Original subtitles

[Music]

[Applause]

[Music]

The way to

London Yeah.

[Music]

What's

that? Come on.

[Music]

No.

Ah. Would you like to play with these

children?

Shall I bring them? Yes, please.

[Music]

down which is the way to land. One foot

up and the other foot down. This is the

way to

[Music]

land. All irregularities will be handled

by the forces controlling each

dimension.

Transuranic heavy elements may not be

used where there is life. Medium atomic

weights are available. Gold,

lead,

copper, jet, diamond, radium, sapphire,

silver, and

steel. Sapphire and steel have been

assigned.

[Music]

[Music]

Hey

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[Music]

What is this? The side door.

Front door was

simple. So was the alarm. Good. There

were children. Where? In the yard

playing on the step. They disappeared. I

thought perhaps they'd gone inside.

No, no one came through the

door. Doesn't appear to be anyone in the

bottom part of the building.

How many children? Seven.

What did they look like? I don't know.

They were just children. Wasn't very

clear. Were they real? I didn't really

see enough from what you did see.

No, I didn't think they were real. Nor

do I think they were

images. I think there was something in

between.

Is this the place?

Maybe.

[Music]

Some kind of shop.

Lost property. That's what they sell and

buy.

You mean people lose these things?

The purpose of this place and places

like it is to trade lost property.

[Music]

This is now a cross between a secondhand

bargain shop and a porn breakers.

There's nothing new here.

No. A room full of triggers. Thousands

of

them. Could be any one of them. No.

Time has broken through, hasn't it? Yes.

And we, as usual, have been told too

late. Well, we're not too late to stop

whatever's happening. Too late to have

prevented it happening in the first

place. We should have been here earlier

before things happen. Before things

break through. Someone should be here

waiting. That's impossible. It's not at

all impossible. There aren't enough of

us. There are more than enough of us.

Well, who would volunteer?

Volunteer? Yes. Simply to sit and wait,

maybe for hundreds of Earth years. Would

you?

Well, that depends.

You wouldn't. I know you.

Well, there are those of us who are very

good at sitting about and doing nothing.

They do it nonstop.

The specialists?

The

specialists? Well, what are we?

What am I?

You're an operator. We're all operators.

Oh,

those. Well, this particular operator

has made up his mind about something,

and in his expert opinion, this room is

loaded with active

triggers. Any one of them could cause a

breakthrough. Some of them even speak

for themselves.

Well, in that case, this one has nothing

to say. What? Blan's ever died by this

sword or even been hurt by it.

Ever.

It's a depressing place, isn't it? Yes.

Nothing here but the belongings of the

poor, the hopeless, and the dead.

That's right.

But it is in here.

No, in this building. Yes. in this room.

No.

You mean it hasn't had to use any of

this?

How can you be so sure?

Hasn't needed to.

But wherever the time break

is, it's very close

by. I do know that much.

[Music]

[Laughter]

Steel. Yes. Move to the

door. Tell me what you

see. Tell me what I'm looking for. A

child somewhere in here with us

hiding. I don't see any child. Just stay

by the door. I'll try to find her.

[Music]

Seesaw, which is the way to London town.

One foot up and the other foot down.

This is the way to London town. Did you

hear that? Hear what? A child's voice

chanting a rhyme. A kind of skipping

song. No, I didn't hear it.

[Music]

[Music]

I think I found

her. Stay where you are. Watch the door.

[Music]

I found her. Whatever she is, I found

her.

[Music]

[Applause]

[Music]

Still heat.

This is the way to London town.

[Applause]

[Music]

[Music]

That was it. The time break. That was

part of it. And you said it wasn't part

of this room. You said it didn't come

from here. It didn't start here. It's

simply using things from here as part of

its game. It the child or what appeared

to be a child. I saw you from here. I

could see you. I couldn't move, but I

could see I could see you. Yes. It

was It was as if you were part of a

photograph. You were the same.

What did the child look like? She looked

as if she was from a photograph. Her

hairstyle, her clothes, the color

quality, everything looks as though

she's part of an old photographic

picture, except that she was

three-dimensional.

Yes. And for a short time, we

weren't

photographs. Is that how it's being

done? Is that how time has broken

through? A little help and

encouragement, maybe.

Let's look upstairs.

I'm sorry.

