We now continue with Part 3 of the Paranormal Investigation of the Amargosa Hotel. Read Part One and Two if you haven’t already.
The Opera House
The Opera House was just like I remembered it. Old, beautiful, empty, yet full of energy. Good energy. I was looking forward to getting back into the Opera House. Dana and Maury had set up cameras everywhere, and there was other equipment I never really got a good look at, doing something important I’m sure. Maury gave Matty a digital voice recorder and told him to keep it on him at all times. I put my backpack down and started walking around the Opera House with Matty. Pam sat down in one of the opera chairs, and Dana hovered nearby making sure everyone and everything was okay. He was also taking lots of photos. At one point he was on stage taking photos of the room and his camera sparked and started smoking. We couldn’t figure out why, but Maury had told us that things like that happen often during investigations. Spirits like to mess with equipment and drain batteries. His camera still worked after that so he kept on taking pictures.
Interior of the Opera House
Dana’s Spooky Camera
Matty detected some distinct presences in one of the chairs so we went to investigate that. I didn’t feel much, but he sat down to play with those energies a little. I started walking around the stage. I walked into the back area of the stage, which I hadn’t done the last time I was there. I definitely felt more going on near the stage area.
The encounter with the spirit in the café left me wanting to make contact with as many spirits as I could because I figured that’s what most spirits wanted. I learned in the opera house that this isn’t necessarily the case for all of them. I picked up on some specific ghosts in the opera house, but learned that many of them simply wanted to be left alone. There were a few notable exceptions, however. –Matty
Maury initiated a conversation with the ghosts in the Opera House, inviting them to come talk to us. The strongest energies I felt were those of children hiding behind the stage area, and that of Tom, the deceased man who used to help Marta out. Tom was extremely protective of the items on the stage and of the Opera House in general. He was anxious for us to leave and even more anxious that we not disturb anything. The kids didn’t seem to want to come out while he was there. I wouldn’t say I spoke back and forth with Tom, rather I received a download of his thoughts and feelings and relayed them to Maury for verification of accuracy.
We eventually coaxed the children into coming out when Maury whipped out some toys for them to play with. My connection with the children became quite strong when I offered to tell them a story. They were so curious. I started conversing with the children. Once they found out I had kids of my own they started asking tons of questions about them. I got a great deal of joy talking to the children. I was giddy with delight. Matty was sitting behind me on the stage while I was talking to the children. We were both “seeing” the same children and describing their clothing the same way. One little boy seemed to be holding a stuffed animal. To me it was yellow, soft, floppy, and furry but I couldn’t make out exactly what animal it was. Matty saw a yellow lion. The little boy had an older sister he clung to. She was definitely in charge. We would revisit the children later.
Interacting with the Children
Pam didn’t look like she was feeling that well. Dana kept checking on her, but she said she was fine. She just didn’t say it like she actually WAS fine so we were suspicious. Dana and I went out the side door and the air that night was perfect. I went back inside and grabbed Pam and told her we should go outside and get some fresh air as it was a little warm and oppressive in the Opera House. I left my walkie talkie in the Opera House because I didn’t think we’d be gone longer than a few minutes. Note to others doing investigations: NEVER leave your walkie talkie behind!
I had no sense of children at all but the air was very dense and oppressive. I felt a bit claustrophobic. At one point we turned out all the lights and I was standing by the wall. Foolishly I was standing very stiff and my knees were locked and I began weaving. A hand steadied my shoulder and I thought it was Dana. I didn’t say anything as we were audio recording. A few seconds later Maury brought the house lights up a bit and I saw Dana standing across the room. There had been nobody near me. At the same time I had a sense of a man standing in the aisle wearing jeans, brown shirt and brown leather vest. I did not “see” anything, I just sensed it. Analytically I could not understand this at all. Immediately after, I felt very nauseous and had to sit down. I was grateful when Erin and Dana made me go outdoors as the clear, pure air was wonderful and even better the stars were so beautiful away from the light pollution of Las Vegas.—Pam
The Backyard
Maury started taking us on a tour outside. Apparently there were actually houses out there that people lived in. I mean, these were really old, crumbling-looking buildings. I couldn’t imagine anyone living in there.
Dana Richardson in the side yard of the Opera House
We also passed by Tom’s old car. And we came around the back of Spooky Hollow. This is around the time I looked up at the night sky and saw a gazillion stars. I was blown away. I’ve never seen that before. I was transfixed by all the stars.
