back corner to the right of the fireplace where there's that little table for two in the patio bar. Those little extra ovens.

A (38:43)

Are. And what was his demeanor like for.

B (38:44)

You? Is that it's just very calm. It's just like he. I don't know if he's there On a loop or he just likes hanging out in there? Because I got the feeling that it was like, this is where deals are made. Kind of a, like, business kind of a guy. Right. And okay, for a minute it seemed like there were two of them, but then I. I concentrated and, you know, went into my alpha state to get a better look at him. I opened my eyes and I didn't see him with my eyes, but he was right in front of me and he was just standing, but he turned and. But he wouldn't speak. And then he just kind of faded away. But he was. He likes that particular corner. He didn't seem rude or stuck up or anything. He was. He just likes.

A (39:23)

That.

B (39:23)

Okay. Part of the bar that's interesting to.

A (39:25)

Note. Yeah. The yelling presence. Have you gotten any imagery of that person? Any sort of.

B (39:30)

Imagery? He's the one. He's just kind of a guy in a black coat or suit, maybe with the hat on, in. In.

A (39:36)

Silhouette.

B (39:37)

Okay. He's not a shoot shadow figure, but he's in shadow. I want to say that he's taller than I am. A little bit taller than you are. Yeah. I don't think he's old. I don't think he's, like, young.

A (39:47)

Either. He's.

B (39:48)

Probably. I think he's like 40s. That sort of. Not old, middle age, but. And I just. I see this, like, big mouth open, like, ah. You know, and his eyebrows are pointing, you know, like the angry face.

A (39:59)

Right.

B (39:59)

Okay. But I can't really see his features. You've filtered. It's wherever he wants to.

A (40:04)

Be. So he's kind of been in a few places.

B (40:06)

Okay. He's wherever he goddamn wants to be. Okay, thank you for the.

A (40:11)

Clarification. Inside the upstairs office, the first thing Jeffrey was drawn to was Jordan's chair, who'd experienced many of the mischievous activity along with her colleague Devin over the years. He also mentioned hearing or sensing someone walking around nearby, which lines up with several accounts from staff, including the former employee, Steven, who once heard footsteps coming up the exterior stairs when no one was there. From there, Jeffrey shifted back to the angry male presence that he'd encountered earlier on in the night. He wasn't entirely sure if this spirit stayed in the office space specifically, but he recognized it as the same male who yelled, get out of here. And who he had seen as a dark, shadowed figure, possibly wearing a coat, maybe even a hat. That was significant because the upstairs office is the very space where Sonia had heard that disembodied voice scream get out. At her one of the most intense experiences that we've documented in this case, One detail that caught my attention was when Jeffrey said that this man conveyed that he could go anywhere on this property. Jeffrey also made a distinction between this angry male and another presence he'd been picking up on throughout the night, the man with the handlebar mustache. He felt that that particular figure was tied more strongly to the carriage house bar and did not carry a rude or agitated energy like the aggressive male shadow he'd been sensing here. Next, I brought Jeffrey down into the main restaurant to get an update on what he'd sensed while roaming the property alone. One of the first things he told me was that this space felt like it had once been a general store, which historically, is exactly what it.

B (41:45)

Was, Whether this was a house with a lot of servants. But I still feel like this had something to do with commerce and people moving. There's all this movement action down in the open.

A (41:56)

Areas.

B (41:56)

Okay. You know, kind of residual stuff, which makes sense. I mean, we're standing in the giant limestone.

A (42:02)

Recorder. Yep.

B (42:03)

But. And that's all daytime stuff. It's not spooky nighttime stuff. So there's all of that energy going.

D (42:10)

On.

A (42:10)

Okay. He'd also spent some time in the Sunday house earlier, Especially the loft area where Sarah had been drawn up to. So I asked him to tell me more about what he'd picked up in that.

B (42:20)

Space. I went up into that loft area, and it's very dark. And it reminded me, all of a sudden I saw this young, like a kid, like Toby at the clay pit when he was hiding in those storerooms off the ballroom. Hiding behind the big bags of rice and stuff. From me, it was darting all around, because when you go in, there's a big hole in the middle of the room. Because it looks down into the room below, Right. With the little rail bounce balcony around it. It's all full of stuff. It's just storage. And it's dark. There's no light up there except from the room below. He was darting around all around, except for, you know, the side of the square that I was on where the door is. And I'm like, you can talk to me. You can show me pictures. You can. I can hear you. I can see. But you can't attach to me. You can't, you know, hurt me or touch me or anything. And then it stopped. And it was hunkering that, like, if we were standing in the door, it was in the far left corner by that window. But I could physically see it. I started to see an outline. And I was like, you look like a little boy, but you're not a little boy. He was presenting like that little, short little thing. But it didn't feel malicious or anything. I don't know what it was. I don't know if it's some sort of entity or if it doesn't. I don't think it's really a child, but. And then it started moving around very slowly. And it came and it got within about five, five feet of me. I said, that's enough. Stop. And it just stood there, you know, and it was. It was kind of fading, but it was really clear when I saw the dark shape moving across the back side of the balcony. But as it got closer, there was more light. So it got faded, but. And then that's when I was like, I think I'm just gonna leave. So I said, you stay here. And then I came back downstairs. But. But it was just interesting because it was like looking. I'm like, what are you looking at? There's nothing down. Sarah was down there, but, you know, there was no activity or anything. But it's one of those classic little hiding places for things to hide up in the dark. That might be. I wouldn't be surprised if it was jumping around, doing the little mischievous, poltergeisty, noisy things, because it felt like that. Kind of. Not a bad trickster like we've encountered before, but just childlike. But I still don't think it's the spirit of a child for some reason. Isn't something makes me doubt.

A (44:27)

That earlier in the night, Sarah had mentioned sensing a young girl in the loft of the Sunday house. She didn't have many details at that point, but Jeffrey's impressions there were interesting and a little unsettling. As he described what he was seeing in the loft. I couldn't help but think back to part two and the story from the contractor woman who restored the wood and floors on the property. She told us that whenever she was in the Sunday house, it didn't feel good. She described it as malicious, something that hid in the loft and watched her from above whenever she worked inside. And strangely enough, that's exactly what Jeffrey said he was seeing. A presence looking down from the loft toward the lower floor. He didn't know it at the time, but Sarah was actually downstairs in that moment. The parallel of what he was sensing and what that contractor reported was worth noting. We also put our skeptic Franklin into an Estes session up there. Most of that session didn't provide information relevant enough to include here. But the physical reactions were undeniable. Something up there was aggressive with Franklin touching him, crowding him to the point that he had to stop the session several times. Here's a clip of Franklin describing what he.

D (45:39)

Experienced. It.

E (45:41)

Was. It was showing me weird. It was showing me someone hanging from a wire rope. Like it was trying to, like, physically, like, string someone up and kill them. It was also showing me something wanting me to push me over the rail. And it was making my arm do.