I just wanted to play, that's

all. Anyway, I'm

sorry. I have said I'm

sorry and I think you better come

home now. Please come home. Can

[Music]

you see them?

Yes.

Yes. This time I do.

It's children again. It always seems to

be children.

Yes.

Well, somebody's at home.

[Music]

[Music]

[Music]

Someone isn't too bothered about opening

their mail. Mr. H. Williamson. H.

Williamson.

Esquire. H. Williamson. How far back

they go?

several months. No food, no provisions.

Well, whoever he is, he appears to live

here above his

shop. He appears to sleep here, but he

doesn't eat, and he doesn't read his

mail. He reads books,

though. There are more here on the same

subject.

[Music]

[Applause]

[Music]

Tumbler and spring. The wards are here.

The built there.

[Music]

He does more than just read about it.

[Music]

Old photographs again. Yes.

[Music]

When somebody makes a hobby or a

profession of photography, doesn't that

mean that they take new photographs?

Usually, yes. Especially with this kind

of

equipment. Why aren't there any new

photographs in

here? And can you see any? No.

Steel.

There's something wrong with this

photograph. Wrong.

The balance is wrong. There are things

missing from it. What kind of things?

People.

Well, whose mistake was that? The

original photographer? No, the balance

was there when the photograph was taken.

The people were there.

Four. Four small figures.

Children?

There were four children in this

photograph. They were part of it. They

belong to it. Well, you mean it's been

faked. It's been worked on. No, the

background is intact. And so too is the

ground where the children were standing.

And the water's still there. What water?

The water that they spilled when they

were drinking at the

fountain in 1884.

96 years ago. All

right. Children. Children taken from

photographs or lost

or stolen.

Suppose you could call it a different

kind of lost

property. I think the same thing's

happened to that

one. And

this and to all of

them. Steel. Do you remember the child

in the shop below?

I think she belongs there.

So, these children are not alive.

They're not living. No. And you said

they're not ghosts. They're not images,

but something in between.

What about these? One foot up, the other

foot down. I expect they're waiting to

be brought here. This is the way to

London town.

[Music]

How creep.

There's someone in there

[Music]

alone. What

the? Look, if you want the landlord, he

isn't in. And if you want me, I'm not in

either.

So out. The landlord. I said he isn't

in. He lives below. Yes, he owns the

shop. He owns the whole building and I

pay my rent.

So would you mind? We haven't finished

yet. Well, I

have. Look, tell your boyfriend, will

you? Doors are knocking on you. Don't

just barge in.

Just a

minute. Who are you anyway? Police.

Predators. What? We're visitors. Well,

I'm sorry that you're visitor.

Turn that thing off.

Now, just a

minute here. I can't move. For God's

sake,

if you live alone, why are there two

beds in this room? Why are there another

person's clothes in the cupboard?

Another person's possessions? They

belong to my friend. Now, let me move,

will you? You're scaring me. Where's

your friend now? She hasn't been home

for a while. For how long? For several

months. You mean she left here without

taking any of her things? Any of her

clothes? Yes.

Have you heard from her since? No.

Bring her with you. Look, I said I have

to

[Music]

work. The old landlord

left when? Several months

[Music]

ago. I suppose he must have sold out. I

mean, he left all his furniture, his

photographic gear, his stop. Have you

seen him since? Oh,

what about the new landlord? Ah, he's

marvelous. Well, he doesn't bother me.

Doesn't even ask for his rent. I just

leave it on the top of the stairs when I

feel like

it. All right. So, he can't be earning

much. Well, he wouldn't, would he? If he

never opened the shop.

Man who earns his living in a shop

that's never open. Well, maybe he's

waiting. Waiting? What for? Oh, I don't

know. Do some work on the place. Get rid

of the ghosts. Ghosts

here. You can't go in there. It's

private.

These ghosts?

Oh, they don't bother me. Well, not so

far. I mean, all right. So, the place is

haunted, but the rent's cheap. Anyway,

they're only little ghosts. Not that

high. You've seen them? Well, glimpses

of them, that's all. This new landlord.

Ah, he's all right. Well, he must be.

He's always talking about his

kids. Children. The way he talks about

them, he must have dozens of them. I've

not seen them, though. Not yet. Describe

him. What? The new landlord. Describe

him to us.

Well, he's

That's weird.