Tom’s Car – Interior
The Mormon House
Maury took us far away from the Opera House to an old house that had apparently been transported in its entirety from one location to another. This was your basic rickety, haunted-looking house. The floorboards had holes, it was creaky, broken down, etc. We walked into the house and I got a strange feeling in the house. It wasn’t negative, but it wasn’t comfortable. I felt like I was being welcomed to stay in the house … like forever. Like the spirits in there wanted our company for eternity. I didn’t like the house. Matty was having a similar issue with it. While Dana, Pam and Maury went traipsing through the house, Matty and I backed out slowly. I yelled out that we were leaving, but I don’t think anyone heard me.
Matty and I left the house and at first we were standing out in front with the flashlight on, waiting for our friends to be done. But the longer I stood there, the more disturbed I was becoming. I felt anxious. I basically said to Matty, “I’m outta here. I’m done with this house. I’m just gonna walk over here.” Before we knew it we had walked almost all the way back to the Opera House.
I felt that the spirits within believed strongly that the house belonged in its original location. Their displeasure with the present situation left them seeking any kind of company they could find, maybe even for all eternity. I’m sure they would have loved to have had us for dinner. Possibly with some sweet potatoes and asparagus. –Matty
After a little while the rest of the gang came looking for us and Dana said, “Where’s your walkie talkie?” I sheepishly had to report that I’d left it back at the Opera House. He admonished me and said, “Don’t go anywhere without your talkie. Couldn’t find you. Didn’t know where you were. Zero good.” After that I kept my walkie talkie in my pocket at all times.
The Mormon House
Helping the Children Into the Light
We went back to the Opera House and Maury asked me if I wanted to help her help the children cross over into the light. That sounded like a great idea. We coaxed the children out and spent several minutes talking to them about why going into the light and crossing over was a good idea. What was great was that as Maury was talking to them, I was able to hear their concerns and protests clairaudiently, so I was relaying their information to Maury, who was then able to converse with them and answer their questions about the light. We were making great progress. The little boy definitely wanted to cross over, but his big sister told him no. She seemed to be under the idea that they were supposed to remain there for their parent to pick them up. We explained that their parents were probably already crossed over and waiting for them in the light, but she didn’t want to leave. We made a deal with the children that they would cross over with Marta Beckett when she passed. Marta is the dancer who is the lifeblood of Amargosa, performing in the Opera House for many years. She is now too infirm to perform. We eventually had to pull our energy back from the children, but I hope they will feel safe crossing over when Marta’s time comes.
I took the role of passive participant in the incredibly emotional conversation. I had tears streaming down my face by the end. Good thing the room was dark and no one could see. Oh, wait, people are reading this right now? Doh. –Matty
Again I had absolutely no sense of the children but the Opera House felt completely different to me when we went back inside. It just felt like an empty auditorium. I no longer felt claustrophobic and the air did not seem thick. -Pam
Our respectful behavior in the opera house the first time around provided Tom some peace of mind. He allowed us a more peaceful presence when we reentered. –Matty
Taking a break
We’d spent about 2 hours or so in the Opera House and the backyard area. It was time to break down the set up and move the equipment to Spooky Hollow. Dana and Maury got to work on that, while Pam, Matty, and I went back to our rooms to get some food. Ghost hunting makes you hungry!
We chowed down on the snacks I’d brought and debriefed a little on what had happened so far. Eventually Dana joined us and partook in some snackage. He also let us know there’d probably be a slight delay as Maury had run into some friends and was chatting with them outside on the porch. After a while, we went out to see what was happening. I hadn’t napped that day and I knew I was going to be heading into Spooky Hollow around the time I’d normally be fast asleep. I didn’t think any delay was a good idea.
Meeting Ted and Jamie
Maury was talking to two fellows outside named Ted and Jamie. They were on the scene filming a documentary about ghosts in Death Valley Junction. They were getting ready to head into Spooky Hollow around the same time we were so we decided to join forces and all go together. Maury gave one of them an infrared camera so he could follow us and film instead of us setting up stationary cameras. Dana, Maury, Ted, and Jamie went to Spooky Hollow to set up. Pam, Matty and I rested in the chairs outside the hotel in the cool night air and prepared to meet our fate. I was glad there were some other men-folk going to Spooky Hollow with us. Just in case…
Whole Series:
Amargosa Investigation – Part 1
Amargosa Investigation – Part 2
Amargosa Investigation – Part 3
Amargosa Investigation – Part 4
Amargosa Investigation – Part 5
Extra Photos
Maury with Jamie and Ted, the film makers
Walking around and exploring the Opera House
Communicating with the children
Smiling at the kids’ energy
There is no Dana, only Zu’ul
Stay for dinner at the Mormon House
Exterior of Tom’s Car
Typical Building at Amargosa