A (46:03)

This. Yeah, that would freak me out, being blindfolded, not know what the hell's going on in.

E (46:08)

There. But it was a wire rope, like piano wire. I think it was like telling me, like, if I stand up there too long, that's what's gonna do to me. Like, it did not want me up.

A (46:17)

There. That's weird at all. We'll move on now to hear just another little hit Jeffrey had when he passed through the main.

B (46:24)

Restaurant. I don't think it was an old house. It feels more like it was like a store or a station or something like that where there was movement and people coming in and out, you know, especially with all the movement I could sense on the outside. If someone did live here, it was probably again like the clay that upstairs and then this was something else.

A (46:43)

Downstairs. This actually turned out to be another accurate historical hit from Jeffrey. We already established that this building once operated as a store. But Jeffrey went on to add that if people lived here, their living quarters would have been upstairs, which is actually exactly how the original Hoffines family used the space. Jeffrey headed down to spend some solo time in Kinfolk, the basement speakeasy. Meanwhile, I returned to the main restaurant to check in with Sarah and get an update. As soon as we sat down, she immediately began talking again about the 12 to 13 year old boy that she picked up on earlier, the more dangerous male presence. She told me this spirit can sometimes be seen in mirrors around the restaurant, Especially the large one that was just to the left of the main.

D (47:29)

Entrance. That's why I was like, I don't want to chase it while people are.

A (47:33)

Here. It was going this.

D (47:34)

Way. Yeah, but if he. If he can snap it, you'd have to snap it from here to catch movement between where you and I are. Yeah, you'll see it go this.

C (47:43)

Way.

D (47:43)

Okay. And I was like, if you do it that way, you can also catch it in the second mirror if it's going across. So, okay, if I see it, I'll tell him, snap it. Or I'll try to do it.

A (47:51)

Myself. Sarah was just referring to our photographer for the night, our friend Adam, but now she wanted to share what she'd read in Kinfolk earlier during her solo time there. After this short break, we'll continue our conversation with Sarah in the main building of Moonshine. Stay tuned, night owls. I have to say that without a doubt, all the health and wellness goals and routines I've incorporated into my lifestyle, the absolute easiest one for me has been adding AG1 to my daily routine. One simple scoop of AG1 first thing in the morning and I'm supporting my body's nutritional needs for the entire day. If you use my link, you'll get the newest formula and best price available for AG1 next gen right now go to drinkag1.com NightOwl for $126 in free gifts when you first subscribe. I'm sure all of you are familiar with a phrase from a hugely popular drama series from a few years back winter is coming. Yes, the winter season is here, and with it comes cold and flu season. This time of year, it's more important than ever to be proactive when it comes to supporting our body's immune health. The last thing I need with my busy schedule and the approaching holidays is to get slowed down, bedridden and out of Commission. By taking AG1, I can feel more confident knowing that I'm giving my immune system all the daily support it needs in the ways of vitamins, nutrients and minerals. If you're like me, the holiday season will definitely include long hours traveling, huge family gatherings, and of course, straying from my diet. AG1, aside from having more vitamins and minerals than ever before, also has the pre and probiotics to help support good gut health and digestion. And to help you get that much needed rest during the busy season, why not give AGZ a try as well? I take one packet of AGZ mixed with a glass of cool water 30 minutes before bedtime for the best sleep I've ever had, AG1 and AGZ two of the easiest yet extremely beneficial routines to help keep my body at its healthiest. Each and every day, AG1 has their best offer ever. If you head to drinkag1.com night owl, you'll get the welcome kit, a morning person hat, a bottle of vitamin D3K2, an AG1 flavor sampler, and you'll get to try their new sleep supplement, AGZ for free, which has been a game changer for my nightly routine. That's DrinkAg1.com NightOwl for $126 in free gifts for new.

D (50:26)

Subscribers. Honing back into the dude with the glasses. Right? So I started off. So these are the two. I'll show you the two images I got before we started. So before we started, I got the two images when we went up to the balcony. Just help me finish off the balcony from the her. But I got the dude with the glasses. I got him again, but I'm not quite sure. But he's more like, I. I inspired. Inspired this. I don't know. Like, it's kind of like he's an inspiration for something that's going on here. Don't know what that is. But again, super sweet, like, kind of jolly, happy kind of things. Kind of cool. It is this particular spirit here, that down there that's really interesting. And it's in the speakeasy. And it's in the speakeasy. So this would be someone that's reflected in images. So, like, if somebody's taking pictures down there, selfies they might see or capture. It hangs out in the bar area, like, towards the back where the stairs are. So the stairs kind of run down the back of the bar, and it'll come down from the stairs in that framework and just kind of set. But it didn't really say any. Like, it wouldn't talk to me, really. Just kind of hung out because I didn't even notice it until I. Like, it was like the movement that caught my attention. I went, what the is that? And it was just kind of like, oh, that's.

A (51:46)

Odd.

D (51:46)

Yeah. And then it just kind of. It's almost like I caught it and then it just faded into the.

A (51:51)

Bar. Did it have any gender to it, or was it just a shadow or feel like a.

D (51:55)

Fog? It felt feminine. But I'm. But I'm. I'm really not sure. I don't know. I mean, it felt feminine, but the way that. I don't know how to explain it, the way that it dissipated felt menacing. I want to say kind of like the way an elemental would feel where it doesn't have any emotion. It's just kind of like neutral. And I think that's why it felt that way. Like, felt like it was scary, but it wasn't there to, like. It literally was like, oh, shit, you saw me, and then just disappeared but didn't say.

A (52:21)

Anything. Sarah again brought up the man with the glasses that she'd mentioned earlier. This time, she said he communicated something along the lines of, I inspired this space. I made a note of that, especially because he came across as warm and friendly, which lined up with Kate's earlier impression of a similar figure. But then Sarah shifted to something more concerning. She said she picked up on a shadow like presence that moved down into Kinfolk, almost creeping along and then darting away. The moment she tried to connect with it, she wasn't sure, but her initial sense was that this presence might be feminine. We'd revisit that later when we eventually brought her down into the speakeasy. But in the same moment, her attention snapped to the mirror by the entrance. She said the teenage boy had just appeared in its reflection. She quickly tried to get our photographer Adam's attention to capture the moment before it was.

D (53:11)

Gone. Hey, Adam. Grab it. Grab it. Snap it. Snap that mirror. Take that picture. No. I know. You're killing me. Let go. Let go. Let me catch it. Come.

A (53:26)

On. It's locked. Why? I have this really cool gunslinger belt buckle for my camera and it's completely locked for the first time ever. Now that's the exact spot where Sarah earlier told me, be ready because I'm going to tell you when this thing passes to take the picture. And it just locked. It literally just locked now.

D (53:50)

Wow. No, it's.