What is Well, I've known the man a few

months. Talked to me enough times like

I'm talking to you now.

That's crazy. Tell us.

I don't know what he looks like.

Wow. There are some people here. People?

Yes.

What kind of people? A man and a lady.

Can we hurt them? Oh, please. Let's hurt

them.

What's

wrong? They haven't come to send us

back, have they? Because we don't want

that. We don't want to go back. We want

to stay here with you. No one's come to

send you back, my children. I brought

you here. Brought

you. No one else on this world can send

you back.

You just remember that.

I mean, that really is crazy. I've

talked to the man. Talked to him face to

face. I can't remember his

face. Be still, my children. Be still.

Yeah. Look at all these old pictures.

Where'd they all come from? They weren't

here before. No.

So, you've been in here? Oh, yeah. When

Mr. Williamson was here, but he never

bothered with stuff like this. Except in

the shop, except when he was selling

junk. He was a very clever photographer.

Is that how he made his living? Oh, no.

The shop was his living. This was just

his hobby. Not just taking

pictures. What then? Well, discovering

things about photography. Yeah, new

techniques and that. Anyway, that's what

he told me. And he certainly wouldn't

have bothered with stuff like

this. I mean, look, that's nothing.

There's nobody on that.

There was once. Once? What do you mean

once?

[Music]

[Music]

[Music]

still. And this one

[Music]

The child did that to us. What's wrong?

Yes. Chose those particular photographs

for us. What is it? Look, not exactly. I

mean, she simply chose appropriate ones.

After all, she's got enough to choose

from. Look, will somebody mind telling

me what's wrong? Do you have somewhere

else to stay? No. Then you better find

somewhere. Now, just a

minute. I happen to live here and I

happen to be getting ready for work when

you lot arrived. Hey, listen.

Just quietly minding my own business

when you lot come busting in. You go to

work at this hour? Yes. For how long?

For all night. Then pack a bag. Take it

with you. Stay there. I can't stay

there. Then stay with a friend. I only

have one friend. And she's disappeared.

Look, she hasn't exactly as the landlord

who's disappeared to be replaced by

another man. A man without a face.

Look, maybe he has got a face and I just

haven't seen it.

I

mean, I work in a club when I'm allowed

to. So, I suppose you see so many faces

that you end up not seeing faces.

Does that sound believable? No. Well,

it'll have to do. Now, would you mind? I

said I have to work.

It's all right. They're kids.

Just children for God's sake. Who's

children? How should I know? They just

play outside, that's all. Have you ever

seen them? Not close up. No.

How long have they been there? What? The

children? Well, I don't know. Several

months. Something like that. Since your

friend and the landlord disappeared. Is

that when the children arrived? Yes, but

no one's disappeared. No one's been

reported missing.

Don't have any funny ideas about Mr.

Williamson.

Mr. Williamson was a very clean

man. Not clean like you. He got on with

his pictures and he just liked to talk.

[Music]

Nice, isn't it? Hello.

You can't dance to it, but it stops you

feeling lonely.

I suppose you wouldn't know.

Did she choose that suit for you?

What did you say? You can turn it off if

you like.

It's her, isn't it? You can't do

anything. Last time that thing just

stopped. She did it, didn't

she? Take your suit as well. Steel. Yes.

This picture, there are two people in it

who shouldn't be there. What do you mean

they shouldn't be there? They don't

belong in it.

Oh, it's you. What are you doing down

there? Hiding. Now, why should I hide?

Anyway, there's some people looking for

you. I know that's your problem, not

mine. Last thing I need right now are

other people's problems.

Look, I know this is going to sound

stupid, but do you think I could see

your face?

Go on, please. But you've seen my face.

Well, no. You see, that's the funny

thing. Thanks, but I still can't see it.

Oh. Oh,

yeah. I suppose I wasn't looking

properly before. That's right. You

weren't looking properly.

You say it hasn't been touched for 97

years until you broke the glass. Yes.

And

yet those people are in there. Yes.

Careful, Steel. It's the only surviving

copy. If I destroy this, I'd be

destroying them. The sudden implosion of

chemical molecules would cause an

emission of photons as energy, which

would be impossible to contain or

reverse.

My back hasn't been touched either.

97 years ago.

[Music]

They really look as if they're, don't

they? Except for their clothes. Yes.

[Music]

Steel, there was something here. When? A

few moments ago.

