You follow the footage." His eyes narrowing within their brackets of black Italian plastic.

Damien maintains, half-seriously, that followers of the footage comprise the first true freemasonry of the new century.

"Were you there?" Cayce asks, jostled out of herself by this abrupt violation of context. She is not by any means a celebrity; being recognized by strangers isn't part of her ordinary experience. But the footage has a way of cutting across boundaries, transgressing the accustomed order of things.

"My friend was there." He looks down and runs a spotless white cloth across the bar top. Gnawed cuticle and too large a ring. "He told me that he'd run into you later, on a site. You were arguing with someone about The Chinese Envoy." He looks back up. "You can't seriously believe it's him."

Him being Kim Hee Park, the young Korean auteur responsible for the film in question, an interminable art-house favorite some people compare with the footage, others going so far as to suggest that Kim Park is in fact the maker of the footage. Suggesting this to Cayce is akin to asking the Pope if he's soft on that Cathar heresy.

"No," she says, firmly. "Of course not."

"New segment." Quick, under his breath.

"When?"

"This morning. Forty-eight seconds. It's them."

It's as though they are in a bubble now, Cayce and the barman. No sound penetrates. "Do they speak?" she asks.

"No."

"You've seen it?"

"No. Someone messaged me, on my mobile."

"No spoilers," Cayce warns, getting a grip.

He refolds the white cloth. A waft of blue Gitane drifts past, from the Euromales. "A drink?" The bubble bursts, admitting sound.

"Espresso, double." She opens her East German envelope, reaching for heavy mirror-world change.

He's drawing her espresso from a black machine down the bar. Sound of steam escaping under pressure. The forum will be going crazy, the first posts depending on time zones, history of proliferation, where the segment surfaced. It will prove impossible to trace, either uploaded , via a temporary e-mail address, often from a borrowed IP, sometimes via a temporary cell phone number, or through some anonymizer. It will have been discovered by footageheads tirelessly scouring the Net, found somewhere where it's possible to upload a video file and simply leave it there.

He returns with her coffee in a white cup, on a white saucer, and places it before her on the glossy black counter. Positions a steel basket nearby, its sections containing a variety of colorful British sugars, at least three kinds. Another aspect of the mirror-world: sugar. There is more of it, and not only in things you expect to be sweet.

She's stacked six of the thick pound coins.

"On the house."

"Thank you."

The Euromales are indicating a need for fresh drink. He goes to tend to them. He looks like Michael Stipe on steroids. She takes back four of the coins and nudges the rest into the shadow of the sugar caddy. Smartly downs her double sans sugar and turns to go. Looks back as she's leaving and he is there, regarding her severely from the depths of black parentheses.

BLACK cab to Camden tube.

Her attack of Tommy-phobia has backed off nicely, but the trough of soul-delay has opened out into horizonless horse latitudes.

She fears she'll be becalmed before she can lay in supplies. On au-tonomic pilot in a supermarket in the High Street, filling a basket. Mirror-world fruit. Colombian coffee, ground for a press. Two-percent milk.

In a nearby stationer's, heavy on art supplies, she buys a roll of matte black gaffer's tape.

Heading up Parkway toward Damien's she notices a flyer adhering to a lamppost. In rain-faded monochrome a frame-grab from the footage.

He looks out, as from depths.

Works at Cantor Fitzgerald. Gold wedding band.

PARKABOY'S e-mail is text-free. There is only the attachment.

Seated before Damien's Cube, with the two-cup French press she bought on Parkway. Fragrant waft of powerful Colombian. She shouldn't drink this; it will not so much defer sleep as guarantee nightmares, and she knows she'll wake again in that dread hour, vibrating. But she must be present for the new segment. Sharp.

Always, now, the opening of an attachment containing unseen footage is profoundly liminal. A threshold state.

Parkaboy has labeled his attachment #135. One hundred and thirty four previously known fragments—of what? A work in progress? Something completed years ago, and meted out now, for some reason, in these snippets?

She hasn't gone to the forum. Spoilers. She wants each new fragment to impact as cleanly as possible.

Parkaboy says you should go to new footage as though you've seen no previous footage at all, thereby momentarily escaping the film or films that you've been assembling, consciously or unconsciously, since first exposure.

Homo sapiens is about pattern recognition, he says. Both a gift and a trap.

She slowly depresses the plunger.

Pours coffee into a mug.

She's draped her jacket cape-style round the smooth shoulders of one robotic nymph. Balanced on its stainless pubis, the white torso reclines against the gray wall. Neutral regard. Eyeless serenity.

Five in the evening and she can barely keep her eyes open.

Lifts her cup of black unsweetened coffee. Mouse-clicks.

How many times has she done this?

How long since she gave herself to the dream? Maurice's expression for the essence of being a footagehead.

Damien's Studio Display fills with darkness absolute. It is as if she participates in the very birth of cinema, that Lumiere moment, the steam locomotive about to emerge from the screen, sending the audience fleeing, out into the Parisian night.

Light and shadow. Lovers' cheekbones in the prelude to embrace.

Cayce shivers.

So long now, and they have not been seen to touch.

Around them the absolute blackness is alleviated by texture. Concrete?

They are dressed as they have always been dressed, in clothing Cayce has posted on extensively, fascinated by its timelessness, something she knows and understands. The difficulty of that. Hairstyles, too.

He might be a sailor, stepping onto a submarine in 1914, or a jazz musician entering a club in 1957. There is a lack of evidence, an absence of stylistic cues, that Cayce understands to be utterly masterful. His black coat is usually read as leather, though it might be dull vinyl, or rubber. He has a way of wearing its collar up.

The girl wears a longer coat, equally dark but seemingly of fabric, its shoulder-padding the subject of hundreds of posts. The architecture of padding in a woman's coat should yield possible periods, particular decades, but there has been no agreement, only controversy.

She is hatless, which has been taken either as the clearest of signs that this is not a period piece, or simply as an indication that she is a free spirit, untrammeled by even the most basic conventions of her day. Her hair has been the subject of similar scrutiny, but nothing has ever been definitively agreed upon.

The one hundred and thirty-four previously discovered fragments, having been endlessly collated, broken down, reassembled, by whole armies of the most fanatical investigators, have yielded no period and no particular narrative direction.

Zaprudered into surreal dimensions of purest speculation, ghost-narratives have emerged and taken on shadowy but determined lives of their own, but Cayce is familiar with them all, and steers clear.

And here in Damien's flat, watching their lips meet, she knows that she knows nothing, but wants nothing more than to see the film of which this must be a part. Must be.

Above them, somewhere, something flares, white, casting a claw of Caligarian shadow, and then the screen is black.

She clicks on Replay. Watches it again.