A (53:52)

Gone. I'm not the biggest supporter of technical difficulties being paranormal, so I can't say if this incident was paranormal or not. But as you heard, the moment he tried to catch this image on camera, it got locked inside his holster and we did miss the opportunity. But Sarah wanted to dive into explaining this elusive teenage boy spirit more now that we had some time. Before we dive into this, there's an important historical note that I want to acknowledge. Something originally uncovered by that investigative team that Sarah worked with that I actually know personally. Nicole Ricardo in the Real Ghosts of podcast. I've actually featured her several times on the show and at my events. But during their investigation years ago, they challenged the well known legend of a little girl spirit and uncovered something far more concrete. Nicole's team located a documented tragedy from 1892. A two year old boy was struck and killed by an electric streetcar just outside this very building. The accident happened at Red river and East Third, essentially right in front of what is now Moonshine. It's one of the earliest recorded deaths tied directly to this property. And it's a heartbreaking piece of this property's real history. My father later pulled this same article independently during his research, which helped us verify the details. Now, just to be clear, Sarah's reading described a 12 to 13 year old boy, much older than a toddler in this documented incident. So although the themes feel strangely parallel. I don't believe the young male presence that Sarah sensed is connected to this little boy from 1892, although they had similar tragic deaths perhaps still this tragedy is part of moonshine's true past and it deserves to be acknowledged. But from here I went on to get more clarity between the various presences that Sarah had been sharing with.

D (55:40)

Me. So I caught this. This little shit. He's about maybe 12 or 13 years old and we're looking at like maybe late 1820s, something like that. He's like a move, I'm going to say a moved in character didn't come with the property. Just kind of like showed up and stayed for some reason. So he would have. He would have passed in that age frame and somewhere close it seems. Because I keep seeing kind of like when somebody gets like. Gets hit by a car or gets like. It's that kind of like impact. But it wasn't a car, so it's odd. Like it. The impact is hard but it wasn't a car so it had to been something else. Like a. I don't know, like a wagon or a horse or something weird like.

A (56:21)

That.

D (56:22)

Okay. Cuz it was like an impactful kind of fast death. He could kind of found this space I think because of the other. Maybe the other spirits or maybe the energy from the limestone, I'm not quite sure. And just kind of stayed. But he's not a nice. He's not nice.

A (56:37)

Kid. What would he do? Like how severe would it be? Would it be like bad bad.

D (56:41)

Or like, like right now it's kind of like, you know, the way that. I guess like if you would think like a 13 or 12 year old would want to play a practical joke and then the joke gets kind of out of hand like that. Like not, not necessarily wanting like a bad bad thing, but just kind of the curiosity of well, what would happen if I were to like stick my foot out if you're walking down the stairs or what would happen if I were to throw this down while you're kind of trying to pick up a box or like that kind of thing. The intent is malicious, but it's not to completely cause harm. It's really just to. With.

A (57:16)

People.

D (57:16)

Okay. More of a that. And they feed off of the fear energy. Like he's kind of liking the fact that they're like what h. You know, what happened or whatever. Right. Like he's feeding off of that energy. He also feeds off of the energy of pitting people against each other. So he'll do something where the other person thinks the other person did it. You know what I mean? And then. And then they'll fight and he'll be like, yeah, I did it. It's the mirror. So, like, I was telling Adam, you need to catch it, because for some reason, this mirror that's in the front, I guess, what is this, the front entrance? There's one behind us that we're sitting at this little spot here in this little booth. There's a mirror behind us, and then there's mirror, like right across from us. But it looks like off center. But if you stand in front of that off center mirror, you can see the one behind us in it. And if you take a picture there, you're gonna catch him flying between the two. And it. It's probably not very uncommon for people to think that someone just walked, walk, walked past the little reception area. They're like, whoa, what was that? Or what was happening? If they're coming out this way or coming into the room, they'll see it in the mirrors. And I saw it like a fog when I was first kind of like reading the room. And I was trying to figure out where he was going. And he keeps disappearing into, like, where the kitchen area is or the bar area is. You'll go outside the property. He'll go upstairs and he'll go down into the. The patio bar area. He can go, but he can't go inside. That's on him. He cannot go into the.

A (58:41)

Sun. The.

D (58:42)

Sunday. Sunday house. Okay. There's something about not being able to go in there, but he pretty much goes anywhere else. The one upstairs is an adult. That's not a child. This is the child energy that I was kind of feeling and more like the adolescent energy, but that's more of an adult. It's.

A (58:58)

Mel.

D (58:59)

Mel.

B (58:59)

Okay.

D (58:59)

Yeah. That is male. Because that's why I thought it was odd that the woman that's. I mean, she's right there, and she doesn't come outside, and she goes back and forth on that patio.

A (59:10)

Railing.

D (59:10)

Okay. But she doesn't come inside the office, which is odd because that's kind of like the sensation is like, that is her.

A (59:18)

Space.

D (59:19)

Yeah. And so. And this is Sue. It's kind of the name that I got. I got a couple of names while I was here. Here, but I haven't been able to peg it except for hers. And that's just because this dude with the glasses told me, and I think his name starts with a G. G. Okay. But sue is the one that stands on that patio railing.

A (59:36)

Right.

D (59:37)

Okay. And she keeps saying, I was kind of kept here. Kind of like she didn't have an option to be here. Kind of weird thing. I don't know. It just feels odd. And she was like, you know, they kind of kept me here, and then I was here to help. Help with, like, illnesses or help.

A (59:51)

With people coming in and this guy and that other. The nicer guy. And then that's not the guy in the.

B (59:57)

Upstairs. No.

D (59:58)

Different. That's a completely.

A (59:59)

Different. Okay. Just making.

B (60:00)

My.

A (60:01)

Sure. I have it clear in my.

D (60:02)

Head. Yeah. You're dealing with, like this. This space has so many different spirits. And then an odd thing about sue that she kept saying, I'm kept here, and she's dealing with illnesses and people who are injured and things that are like. She just kept showing me that. And her standing on the kind of like overlooking the patio, that was something I guess she just liked to do a.

A (60:23)

Lot.

D (60:23)

Okay. But she doesn't go into the.

A (60:25)

Office. And what. What was the kind of age.

D (60:28)

Range of her, like, so she was like, probably in her 20s, right? Kind of like her early.

A (60:33)

20S. Young.

D (60:33)

Adult. Young adult. Okay, cool. But this, the man that's in that. He's a man. Like, that's like a grown ass man. Like you're looking at somebody maybe in their 30s or so being a little mischievous. He thinks it's really kind of fun just to fuck with people, but he feels more modern. He doesn't feel old. He feels like modern day. Like it was somebody that might have died up.

A (60:53)

Here. That's upstairs. You said.

D (60:54)

He. That's the one upstairs. Okay. Yeah. He feels more like a Today person. And I think that's why I'm having a hard time nailing him.

A (61:00)

Down.

D (61:00)

Okay. Like to nail down what he looks.