A girl.

[Music]

No. That's

strange. Wait.

It's as if whatever it was was alive,

but in the wrong sort of way, in a

different sort of way, a manifestation.

No, more than that. Stronger than that.

A likeness. Then

no, because there's nothing to liken it

to.

The

smell. The smell of dust and paper and

copper and chemicals.

Which chemicals? It's a

mixture. Silver broomemide, iodine. But

it's it's so old. It's like a cupboard

that's been shut for 200 years. Paper,

copper, chemicals. Yes. But nothing

human.

No.

Yes. Just

here. A man. Sheen.

A man. A man who is a photograph. Is

that it? No, it can't be. But you just

said No, it can't be. The structure is

here. The texture is here, but not the

subject. There never was a subject. A

photograph of nothing. Of nothing human.

Yes.

And the children. The children that

attacked you. Well, they were human

once, but whatever it is that brought

them back, that stole them from the

photographs, that's not human.

What is it?

[Music]

Still, it's all

right. I'm just looking.

[Music]

There's nothing to worry about, my

children. Nothing to fear.

[Music]

A man who has the texture of a

photograph but has the strength and

power. Careful, Steve.

It's all right.

[Music]

How long is it since he was on that

stair? About 7 minutes.

It's time we had a proper look at him.

[Music]

Bring it back. It was here. So, let's

see it. There's about to be a

complication.

What? Well, I'm still here and I'm still

going to work. And you, mate, you must

be some kind of nut. All that old chat

about the new landlord. He was there

standing there.

Where? Where she is now. And there was

nothing wrong with him. I saw his face.

He showed me his face. He showed you his

face. Oh, come on. Are you trying to be

as creepy as your boyfriend? I saw the

man. He was standing there. Right there.

And there was nothing wrong with him.

There was nothing odd about him. He was

as normal as you and me.

Well, me anyway.

Where is he now? What? The new landlord.

Where is he now? Look, how should I

know?

Look, I pay my rent and I keep out of

trouble. So, if you want him, you find

him.

A cupboard that's been locked for almost

200 years.

What? Well, that's how you described it.

Oh, I did. Yes. When was the first

photograph ever taken?

On puter by Neps in

1826, a negative positive process by Fox

Tolbert

in August 1839.

And could some some force have found its

way in then into the photograph? Yes.

Let's say the first photograph ever

taken.

It's a unique access point, isn't it? A

useful time break for whatever it is

that wanted to get in. Like a genie in a

bottle. Who?

If it did get in through that very first

photograph. Well, then it's been trapped

there ever since. Yes, but where? I

don't know. Well, wherever it is, this

man Williamson certainly found it. Yes,

probably by accident, but he found it.

Turned it loose. Unlocked the cupboard

if you like. Well, come on. Let's see

it. Can you take time back for just this

for just this piece of stair? Yes, but I

can't isolate it for long.

I would have thought with all your

knowledge and experience. It doesn't

belong to me. I can only borrow time. I

can't keep it. You surprise me.

high domin. Like a

sticker. Now

nothing.

Just wait.

Well, it won't come back. It has to come

back in one form or another. It has to

come back.

something. Yes. The stairs. Watch the

stairs.

[Applause]

Why should

I Why should

I Why should I

hide? Keep him there. I

can't. No.

[Applause]

[Music]

That's only the shape he hides

in. Did you see my face? Did you see my

face? Did you see my face? Did you see

my face?

Did you see my face? Did you see my

face? Did you see my face? Did you see

my face? Did you see my face? No. Did

you see my face? Did you see my face?

Did you see my face? Did you see my

face? Did you see my face? Did you see

my face? Did you see my face?

[Applause]

That's where it's been

trapped. In every

photograph in every photograph that was

ever taken, it can be any shape. It can

be any shape it wants to

[Music]

[Applause]

be. No, Sapphire. No, it's real shape. I

want to see its real shape.

[Music]

find itself. It's real shape. Let me see

it. Why should

I? Why should I? Why should

I? Why should I?

Come on, find it. It's real shape. Let's

see it. Let's see it. Let's see it.

Safar.

I'm

sorry. I can't anymore. There was a a

barrier.

I'm sorry. You're sorry? What do you

mean you're sorry? You almost had it. I

mean, it was

it Well, at least we know what it is. We

haven't seen it yet, but we know what it

is. So, let's try and find

it. Well, come on.

