Playing the beam around, he noticed that steps, maybe a foot and a half wide, led down around the edge of the wall, starting just below the stone ledge. He stamped on the first step to test it and, since it felt sound, began to descend the stairway cautiously, so as not to slip on the fine layer of dust, bits of straw, and twigs that littered it. Hugging the diameter of the well, he climbed down, deeper and deeper, until the floodlit door was just a tiny dot way above him.

Eventually the steps ended, and he found himself on a flagstone floor. Using his flashlight to look around, he could see many pipes of a dull gunmetal color lacing up the walls like a drunken church organ. He traced the route of one of these as it meandered upward and saw that it opened into a funnel, as if it was a vent of some kind. But what caught his attention more than anything else was a door with a small glass porthole. Light was unmistakably shining through it, and he could only think that he had somehow blundered into the subway system, particularly since he could hear the low humming sound of machinery and feel a constant downdraft of air.

He slowly approached the window, a circle of thick glass mottled and scored with time, and peered through. He couldn't believe his eyes. Through its undulating surface, there was a scene resembling a scratchy old black-and-white film. There appeared to be a street and a row of buildings. And, bathed in the light of glowing spheres of slow-moving fire, people were milling around. Fearsome-looking people. Anemic phantoms dressed in old-fashioned clothes.

Terry wasn't a particularly religious man, attending church only for weddings and the odd funeral, but he wondered for a moment if he had stumbled upon some sort of purgatorial theme park. He recoiled from the window and crossed himself, mumbling woefully inaccurate Hail Marys, and scuttled back to the stairs in a blind panic, barricading the door lest any of the demons escape.

He ran through the deserted building site and padlocked the main gates behind him. As he drove home in a daze, he wondered what he would tell the boss the next morning. Although he had seen it with his own eyes, he couldn't help but replay the vision over and over in his mind. By the time he had reached home, he really didn't know what to believe.

In a grim turn-of-the-century dentist's chair in the Highfield Museum, Dr. Burrows settled down to his sandwiches, using a display case of early twentieth-century toothbrushes as a makeshift table. He flicked open his copy of The Times and gnawed on a limp salami-and-mayonnaise sandwich, seemingly oblivious to the dirt-encrusted dental implements below, which local people had bequeathed to the museum rather than throwing them away.

In the cabinets around the main hall where Dr. Burrows now sat, there were many similar arrangements of spared-from-the-garbage articles. The "Grannie's Kitchen" corner featured an extensive assortment of tawdry eggbeaters, apple corers, and tea strainers. A pair of rusty Victorian mangles stood proudly by a long-since-defunct 1950s Old Faithful Electric washing machine.

On the "Clock Wall," though, there was one item that caught the eye — a Victorian picture clock with a scene painted on a glass panel of a farmer with a horse pulling a plow — unfortunately the glass had been broken and a vital chunk was missing where the horse's head would have been. The rest of the display was made up of 1940s and 1950s windup and electric wall clocks in dull plastic pastel hues — none of which were working, because Dr. Burrows hadn't quite gotten around to fixing them yet.

Highfield, one of the smaller London burroughs, had a rich past, starting as it had in Roman times as a small settlement and, in more recent history, swelling under the full impact of the Industrial Revolution. However, not much of this rich past had found its way into the little museum, and the burrough had become what it was now: a desert of single-room-occupancy apartments and nondescript shops.

Dr. Burrows, the curator of the museum, was also its sole attendant, except on Saturdays, when a series of volunteer retirees manned the fort. And always at his side was his brown leather briefcase, which contained a number of periodicals, half-read textbooks, and historical novels. For reading was how Dr. Burrows occupied his days, punctuated by the odd nap and very occasional clandestine pipe smoking in "The Stacks," al large storage room chock-full of boxed postcards and abandoned family portraits that would never be put out on display due to lack of space.

Other than the occasional school group desperate for a local outing in wet weather, very few visitors at all came to the museum and, having seen it once, they were unlikely ever to return.

Dr. Burrows, like so many others, was doing a job that had originally been a stopgap. It wasn't as if he didn't have an impressive academic record: a degree in history had been followed up with yet another in archaeology, and then, for good measure, topped off with a doctorate. But with a young child at home and few positions offered in any of the London universities, he had happened to spot the museum job in the Highfield Bugle and sent in his rйsumй, thinking he had better get something, and quickly.

Finishing off his sandwich, Dr. Burrows crumpled the wrapper into a ball and playfully launched it at a 1960s orange plastic wastepaper basket on display in the «Kitchen» section. It missed, bouncing off the rim and coming to rest on the parquet floor. He let out a small sigh of disappointment and reached into his briefcase, rummaging around until he retrieved a bar of chocolate. It was a treat he tried to save until midafternoon, to give the day some shape. But he felt particularly forlorn today and willingly gave in to his sweet tooth, ripping off the wrapper in an instant and taking a large bite out of the bar.

Just then, the bell on the entrance door rattled, and Oscar Embers tapped in on his twin walking sticks. The eighty-year-old former stage actor had formed a passion for the museum after donating some of his autographed portraits to the archives.

Dr. Burrows tried to finish his crammed mouthful of chocolate but, chewing manically, he realized that the old thespian was closing in far too quickly. Dr. Burrows thought of fleeing to his office but knew it was too late now. He sat still, his cheeks puffed out like a hamster's as he attempted a smile.

"Good afternoon to you, Roger," Oscar said cheerfully while fumbling in his coat pocket. "Now, where did that thing go?"

Dr. Burrows managed a tight-lipped "Hmmm" as he nodded enthusiastically. As Oscar began to wrestle with his coat pocket, Dr. Burrows managed to get in a couple of crafty chews, but then the old man looked up, still grappling with his coat as if it were fighting back. Oscar stopped trawling his pockets for a second and peered myopically around the glass cases and walls. "Can't see any of that lace I brought you the other week. Are you going to put it on display? I know it was a little threadbare in places, but good stuff all the same, you know." When Dr. Burrows did not answer, he added, "So it's not out, then?"

Dr. Burrows tried to indicate the storeroom with a flick of his head. Never having known the curator to be so silent for so long, Oscar gave him a quizzical look, but then his eyes lit up as he found his quarry. He took it slowly from his pocket and held it, cupped in his hand, in front of Dr. Burrows.

"I was given this by old Mrs. Tantrumi — you know, the Italian lady who lives just off the end of Main Street. It was found in her cellar when the gas company was doing some repairs. Stuck in the dirt, it was. One of them kicked it with his foot. I think we should include it in the collection."