A (61:02)

Like. Before moving on, there were a few things from Sarah's impressions that I want to summarize and clarify. First, she picked up on a woman on the upstairs office, stairs and balcony with the name sue attached to her. That obviously is not Catherine. And nothing in Moonshine's documented history points to a Sue connected to the property. Sarah also placed this woman in the 1930s or 40s, which doesn't align with Catherine either. Catherine passed away in 1929 at the age of 74. So while the locations match where many people report activity, the identity may not be who staff have long assumed. In passing, Sarah also mentions seeing someone who looked like a military captain. But although early interviews suggested this basement once functioned as a soldier's bunker, our own research could not validate that through any historical record. So for now, that detail remains unclear, and I did not include any further details she had about him. But the presence that does seem especially noteworthy is this mischievous male in the upstairs office. According to Sara, he is not a child, but an adult spirit and one who feels more modern. She couldn't get a clear visual of him yet, but his energy was strong enough that we made a note to revisit this. At this point in the night, we headed downstairs so Sarah could walk us through what she had experienced earlier in Kinfolk. I especially wanted to know more about this shadow, like, figure she said she saw move through the.

D (62:29)

Space. So I was sitting here, and I just came across and saw it over here. Okay.

A (62:34)

Right. It literally came over the stairs.

D (62:36)

Are. It literally came down the stairwell and just was here. But it was so odd because I didn't really feel it come down. It was that it just shifted, and it caught my attention. The movement caught my attention because I was looking down, drawing, and I was like, what the fuck was.

A (62:50)

That?

D (62:51)

Yeah. And it stood, and when I. When I was like, hey, you know, what's going on? It just. It literally took one step forward and disappeared to the.

A (62:59)

Park.

D (63:00)

Okay. And I was like, what.

A (63:02)

The. My mic is going haywire right now, actually. Is somebody here with us right now? Can you make a noise in here for us to hear that? I can hear you because I know Sarah can sense you, but I can't. I can't feel or sense you. I can only hear or.

D (63:17)

See. It's in between. Between the wall, like, in.

A (63:23)

Between. Let me see what's up in here. Just for the hell of it. I'm sure it's just supplies, you.

D (63:28)

Know? Can you say that.

A (63:32)

Again? Messing.

D (63:34)

Up. Can you say it.

A (63:35)

Loud? I want to note that the mic keeps messing up when we try to communicate.

D (63:44)

Yeah. I can see the.

A (63:45)

Image. Every time you ask something, it makes my mic go haywire. It's tapping now, like, on my.

D (63:52)

Mic. It just feels like it's going, like, maybe this hat. It's hollow a little bit. Like, it feels like it's moving in.

A (64:00)

Between. Yeah. And you've got these, like, going.

B (64:02)

Up.

D (64:03)

Original. The.

A (64:03)

Beams. Yeah. It's crazy. I. I just saw that beam. I didn't see it before. It's.

D (64:09)

Right. It's like a. Not a male or female presence, but still present. It's like I can hear the shadow, but I can't see it. And then when it moved right past me, it suddenly the signal got.

A (64:21)

Clear. The shadow figure proved Just as elusive. When we returned to Kinfolk with Sarah, what struck me, though, was the sudden audio interference on my mic. Something that never really happens and hadn't occurred at any point earlier in this investigation. I can't say that it was paranormal, but it was unusual enough to note for listeners. To help you visualize where we were were we were standing at the Kinfolk bar, and behind it, and the door you heard me open during this segment was just a storage closet in there. While we were searching for the shadow, we also heard odd water dripping sounds. We eventually traced them to a drain pipe. And interestingly, Sarah had mentioned that this presence might be connected to the pipes or water in the space. After a few minutes, with the shadow still keeping its distance, we decided to leave the speakeasy. And as we started up the stairs, Sarah noted.

D (65:13)

This. How many people have fallen down these stairs? I swear to God, there's like maybe three or four of them. And then an injury down these stairs. Yes, it feels like three or four people have fallen down these stairs and at least one.

A (65:25)

Injury. This was something worth noting again, because several of the accidents and incidents connected to the stairs, the mini falls down the stairs, the hand injury, and even some of the activity were reported in Kinfolk hadn't quite happened yet at the time. The earlier investigations Sarah consulted on. In fact, Kinfolk itself wasn't even open during this period, so her impressions here couldn't have been influenced by those later events. Next up, I wanted to get an update from Kate, who was now in the Sunday house. Before we hear from Kate, there's one more important thing I need to call out. As listeners know, I do everything I can to remove or cover any photos, signage, or historical markers that might give our psychics clues about the location's past. Despite that, I completely missed one important thing. At the foot of the stairs leading down into Kinfolk, there's a portrait of a man wearing glasses and a small hat. I never noticed it, and I regret that because I later learned that this was a portrait of Dennis, the former owner of the restaurant Amelia's, which occupied this building prior to Moonshine. His name is clearly printed on a placard underneath the frame. Now, in this moment, you'll hear Kate admit that she didn't notice this portrait during her initial walkthrough. But on her second solo trip downstairs, she makes it a point that she actually came across it and admits it to me. She immediately recognized that this man has been the man that she's been describing earlier, the man with glasses to her it looked like the same man in this photo. Now, in her next update, she'll reference this portrait in the name Dennis, confirming that connection. And because of this and my strict rules, I can't treat the later details about the man with glasses as clean, independent hits the. That's not a reflection on Kate in any way. It's simply part of the investigative standard that I hold myself to. Once a medium has seen any identifying information, I can't reasonably validate anything tied to it as untouched or uninfluenced. With that said, let's check in with Kate and hear what she's experienced.

C (67:20)

Next. It's just some things that I noticed, and then I went down to the speakeasy, and I did see that picture of that man, and that's who I was, like, seeing in my third.

A (67:29)

Eye. Which.

C (67:30)

One? So it's like it's behind the speakeasy door. I didn't see when we were walking in.

A (67:34)

There. Oh, I didn't even see one.

C (67:35)

Okay. Yeah, I'm pretty positive it's him. I think I was hearing a D for his name. And then I feel like he was telling me to go down there. You keep getting pulled different places. And then I also feel like there's, like, a shadow man or a man in shadow who's nefar or, like, angry. Sometimes he doesn't want to be seen. And he. I think he, like, tries to separate people or, like, move people around. And the reason I feel that way is because I notice I keep getting drawn to places where people are by themselves. And it's almost like I'm coming to make sure that it's just like. It feels like a safety thing, like spiritual safety to me. So on top of. Of the people who are, like, human people, there's like, some sort of shadow figure. I think it looks.

A (68:26)

Masculine. And, like.

C (68:27)

Boot. Like a heel on his shoe. Up here on the top. I see, like, pacing.

A (68:33)

Yeah. Like.

C (68:34)

Where? The attic or.

A (68:35)

Whatever. In the Sunday.

C (68:36)

House. Yeah, it's a lot of Sunday house. Thank you. It's a lot of pacing and, like, he, like, will crouch and stare. It feels like that. Like he dwells kind of up there and then moves around. I don't know. There's something going on in the top of things. I don't know if it's him in particular or if it's two separate things, but I see him definitely up here, and I feel him walk up a lot. Like, I feel like walking up towards your back or like that. That's how it feels to me. I Think he's more associated, like, in this bar here and, like, over.