Whatever you did, you certainly caused

havoc in every photograph there ever

was. Well, who is he in this one?

Him. Him. Him.

No, they have their own faces. The

figure we're looking for will always be

half seen or turned away like that one

or not even seen at all. And what about

that one?

It could be behind the fence or in the

street beyond or in the next room. But

all was in there somewhere. Yes.

So every photograph is a photograph of

infinity.

[Music]

Oh my god. Don't

[Music]

What is that?

[Music]

The sea saw

seal which is the way to London

town. Paper

bubbles. Paper

parasols. Paper

children

photographing. Look behind you.

Oh dear.

Tell me what you see.

What I

see? Well, I see the same as you do.

Describe his face.

It's a youngish face, dark hair, narrow

eyes, pointed chin. Well, that's not the

face I'm looking at.

Where are you going?

You stay

there. Watch him. I'm going to take a

closer look. Excuse me. Would you prefer

us to communicate in this way? Only it

doesn't make much difference to me.

So, I'll tell you what I'll do. I'll let

you

choose. How's that?

All right. Let's communicate like this,

shall we? Why not? With our true voices.

Fine. And our true faces?

These are

ours. The only ones we possess, I'm

afraid.

How about you?

Me?

Yes. We'd like to see your true face.

The real

one. Oh, I'm afraid this one will just

have to do. No, it won't. Not for us.

But then again, maybe you don't have a

real face. Not the human

kind. Am I right? I mean, you have

millions to choose from, don't

you? But we'd really like to see what

you look

like before we send you back where you

came from.

That can't be done.

Oh, it can. That's our job. That's why

we're here.

Tell me about the children.

Why do you need them? Why have you

brought them back with you?

And the

people? People?

Yes. The man and the woman. They belong

in this time, in this period. They don't

belong in the photograph that you've

chosen for them. So So before we get rid

of you, we'd like them returned.

Well, perhaps you could tell them

that. Yes.

when you join them. What do you mean

join them? Now, you'll find out later.

I'm the king of the castle. Get down,

you

[Music]

dirty. He's here

now. Where? There.

He must be somewhere. Don't you mean

anywhere? I mean, if he can disappear

into photographs like like some kind of

tunnel system. I mean, we can't follow

him into that thing, can

we? What's wrong? When you join them, I

wonder what he meant by that.

All right, we'll destroy every

photograph in the place.

Well, why not? Remember the house? It

got into a picture and we destroyed the

picture. We destroyed all the pictures.

That was one painting in one house.

This is the whole process. The entire

art of photography. Now, do you have

time to destroy every photograph that

exists in the world?

[Music]

[Music]

Heat. Heat.

[Music]

[Music]

You still here? Elizabeth Owen. How do

you know that? Take a look at this. I

said, "How did you know that?" That

name. I haven't used that name for

years. Take a look at this photograph.

Liz Dup Prey. That's my name. That's

been my name for the past. The

photograph?

Yeah. Well, what about it? It's just a

photograph. There's hundreds like it in

this place. And I'm late for work. Look

closely at it.

Yeah. Very nice. Your friend Ruth

Phillips. Yeah, that's her name. But I

never told you. She shared a room with

you? Of course she shared a room with me

until a few months ago. Yes, I've

already told you that. Can you see her

in the photograph?

See her in it? In that thing? How can I

see her in that thing? That thing must

be a thousand years old. 87? What? It's

exactly 87 years old, give or take a

week.

The building at the far end of the

street, the top floor in the window.

I'm not sure. I mean, it could be

anybody.

Yeah.

All right. So, it looks a bit like her.

Same shaped face. It is Ruth. Look, if

this picture is 80 years old, then how

the hell can I said look there? So, what

am I looking for this time? Just look.

Don't believe it. Him. Williamson. Yeah.

Your previous landlord. That's right.

Yeah. Who disappeared about the same

time as your friend Ruth disappeared.

Yeah.

One. Two.

Now, wait a minute. Anyone can play

tricks with a photo. Fake it. They can.

Yes. Especially if they know what

they're doing, if they're

professional. And he was. Mr. Williamson

was. He probably did that. Fake that

thing. Why should he do that? Listen,

would you mind taking those job, his

hobby, all of it was everything. Listen,

I have to work. Shuffer to concentrate.

