MONDAY MAILTIME: The Gallery That Vanished & The Typewriter That Remembered
Paranormal Activity with Yvette Fielding
adam.foster@createproductions.com
4.6 • 571 Ratings
🗓️ 10 November 2025
⏱️ 13 minutes
🧾️ Download transcript
Summary
This week on Paranormal Activity: Monday Mailtime, Producer Dom unpacks two listener stories that challenge the boundaries of time, memory, and the spaces we think we understand.
First, Daniel takes us to the cobbled alleys of Bruges, Belgium, where a mysterious art gallery seemed to appear out of nowhere and then vanish without a trace.
Inside, the portraits didn’t just watch him… one of them moved.
Was it an artistic illusion, or did Daniel step into a place lost to history?
Then, Ben shares what happened during a quiet winter in Sheffield, while housesitting for his cousin.
In the attic sat an old Remington typewriter, silent for decades.
Or so he thought.
When the keys began clicking on their own, it felt like more than just coincidence, especially when one key pointed to a message from beyond the grave.
Two stories. Two impossible places.
One question: Can the past ever really let go?
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Transcript
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| 0:00.0 | Hello and welcome back to Monday Mail Time on the Paranormal Activity podcast with me, producer Dom, where we dive into your experiences and your stories. |
| 0:09.0 | So without further ado, let's dive into the mailbag for our first story of today's episode. |
| 0:13.0 | This one comes from Daniel. |
| 0:16.0 | Hi, I'm Daniel. This happened to me when I was in the Holiday in Bruges. |
| 0:19.0 | I'd taken a day chip to wander the quiet streets away from the main square. Well, it all probably would. Great city, Bruch. The city is beautiful, as we know, cobblestones, hidden courtyards, little shops tucked behind old facades. Late one afternoon, though, I came across a small art gallery I didn't remember seeing on my map. |
| 0:37.5 | Had this lovely handwritten sign outside, Gallery du Cilence. |
| 0:41.5 | The door was open, so I stepped in. |
| 0:43.7 | Inside it was silent, except for the faint creak of the floorboards under my feet. |
| 0:48.3 | The walls were covered in portraits, all paintings of people, mostly from the late 19th century. |
| 0:53.8 | Every single one of them was down directly at the viewer. Their expression is unreadable. At first I thought the lighting was just dramatic, but as I moved along the wall I noticed something strange. The eye seemed to follow me. Not just to use your trick of perspective, this was different. It felt conscious. A low chill crept up my back, even though it was warm outside. |
| 1:11.6 | I tried to tell myself I was overreacting, so I turned towards the front desk to ask the |
| 1:15.6 | attendant about the artist. |
| 1:16.6 | That's when I realized there was no one there. |
| 1:19.6 | No staff, no sound of footsteps, no hum of a fan, just me, the portraits and that heavy |
| 1:25.6 | silence. |
| 1:26.6 | When I turned back to the paintings, one of them had changed. |
| 1:29.5 | I swear to you it had. |
| 1:31.2 | The woman in the frame now had a head slightly tilted, her mouth opened just a fraction, |
| 1:35.0 | like she was about to speak. |
| 1:36.6 | My heart started racing and I walked straight out without looking back. |
| 1:39.9 | The next day I tried to find the same place again. |
| 1:42.5 | Same street, same corner, but the gallery wasn't there. The storefront was empty, boarded up, with dust on the windows in no sign of recent use. I asked a shop-own nearby about the gallery Deauce and she frowned. She's yet heard the name in years. Then she told me that there used to be a gallery there, but it had closed after a fire in the 1980s. |
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