A (69:11)

Here. Okay, so let me mark that. It's the patio bar and the Sunday houses where Kate just mentioned that she feels this. This sort of masculine shadow.

C (69:19)

Presence.

A (69:19)

Yeah. Okay. Any other behaviors you're getting out of him or anything, like, audible or.

C (69:24)

Visual or sensory smelling Marlboro cigarettes or, like, a heavy, thick cigarette smell? And then also, I think he might have drank a lot or something, because when he's up on you, it's like you can smell the alcohol on his.

A (69:39)

Breath.

C (69:39)

Okay. And that's. He's just, like, right.

A (69:42)

There.

C (69:43)

Okay. And I wonder if there's, like, a J name or something. Also, when I was sitting in the speakeasy, somebody said Jeffrey's name. So I don't know if there's a spirit that is, like, communicating with him more or, like, pointing him out, but they were telling me Jeffrey's name. And then the man with the glasses, he looks older to me. And I kept seeing.

A (70:04)

Him. I.

C (70:06)

Can'T. I don't know what the name of this little hat is. I see him more in, like, the speakeasy area for some reason, or I. Or he.

A (70:15)

Like. I don't know what is his mannerism or behavior. Like, is he different? Is.

C (70:20)

He. Sometimes he's really sad. I don't know if he, like. Hold on. I wrote down something that he said. There's Jeffrey's name. Oh. I also keep seeing this woman, but I can't see her long enough to figure out who she is. She feels like a more protective and, like, background, but she's there. You know what I mean? She's intelligent, spends a lot of time in the speakeasy. Something about spending money. The spirits are curious about us. They want to know what we're doing here and if we're gonna send people away. I think people see you sitting at tables. I wrote something down about him being lonely when everyone goes home. I am lonely. That's what he said. And I kept feeling like a pain in my lower back when I was talking to him.

A (71:07)

Too. Okay, interesting. As a reminder, none of the psychics have shared their impressions with one another. And so what I'm looking for are patterns, consistencies that emerge independently. And a few things stood out to me here. First, the man with glasses. Both Kate and Sarah sensed him primarily in kinfolk. And while we do have to consider the possibility of influence from that portrait downstairs, there's still an interesting thread between their readings. Sarah noted that he insisted he was not as old as they Think I am. While this is now the second time Kate has referenced him as an old man, another thing that's interesting is they both describe him as gentle, not threatening or angry. Second, let's look at that darker male presence. Both Jeffrey and Kate picked up on a more negative, shadowy figure, though in slightly different ways. Earlier, Jeffrey described a very angry male spirit dressed in black, prone to yelling. And notably, this is one of the presences that has been engaging with Jeffrey the most throughout the night. He also sensed a separate, unsettling shadow in the Sunday house loft that looked like it was presenting to be a boy. And some of that energy aligned with some of the reports we heard in part two. Kate also sensed a dark male energy tied to the loft and possibly to the patio bar area. She wasn't entirely sure if these are the same presence, but she did get a J name associated with it, and she felt that this energy was particularly aware of Jeffrey and reacting to him. Lastly, Kate picked up on an elusive female presence. Protective, intelligent, but not yet fully clear to her. By this point, several hours had passed. The restaurant was empty, aside from the closing manager finishing up upstairs. And the building had finally settled into that deep, quiet stillness you only get after midnight. It felt like the right moment to shift into a more experimental phase of the investigation. Sarah needed to leave soon, earlier than the rest of the team. So I decided to bring her down to Kinfolk First, Only Alexis, Franklin and our photographer Adam joined us. Just enough people to run the experiment, but not enough to crowd to space. Tonight, Alexis and Franklin wanted to try a traditional Ganzfeld experiment. Red light over Sarah's eyes, sensory deprivation and brown noise replacing the usual white noise in her headphones. The goal was simple. Reduce external input and see if anything in the space might come through more clearly. Keep in mind, Sarah can absolutely not hear anything we're saying when she's under. Let's check out what unfolded. Okay, we're under more like a traditional Gansfield with brown noise. And Sarah's in the Kinfolk main front part of the Kin Folk speakeasy bar. Now, we've heard a lot of stories of things happening down here. We're trying to communicate with the spirit that might be responsible for some of those.

D (73:59)

Actions. I'm hearing a door open from over.

A (74:02)

Here. Are you coming in to speak to us? Can you let us know you're.

D (74:06)

Here? And it's a man with. There's a man walking in through the door with.

A (74:10)

Glasses. Do you have a.

D (74:12)

Name? The name is something with a G, like Gary.

C (74:16)

Gerald.

D (74:17)

Jerry. Gary. I don't.

A (74:20)

Know. Okay, let's move on from the name. And what. What are you doing here? Is there. Is there a reason this place is special, why you would be.

D (74:30)

Here? In my mind's eye, I am upstairs. It looks like a. It just looks like. There's a lot of trees. There's nothing else there. There's sounds of. Sounds like wagons and a train. It's the train. Something about the train. The man in the glasses is gonna sit here next to me. He's bringing his body.

A (74:51)

In.

D (74:52)

Okay. And something is dropping behind. Behind Alexis's energy. I can see the field of energy. It's dropping behind him. Not at the bar, but coming closer. He said, I'm always down.

A (75:07)

Here. Are you responsible for any of the.

D (75:09)

Accidents? He's pointing out two things. It's. One is a woman upstairs. But he's always down.

A (75:17)

Here. They believe a woman is down here. Is that a mistake? Is there another spirit down.

D (75:23)

Here? I don't need.

A (75:24)

Anything. Why? Why? Have there been some accidents? Is that just an accident? Not tied.

D (75:29)

To. Why are you. He's answering. It stopped. Hold.

A (75:33)

On. Let us introduce ourselves because we didn't get to tell you who we are. I'm Steven, and this is.

D (75:40)

Alexis. There was something else down here that looks like boxes. He says, I need one. I don't harm.

A (75:48)

People. He cleared it up. Okay. It's not.

D (75:51)

Him. I'm not from here. In my mind's eye, I'm seeing, like. It looks like. Like a downtown street. This. The street has, like, cobblestone tiles. Large. Like larger buildings. It's kind of condensed. It's almost like a larger city. But that's not here. That's not.

A (76:12)

Austin. Where did you come.

D (76:14)

From? It's Texas. South.

A (76:17)

Houston. The mic's messing.

D (76:21)

Up. I. I can only do one of you at a time. I can't do both. Who do you want to hear from first? The spirit in front of me or the spirit sitting next to.

A (76:28)

Me? Let's continue to hear from the spirit next to.

D (76:31)

You. The man, he says, I'm not as old as you think I am. That's all I want people to.

A (76:37)

Know. Kate is saying the guy with. This is.

D (76:40)

Old. Old time.

A (76:43)

Gary.