So, would you mind? Would I? What?

Listen, you're not the only one who has

to work. Liz,

will you come with me? I need your help.

[Music]

Is Ruth interested in photography? Oh,

yeah. She couldn't take a picture though

to save her life. She likes watching

though, seeing how it's

done. She used to spend hours in that

dark room with old Williamson. Hours and

hours just watching the man as he

worked. Used to fascinate her.

It's only a seller.

[Music]

Have you finished with me

yet? Was Ruth in the dark room that

night? What night? The night she

disappeared. Look, no one's proved she's

disappeared. I don't know. I suppose she

must have been. I mean, she never took a

go, so I doubt if she'd be gone out.

Yeah, I suppose she must have been

there.

[Music]

Mr. Williamson, what did he do? Do?

Yeah. Well, he must have done something

wrong accidentally. Yes. So, what was

it? Something to do with his

photography?

Yes. He let something

in.

Where? In the

house. What? Just what are you talking

about? Well, we're hoping perhaps Ruth

will be able to tell us when we talk to

her.

[Music]

[Music]

If you reckon that Ruth is stuck in some

picture, then how are you going to talk

to her? You'll see. But nobody can talk

to a photograph and get an

answer. It's not locked, just jammed.

Something I do happen to know. I've

spent half my lifetime making quick

exits. How about

you?

Backyard.

Okay. Yeah, that's

funny. Where's the kids?

Ah, they must have

gone. Oh, what a shame. They bring a bit

of life into the place. Sound of them

playing their games, skipping and that,

singing their funny

songs. You know, it's funny. I used to

think they were foreign or something or

from the country cuz their songs always

seem sort of old. Sort of oldfashioned.

Do you know what I mean? Yes.

It's funny though. I've never seen their

parents. I mean, no one comes to look

for them and take them in. I mean,

they're out here playing for till all

hours and no one comes and gets

them. Anyway, they're definitely not

here

now. Oh, there they

are. They must have been

hiding.

Yes. What's the matter with them?

I frightened them.

Frighten them. You like frightening

children. Well, they're not exactly

children.

You don't entirely believe me, do you?

Well, not 100%. No. Go and look.

Oh, well.

Small ghosts. Isn't that what you once

called them? Yeah, but I didn't mean

these. The

same ghosts. It's one way of describing

them, except that these are ghosts

before death, not

after. But what's the matter with

them? Their

clothes, the color. That's close enough,

[Music]

Liz. Poor little

boy. Do you want your mom and dad? Do

you, Liz? Oh, poor little soul.

[Music]

Is that proof enough for you?

[Music]

I'm

ready. I'm ready.

And are those the clothes she was

wearing the night she disappeared?

Photos? You mean this man? He can

actually put people into photos. Yes.

And take them out

again. Like those children? He can.

Yes. Poor Ruth.

Now I'm going to try to communicate with

her. Can I help you? You just sit there

and be quiet. You sure I can't put

myself in a trance for you? I mean,

that's my friend. My best friend. You

just sit there. If we need you to be put

into a trance, then she'll do it.

Well, get on with it.

Ruth.

Ruth, can you hear me?

Ruth, can you try to speak to

me? Try, Ruth. Try

it. Try to speak to me with your mind.

I can help

you. Please,

Ruth, try very hard.

As I was going up the stair. That's her.

Her voice. Be quiet.

What is

it? A rhyme I knew when I was a

kid. How did it go? Tell us. Hang on.

I'm trying my

best.

Yes, that's

it. As I as I was going up the

stair, I met a man who wasn't there.

[Music]

He wasn't there again

today. I

wish I wish he'd stay

away.

Yes, that's it. That's the one. I

remember

it. Why do you remember that rhyme in

particular? Because I'm remembering a

lot of things these days. Like like it's

like

daydreaming. Oh,

no. I know why I remembered that. that

it was the man. The man on the

stair. That's

weird. That seems like the last memory

I've ever

had. There's been nothing to remember

since.

Do you know where you are? No.

Can you see anything?

Not really.

No, only my

thoughts. Things I remember.

It's well, it's a bit like being asleep,

like having an

operation. When I was a kid, I had an

operation. It's a bit like

that. Dreams and real things, they all

sort of get mixed up in my head.