D (76:44)

Gary. Yes. If you can move away a little bit so that I can focus here, that'd be.

A (76:49)

Great. It hasn't messed up since you.

D (76:51)

Came. Thank.

A (76:52)

You. But I told her to speak to him as she's speaking to him. What else does the G, or perhaps Gary, have to say? He's not responsible for the Harm. Which is important to.

D (77:04)

Know. Can you come.

A (77:04)

Closer? Are you speaking to the other spirit.

D (77:07)

Now? He's not going to harm you. Can you come closer? I think you're asking a question and he's not wanting to answer it. I'm seeing in my mind's eye like hands that are. It's like they're covered in blood or they're covered in red. It looks like blood. Blood, not.

A (77:25)

Paint. There was an.

D (77:26)

Act. I don't harm anyone. It's quiet.

A (77:30)

Here. Is anything responsible for the accidents, for the harm? The bloodied hands? Was that. Was.

D (77:38)

That. He's moving.

A (77:39)

Away. We don't mean any.

D (77:43)

Harm. I can hear him saying. I don't want to answer.

A (77:46)

That. How about the other spirit that's here? Can we turn around our attention to that presence in front of.

D (77:52)

You?

B (77:52)

Stop.

D (77:52)

Move. Thank you. Gary, I'm getting.

A (77:55)

Touches. Yeah, Sarah's touching her arm right now. Like someone just touched her on the left side. I'm on the right side. Gary, you.

D (78:01)

Don'T. He's retreating. But Gary's still here. I still got the name wrong, didn't I? I know I did. Okay, so tell me what it is again. I'm sorry. I'm getting Gary. That's the only. Starts with a G. That's fine. Feel like I'm having eight conversations. This is great. I inspired this place. He said talking about when sometimes he couldn't get a drink around here. That's what he keeps saying. He's making gesture like this. He's saying, I've seen you here before and going like this. Saying you're. You've come a long way. For what.

B (78:40)

Reason?

A (78:41)

He. Yeah, we've. We do a thing where we try to communicate with people that have a history at a place or they might be lingering. And the current people that live here or work here, they want to know who you might.

D (78:53)

Be. Are you trying to. Just ignoring it. Okay, that's fine. He's ignoring your question. He says there's something important you need to.

A (79:00)

Understand. That's what we're here for. You can tell us.

D (79:02)

That. Oh, that's not you. Okay, so tell me. Show me what it is. He says it's the boy. Something about. Yes, he's hurting.

A (79:11)

People. The boy's hurting people. Okay, so the boy is hurting.

D (79:14)

People. He says two A push down the stairs. A few accidents from the dishes, like things coming off of the shelves. And then upstairs. He wants me to know about upstairs. He thinks it's funny, but it's.

A (79:31)

Not. What about the bloodied Hands. We did want to try to communicate with.

D (79:35)

Gary. Everything.

A (79:36)

Stopped. Okay. As you heard, Sarah kept circling back to the name Gary, but even she wasn't confident that it was right. The spirit was even laughing and telling her it wasn't. What was interesting, though, was how closely her descriptions lined up with what we later learned about Dennis, the man in glasses in that portrait at the bottom of the kinfolk stairs. Dennis lived in New York before moving to Houston and eventually Austin. And during this session, Sarah mentioned big buildings, cobblestone roads, which possibly could have been alluding to New York. Then she named Houston outright. Those details felt noteworthy if you caught it. I kept trying to ask the man with glasses about the accidents, the injuries, the shattered glass, all the things the staff have experienced that were a little bit more dangerous. And he responded very clear. He doesn't hurt people. Then he showed Sarai bloodied hands, which was especially striking because of the severe hand injury in Kinfolk. And note that that happened after Sarah did a consulting on the Real Ghosts of podcast. Later, this man with the glasses added something else. The boy is hurting people. And that brings us to the strange energy that suddenly dropped into Sarah during the session. A presence that she said she.

D (80:50)

Wanted to explain more like Gary or Greg or something with. I don't know. I just. The G is very predominant. And that's all I kept seeing was like, a bunch of little GS, which I've been seeing the whole time. But he can tell me. But he sat.

A (81:00)

Right?

D (81:01)

Yeah. I could feel, like, his thigh, like, up against my leg. So I was like, okay. But he. Every time he would try to lean in to tell me something, it was like I got interruption, like static until I saw the entity drop. And the weird thing is, when that entity dropped behind you, I literally saw your whole. The whole auric field just light up. And then I could see that he was coming through. Through.

A (81:24)

It. That was it. Was that a male or female.

D (81:26)

Energy? It was a male.

A (81:27)

Energy. But not the.

D (81:28)

G1. But not the G1. This is a different one. So. Because he was still sitting next to me, but it's like it got walled off. Like somebody was interrupting the signal here. And then when he came, when he came in, he was like, really, really strong. Strong. But this. He just didn't want to an, like, it was just so weird. All of a sudden, he just stopped talking to you guys, didn't want to answer anything. And I could feel something else was coming. Lots of interruption. Something about this. This particular weird, shadowy spirit that's down here. Likes it down here. Like this is a slick spot. But he's aware of the stuff that's going on upstairs but didn't care. He likes to stay down here. And there's something associated with the one water. So I feel like maybe he breaks things that have water in it, like pipes or you hear him more if the like water is going on. Like there's something of some weird association with water, with this, this particular entity. But he likes this space. But Gary is really weird cuz it's like he knows everybody in this.

A (82:25)

Space. And he's also kind of very common here.

D (82:27)

Too. He says I inspired. He keeps saying I inspired this, I inspired all of this. He keeps saying he's the one that. But he would say I always wanted to have a good drink every now and then. I never could find one. And so he's like I inspired this for himself. It was really weird. But it's like he seemed to know everything that was going on and just kind of like eh, you know, it's whatever. It's part of the spirit world or it's part of it is what it is. But he is. The warning is about that adolescent that's running around being crazy. And he also gave a warning of the other man, but not a. As much as the.

A (83:00)

Adolescent. Adolescent.

D (83:00)

Boy. Yeah. That adolescent's causing a lot of problems as far as like I think eventually it'll escalate into something more.

A (83:06)

Dangerous. A quick note. Franklin actually worked for Kinfolk in the past and he was around when it first opened. He suddenly chimed in to confirm a few things Sarah had gotten that even I wasn't aware of. I later confirmed that what he's about to share is in fact true with the current staff. So the water thing, okay, I don't know anything about.

E (83:28)

That. So it floods down here and they don't know where it comes from. Sometimes they'll just come down here and the entire floor will be.

A (83:35)

Flooded.

E (83:36)

Wow. And it happens about five or six times. And so they'll have to like come down here and like get fans and get like mops and vacuums and like vacuum all the water. It's just, it's just over.

A (83:49)

Here. I actually got a hold of the staff. I was actually told that they had pipes leaked that led Kinfolk to flood several times. And if you recall, Sarah wasn't our only medium tonight that brought this very issue up. Early on in Kate's very first update, she asked if there had been any pipes leaking or something happening with the pipes in the building. Curious if that's the mischievous boy that's doing really bad, we don't know. And that might have just been a freak accident. Accident too. It could not be.

D (84:18)

Paranormal. The boy and this spirit are not the.

A (84:20)

Same.

D (84:20)

Yes. Two different.

A (84:21)

Things. And does the boy ever come here or is it not come down here? So just. The stairs are him, but not in.

D (84:27)

Here. He can go above the stair. Like where? The.

A (84:30)

Top. So the tripping. The tripping can happen by.

D (84:33)

Him. Can't come all the way.

A (84:34)

Down.

D (84:35)

Okay. Because Gary won't let.

A (84:37)

Him. And so they. They all attribute it to a female.

D (84:42)

Spirit. Here.

A (84:42)

Here. It's a man you're seeing. It's a.

D (84:44)

Man. It's a.

A (84:45)

Man. They want answers for the dangerous, I think. Cuz they all kind of are afraid. I'll give you this. Don't share it with the other mediums, but they pour gin for the supposed woman. They've named her and everything. But it's just like. Again, I don't know if it's lore, this what they have built in their heads. And even some of the staff are like. We just assume it because we know some of the.

D (85:06)

History. Yeah. But it's. It's male. It's a male.

A (85:09)

Spirit. Is there anything else that Joe had. I can't remember what was going on over here. Y' all were freaking out. There were lots of spikes in the emf. It was going crazy. And it was every time that, like, oh, he's back. Oh, he's right here. It was just like. And it was going.

B (85:23)

High. It was like 13 at one.

E (85:25)

Point. Yeah. So this is a new toy I.

A (85:28)

Have. Okay. Yeah, I hadn't seen.

E (85:29)

That. So you'll see it has three fields. Rf, B, F, emf. So RF is radio frequency, VF is voltage frequency, and EMF is electromagnetic. And it shows you all three at the same time. Down here, you'll see where it says mixed. It will tell you the source. It'll say it's WI fi, radio, electric. And so that's how we can, like debunk. So. But when you were saying things were coming and going, the RF would spike. So the radio frequency would spike, spike. And also. Which is weird, when you wave your hand over it, it moves. So it's like picking up something moving.

A (86:08)

Around. Yeah, it was really.

B (86:11)

Strange. And then that little strap thing started to.

E (86:13)

Move.

A (86:13)

Yeah. And this was moving, which is weird because, like, we're checking to see if there was any air or something, but there's no air hanging. And it was swinging. It was like moving it was almost like it was being.

E (86:22)

Squeezed. Yeah. It wasn't like rocking was like squeezing, like it was contracting. Well, this is very directive. Like, it only reads what's in front of it. It doesn't read what's around.

A (86:31)

It. So it's.

E (86:31)

Super. So something has to physically go.

A (86:34)

Through over it and it doesn't do it with your hands or nothing like that. Like, that doesn't affect.

E (86:38)

It. Yeah, it.

A (86:38)

Does. Oh, it.

E (86:39)

Does.

B (86:39)

Okay.

E (86:40)

Yeah. So if you disrupt the. It's generating a field. Like, if I point it this.

D (86:44)

Way, it's going this way. Yeah. Okay.

A (86:46)

Gotcha. Any other place that you would like to communicate anywhere else with this type of.

D (86:51)

Setup? If it was me, I would want to be able to talk to.

A (86:53)

That little boy in the, the main dining area. Is that the best space to do.

D (86:58)

It? Because if he's harming people, we're going to get him to stomp.

A (87:01)

Some.

D (87:01)

Yeah. And the only other curiosity, and it's just sheer curiosity, is the, the office. The man in the.

A (87:07)

Office. Before Sarah had to head out, we wanted to give her one final ganfield session, this time in the main restaurant. The goal was for her to try to connect with this more dangerous teenage boy and see if we could get any clearer answers. But as you'll hear, that attempt is quickly interrupted by an entirely different presence who forces her way into the session. After we play this full recording, I'll share a few concluding thoughts on what unfolded. We're going to start talking to the boy now. Little boy, can you tell us your.

D (87:40)

Name? In my mind's eye, I'm seeing like, it's like a scene. It's like, it looks like a, like an alleyway or. It's not an alley. I, I, yeah, it's like an alleyway, I guess. And they're. There are a bunch of kids around his age, and they're, they're. Looks like a game. Looks like they're playing a game. Where am I? Hold on. I'm in this, like, really old house. I don't know why he's showing me this, but anyway, in my mind's eye it said, so a old house with, like, a front porch door that's broken. I could see like a, maybe like a swing set or something close to a park. It's really old. And he's saying, I'm from, I'm. This is where I'm.

A (88:21)

From. Give us more details on, on why you're here. Why do you. What do you.

D (88:26)

Want? Hold on, I'm getting static. It sounds like something's going to interrupt me. Let me push back. No, this is message. It's just for the boy. Move away. He's saying she does that. She moves us around. She's very.

A (88:41)

Mean. Can you tell us who she is? Does she have a.

D (88:45)

Name? So the boy says he doesn't want to be bad. He just is sometimes curious to see what will happen when he. It looks like, push his energy. He's afraid. I need you to come closer. Can you just. Could you come sit.

A (89:02)

Here? You can come sit here. We're not gonna do anything to you. Would you. Would you mind telling us more about the.

D (89:08)

Lady? I don't. He won't come here. Hold.

A (89:11)

On. You can stay far away. You don't have to come.

D (89:13)

Close. There's something else. You need to stop doing that. Don't touch me. Oh, my God. This woman's gonna interrupt everything. Hold on. Let me see. She is indigenous, but she's. Again, she feels much newer. Like, not old, more like somebody that was in the late 60s, early 70s. It's just kind of weird. She just feels like in that weird era. She's about 35 years old, maybe. And every time she says my people, it feels like it's. I keep seeing. What do you call it? Like, picket signs and, like, I can see the Capitol. I can see, like, a street with a bunch of people on it. She said, I'm. I'm fighting for my. I'm fighting to get my people back. She said, if I stop the boy from hurting other people, will you help.

A (90:09)

Me? We'll help you no matter what. You don't have to do anything. We just need to know a little bit more about you. How do we.

D (90:15)

Feel? She says the boy is sour, but she can let us talk to.

A (90:20)

Him. Yeah, let us. Let us speak to.

D (90:22)

Him. She said there's something wrong with him in here. At first it was here, but now it's in here. I don't know why she keeps. I'm gonna get the boy. He's asking if you're going to hurt.

A (90:35)

Him. No, we've said that we're gonna. We're not here to hurt anybody or force anybody out. We're here to just understand who you are and what you want and also try to help. Help the people that are.

D (90:45)

Here. I can hear, like, sirens in the background and dishes breaking. And he's asking again if you're going to hurt.

A (90:55)

Him. No, but why are you leading some of the people here to get.