Am I going to be all right? Ruth,

the experiment. Ask her about the

experiment. Yes, you're going to be all

right. Oh, good.

Ruth, the man on the stair, he just

appeared. That's all. I was with Mr.

Williamson and he was working and then

the man came. He just appeared.

What was Mr. Williamson working on at

that precise moment? I don't know. Some

sort of

photograph. Are you sure I'm not in

danger? Yes, I'm quite sure.

Ruth, where was Mr. Williamson working?

In his photographic room. Yeah, in the

dark room.

But you can't remember exactly what he

was doing. No, not

really. He was very pleased,

excited. He said he discovered

something. And I said, "Would it make

him rich?" And he laughed. And I

remember he was ever so pleased. He said

he'd find a way to What's

[Music]

happening? What's

happening? What's

happening? What's

happening? What's happening?

[Music]

alive. No,

don't take time back. Save

them. Take time back now.

[Music]

[Music]

It's too late. Yeah, it's too late to

save those people. That's the second

time you failed. He creates a kind of

barrier. He it

Williamson. What did he

discover? She

just she just disappeared from

there from that

thing. I watched it. I saw it happen. I

heard her

screaming. She asked if she was in

danger. I heard her when you made her

talk. Made the picture

talk. Is she in danger? Liz, don't tell

her. We are all in danger. Because of

him. The man on the stair. Yes. That's

why you must leave. You must pack a case

and leave now.

The other picture, the big one with Ruth

in it. Could I have it, please?

We haven't finished with it yet.

Oh,

see,

she's Well, suppose she's the best

friend I've ever

had. You could say the only

friend. I don't really collect friends.

Anyway, I'll pack a case. Good. Oh, it's

not good, but it comes easy to me. Story

of my life knowing how to pack a case.

I'm almost an expert at

it. I feel like this lot

sometimes looking like they've been

somewhere, going

somewhere. But when you think about it,

they're staying where they are. They're

going nowhere,

right?

Anyway, when you bring Ruth back from

wherever she is, will you let me know

somehow?

Yes.

[Music]

Thanks. H Williamson,

Esquire. Just exactly what did he

discover?

[Music]

[Music]

[Music]

[Music]

Tricks,

tricks, tricks, tricks with film, tricks

with

cameras. We've been looking for proof,

for evidence of some great photographic

discovery. Mr. Williamson photographer

was no more than a clever conjurer.

Light patterns, multiple images,

mirrors. That was the extent of his

talent. Excuse me. To someone like Ruth,

it was no doubt talent

enough. A few cheap tricks to impress

the ladies. Well, at least he bothered

to impress them.

He simply used photography, slides,

nothing spectacular.

He combined them. He combined pictures

of people with pictures of places. But

more important, he combined pictures

taken at different times. They never

learn, do they? About the dangers of

mixing the old and the

new. Excuse me.

combining the old and the

new. That was his first trick.

And he's lost. Oh no.

Go sit on the

sofa. Come on.

[Music]

It's so primitive. I don't know why he

bothered. I suppose Ruth was curled up

on a cushion, so he felt he had to put

on a bit of a parade for her.

A kaleidoscope. A toy invented in

1817. There's no way he could have known

that he was manufacturing an instrument

of such power.

A mirrored

prism. A photograph taken from the

multiple image

slide. Now

that goes in

here.

That the field of vision is fairly

small, but it's enough.

Oh goodness, you are clever. No wonder

Ruth was impressed.

The shorter the focal length of the

lens, the more numerous the reproduced

images. Is there a film in that camera?

No, not this time. We'll take the

picture out. It's perfectly safe out.

You can never be sure.

It was an

accident. He brought it here by

accident. And he didn't just bring it

here. He invited it here. He dragged it

here with this a mirrored prism acting

like a kind of kind of funnel. Like a

siphon. Yes.

for something that's been trapped for

almost 200 years between times.

As I was going up the stair, I met a man

who wasn't there. He wasn't there again

today. I wish I wish he'd stay away.

He dragged it in there and held it there

for a while, but then he decided to take

his apparatus

apart. In here was a force that had it

adopted not just one human shape, but

many, trapped and held by their own

reflections.

There are 17 mirrors in this house. Yes.

Now we know where he's hiding. We've got

him.

No. What do you mean no?

No. Containing him is not enough. Well,

it'll have to do for the time

being until we think of a way of sending

him

back. Ruth and Williamson were killed by

him. He imprisoned them in a photograph

and then burned them

alive. That was never happened again.

[Music]

[Music]

which is the way to London town. One

foot up and the other foot down. This is

the way to London town.

[Music]

Who is it this time? Who is it, please?

Two more people. People we've been

looking for for a very long time.

Let me see.

Now, where shall we put

[Music]

them there? Just there.

Let's put them there.

[Music]

Can we play games now? Can we play games

with them?

Later. There'll be time for games later.

[Music]

[Music]

Steel.

Steal

the the girl.

[Music]

Liz, the only one left to help us is is

Liz.

You sent her away. Do you remember?

But you told her to leave.

[Music]

Yes. Can you see anything?

Not clearly.

No. Can you

move?

No. Neither can

I. Do you remember what the voice of

Ruth said to us?

Yes.

Like being half

asleep, half aware, like like

daydreaming,

like

being inside a

photograph, part of

a of a of an old photograph.

Yes,

I'm also remembering

something something else.

gone.

Whatever it is that has put us

here, it has access to any photograph,

including this

one. And it it can also move around

inside a photograph. I mean, we we

witnessed

that.

So So why can't we

move? Can you take time back? That's

impossible. Now

the girl then it has to be the girl. Try

it. She may still be

[Music]

here.

Liz Elizabeth

Owen. Liz

Steel. I think she's still

there.

Liz, please.

Liz. Liz, try to hear

me. Try to hear me with your

mind. Please, Liz.

[Music]

Oh, she's going. She's going away. No,

Liz. I

was Well, I'm leaving.

I know it's short notice. No notice, but

I found somewhere better, closer to me

work. I see. Anyway, the rent's paid up.

Well paid in advance, so you can keep

what's left over. Oh, thank you. Keys

and rent book are upstairs in me room.

Fine. Now,

uh, would you mind?

Thanks.

I think she's gone. Steel, there's

something else. We can try something

else. We can we can make a mirror. Make

a mirror from from this this glass. How?

If we concentrate both of us,

think of mercury and silver. Yes. Think

of what they can do. Borrow from their

minds. It can be done if we both

concentrate. Steal.

[Music]

Who's there?

[Music]

[Music]

Who's there?

[Music]

He's vanished. Where? Where's he gone?

He's He's escaped into a photograph.

Then he's coming here. He's coming into

this one. He's going to destroy us.

[Music]

Please. Lace. She's here. Yes. And so is

he. He's in here with

[Music]

us. A

prism. A mirrored prism. We must create

one. Liz. Yeah. You must help us. Yes,

of course. But I really don't know what

to do. Quickly, no questions. There

isn't time. Just do as I say, Liz. Now,

there are some framed pictures in the

corner of the cellar. Do you see them?

Then bring them here now. Bring them to

this

photograph now.

[Music]

Don't look at them,

Liz. Put the pictures by the

mirror. One on each

side. Leave your bag. Leave it. Now, do

you remember the mirror on your dressing

table? Yeah. Angle the pictures towards

you. Like that? Yes. Like that? Like

that? More?

More. Hurry, Liz.

[Music]

What's happened to him? He's trapped

forever. No, not yet.

Tell me what happened to Ruth. She's

dead. Liz,

take it.

[Music]

We need something to keep him in. Genie

in a bottle. Well, let's find the

[Music]

bottle. Each and every photo is mine.

They all belong to me. Trees and towns

and villages all made of paper and paper

burns.

You girl, no one hides from

me. In years to come, I'll find a

photograph. Your

photograph. I'll be back.

The kaleidoscope.

Paper

burns. Nothing

lasts. Only me.

[Music]

[Applause]

He says it can never be forever. I can

arrange something. A kind of forever.

No. No. Please. Please. No. No.

You said a kind of forever. Yes. Well,

that isn't. Can I see? No, that won't

hold him for long. For 75 years. In 12

minutes and 9 seconds, a ship is due to

sink. Where? In the Arctic Ocean, west

of the Bearing Straight. It will remain

immersed in a pyramid of ice for 3/4 of

a century. We must be sure that this is

on board when the ship goes down. And in

75 years time, we will be waiting. There

will be other

shipwrecks. Find every photograph of you

that there is. Burn them. Never have

another taken.

[Music]