E (91:00)

Hurt? Why are.

A (91:01)

You. Why are you doing.

D (91:02)

That? I don't Mean to hurt them.

A (91:04)

But they are getting hurt. There's been falls down the stairs, there's been cuts that almost killed.

D (91:10)

People. I just want to know what.

A (91:11)

Happens. And you've seen that it hurts people. So why do you keep doing.

D (91:16)

It? No, no, no, don't.

A (91:17)

Leave.

D (91:19)

Okay. No, everything's quiet.

A (91:21)

Now. Okay, it can come out.

D (91:24)

Now. I don't know. This lady interrupted, and then that.

A (91:29)

Lady had a lot of. A lot of other things. But it's interesting because that's more of a newer era.

D (91:35)

With. She's new. Like, she was new new. I was like, that's why you.

A (91:38)

Were. You're describing like 60s or 70s or something like.

D (91:41)

That. It sounded like she was, I don't know, like one of those protesters or something like that. That's kind of what it felt like. But this, this little. Keeps just moving around. I don't know what's going on. I don't. I don't.

A (91:54)

Know. We'll just kind of take everything and I'm gonna have to do more digging, obviously, but the boy, we can't really. Obviously. They've been doing much better since they did, like the offering down there, but it wasn't made to the boy. So I'm not sure what's going on there. But it could be just that time has passed and he's not as active anymore. But anything. He didn't give you any clue about why he's doing all that.

D (92:18)

Stuff? He just said, cuz it's.

A (92:20)

Fun. Yeah.

D (92:21)

Right. Because he's.

A (92:22)

Curious. And I explained to him, like, it's hurting a lot and it's actually almost killing people. People. But he didn't answer for that. But I just said, now that you know that, I don't think he cares. Yeah, yeah. As you heard, Sarah was suddenly interrupted by the presence of an indigenous woman, but not from the 1800s, as one might expect on such a historic property like this. Sarah described imagery that placed this woman in a much more recent era, the 1960s or 70s. She also saw flashes of picket signs, crowds in the Texas Capitol, as if this woman had been a part of some kind of protest movement. At first, none of this really fit neatly into the moonshine narrative we knew. But then Alexis reminded me of something mentioned in earlier interviews. Well, what's interesting is this woman, this Native American woman, because. So this is the story from Devin about her friend who used to live in the Sunday house. And she said, back then this.

B (93:22)

Was like a hippie.

A (93:23)

Commune. That's what that.

B (93:25)

Is. 1960s hippie.

A (93:26)

Commune. My dad Actually dug further and found that while we couldn't verify a formal commune specifically inside Moonshine's buildings, the surrounding Red river district absolutely was home to communal housing, coffee houses, and activist circles. During that era, it was a gathering place for musicians, artists, and early hippie communities. Communities people who often organized around social and political causes in the shadow of the Capitol just a few blocks away. So while we can't yet say who this woman was or why she pushed through so forcefully in this session, it's possible she belonged to a much more modern chapter in this property's history, one rooted not in frontier life, but activism, community, and the social movements of the late 20th century. But let's take a moment to look at what Sarah reported about the teenage boy. Now, throughout the night, Sarah kept coming back to the idea that this boy was the one causing accidents and mishaps around the property. And during the Gansfeld session here, that female presence described him as not right in the head and then motioned downward to his chest, saying it moved into his heart. You couldn't see her gesture this, but the implication was that whatever affected him mentally also hardened him emotionally in time. My own interpretation, and this is just that, an interpretation, is that we may be dealing with a presence that wasn't mentally well in life and who, in spirit, may struggle with empathy or boundaries. That could potentially be why there's more chaotic, disruptive activity reported here. But again, it's something we'll continue to examine as we piece this full picture together. As I pause to take stock of everything we've uncovered so far, it became clear that certain patterns were beginning to take shape. Even in just these first few hours inside Moonshine, Jeffrey, Kate, and Sarah had all worked separately, without influence, and yet their impressions overlapped in meaningful ways. The man with the glasses, kind, intelligent, connected to the basement, surfaced in both Kate and Sarah's readings. The angry male presence, loud and forceful, echoed reports from staff and matched Jeffrey's earlier impressions nearly point forward for point. And the shadowy figure in the Sunday house loft sensed by both Kate and Jeffrey matched stories from Sita and her daughters long before any of us set foot inside. Then there was the teenage boy. Unpredictable, chaotic, possibly responsible for some of the accidents Moonshine had become known for. That presence wasn't part of Moonshine's common lore. And yet pieces of what Sarah described echoed staff's accounts of sudden injury, injuries, unexplained mishaps, and bursts of energy that felt targeted rather than random. At the same time, contradictions remain. Not every impression aligned neatly with history or lore. Some details were unclear, some were conflicting, and some were simply too new or too unexpected to categorize yet. But that's how these investigations work. Threads appear, and only time reveals which ones actually lead somewhere. And most don't. But here's the thing. The night was not over, not even close. Moonshine was quiet now. The staff members had stepped out. The keys were in my pocket. My team was scattered across the property, Jeffrey deep in kinfolk, Kate regrouping after her solo session, and Sarah heading out but leaving us with a trail of new questions. We still had hours ahead of us, more rooms to explore, more experiments to run, and more chances for whatever was here to make itself known. So this is where we're going to pause for now. We'll continue in the next episode, Picking up at this very exact moment in the dead of night inside of one of Austin's most haunted locations, where the energy was shifting, the building felt awake, and we were only just beginning to understand who or what we were sharing it with. Thanks for listening to this episode of the Night Owl Podcast. Be sure to join us as this paranormal adventure at moonshine continues on January 26th. In the meantime, happy holidays, night owls, and many of you have asked about how to contact our featured psychic mediums on the show. Info on Jeffrey, Kate, the Brave and Sarah are all on my website thenight owl podcast.com under the team tab. There you can find their Instagram and website links. I'd like to thank my investigative team Alexis, Franklin, Jeffrey, Kate and Sarah for lending their abilities on this case. A special side thank you to our photographer Adam and our additional help Alejandro Nicholas Fair for his talented musical contributions to the show, my dad Sam for his incredible historical research and Mikey for his assistance editing Beau, Tristan and Devin for their help with our Night Owl events and tours, Sandra for keeping us all on schedule and on budget and last but not least, David Dalton of Driftworks Sound for mastering every single episode on the tight turnarounds I give him. Please support their works by visiting our website thenight owlpodcast.com and clicking on the about tab. There you can find links to all their individual works and websites. This podcast was mastered by David Dalton of Driftworks Sound. Do you have a song that could use a professional touch to get it across the finish line? Do you wish you could remove the sound of a loud air conditioner or distracting mouth noises from your podcast recording? Whatever your issue, David can repair and enhance your audio and help you achieve rich, full professional sound at industry standard loudness levels. Quit struggling with audio engineering and get back to creating. To discuss your options, reach out to david@driftworksound.com that'S-R-I f t worksound.com and set your creative self.