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BBC Sounds. Music, radio,

1:20

podcasts. Sorry.

1:24

Got here as fast as I could. After

1:27

I left Ian Bartram's place, I left

1:29

a message for Matt. A few minutes

1:31

later, I got a call from Marcus Byron

1:34

telling me he was on his way to Suffolk and to meet

1:36

him at the Blake house.

1:38

I had no idea what was going on and Marcus

1:41

didn't want to elaborate over the phone. All

1:43

he told me was that under no circumstances

1:46

was I to enter the Blake house again without him.

1:48

So

1:50

tell me again what Ian Bartram said. How

1:53

do you even know I'm... You guys have to stop leaving voicemails

1:55

for each other. So

1:58

I re-ran the details. The Marston

2:01

House murders, the Blake family disappearing

2:03

and their bodies being found in 2016, and

2:06

I told him about the weird forensics results.

2:09

And they tested more than once. This wasn't an

2:11

error or a typo. He said they tested three

2:14

times. What?

2:17

There's a breach here. A what now? Open

2:20

up. OK,

2:30

what is your current level of credulity?

2:33

My level of... What do you believe? I don't know

2:35

what I believe. But you've seen some weird shit.

2:37

Disappearing villages, something

2:39

nasty in an underground tunnel, maybe a

2:41

UFO. Oh, and my friend vanished into

2:43

thin air for

2:43

three years, does that count? You ever read Carlo Revelli?

2:46

I have not. The Italian scientist

2:48

is good. He talks about time being

2:50

non-linear. We perceive past,

2:52

present and future, but time doesn't really work like

2:54

that. OK, how does it work? I

2:57

don't know, I drifted off. I'm just trying to illustrate

2:59

a point. About time? If time isn't linear,

3:02

and we're not just here now, we're here

3:04

in all possible times. But we

3:06

can't see that because our brains can't process

3:08

it. OK. A breach is like

3:10

a tear in our perception of reality.

3:13

Like a glitch that momentarily syncs everything

3:15

up. I'm not really following this.

3:17

Are you saying that this house exists simultaneously

3:19

in different time periods?

3:20

Not exactly, but that's close enough,

3:22

yeah. So it's like a time machine? No,

3:25

it absolutely is not like a time machine.

3:27

But it transported the blake from Philip

3:29

Gibson from 2010 to 1935.

3:30

No, it didn't. OK, because that's where it

3:33

sounds like you're going. Have you ever done

3:35

psychedelics? Yeah. All

3:37

right. Did you hallucinate? Hell yeah. Yeah,

3:39

but did you? Or did you just

3:41

perceive reality as it really is? You'd have to filter

3:44

your mind puts on it. Oh, no. You can't

3:46

even see a turtle. You should probably

3:49

stay

3:51

out here. Not a chance. Then

3:54

stay close to me at all times and do exactly

3:56

as I say.

4:12

The house was exactly as it was the last time

4:14

we were here. Byron didn't want

4:16

me to record anything inside. That

4:18

turned into a debate, so the compromise was

4:20

that I would leave

4:20

the recorder running, but I wouldn't narrate anything.

4:28

Is that a radio? This is a

4:30

bridge. We should be able to tune into it.

4:44

What? On second.

4:49

This

4:54

is supposed to be an empty frequency. Meaning

4:57

what? Meaning we're hearing the bridge.

4:59

Or someone broadcasting illegally. Yeah, it's

5:02

a part of radio station itself pumping out

5:04

the hits of the 1930s.

5:10

Well, someone told that was funny.

5:15

This leaves an explanation because it happened

5:17

before.

5:19

There are sounds appearing on the Blake House recordings

5:21

that aren't audible when you're standing in the house itself.

5:25

Byron says these are artifacts of what he calls a breach.

5:28

Fragments of another reality, another point in time,

5:31

leaking through. Apparently his

5:33

radio was also picking them up.

5:38

So what you're hearing here are sounds that

5:40

are going directly onto the recording, which we

5:42

are not hearing in the room. And

5:48

then, after a very short delay, those

5:50

same sounds coming out of Byron's radio,

5:52

which

5:54

we can hear in the room. But you're going

5:56

to hear both, if that makes sense. This

6:00

is freaky.

6:01

Yeah,

6:04

if it's any consolation it never stops being

6:06

freaky. However many teams you do this. No

6:08

consolation at all, but thanks for trying.

6:12

So how do we find this notebook?

6:14

Well we're pretty sure it's not in the house right now, but

6:16

we think Philip Gibson had it when he disappeared in 2010.

6:20

So it's either in 2010 or it went

6:22

with him when he went back to 1935. You

6:24

said this wasn't a time machine. It's not the time machine.

6:27

And how did it work? How does your mobile

6:29

phone work? I don't know. Exactly.

6:31

It just does. That's cute, but it's not possible

6:33

for someone to go back in time from 2010. Meaning

6:35

you don't believe it. Reality

6:37

doesn't care what I believe. Yeah it doesn't, but that's irrelevant

6:40

because you're going to believe it in a minute anyway. How's

6:42

that? Because we're about to be in 1935.

6:59

What do you mean we're about to be there?

7:01

Well it seems likely doesn't it? I don't

7:03

really know.

7:05

I

7:14

guess we're supposed to say there's no place like home when you do that. How

7:16

old do you reckon this phone phone is? Well I'm not a geologist.

7:19

Older than the house though, but these are flagstones

7:21

and they're well worn. I

7:24

reckon these were here in the original place. The Marston

7:26

house? Yeah. Found

7:29

on the site and reincorporated into the

7:31

new build. Did you ever watch

7:33

sapphire and steel? I don't know what that

7:35

is. All the regularities will be handled

7:38

by the forces controlling each dimension. Old

7:41

things in new

7:41

places.

7:47

This floor is where the preacher originates. Have

7:50

a seat. Is

7:54

this like a science? Exactly like. The

7:57

seances aren't about contacting the dead, they're

7:59

about tuning into a broadcast. Okay, so

8:01

what do we... We don't

8:03

do anything.

8:04

You sit there quietly and wait.

8:19

What

8:30

is the sound? Sound.

8:36

Coming through the breach. From the past? No

8:38

such thing. Look around. I

8:40

did.

8:41

And there was

8:43

suddenly sunlight pouring in through

8:45

the windows, where it was a grey winter's day before.

8:48

And the hallway we were sitting on the

8:50

floor of was no longer derelict. Although

8:52

the stone was the same. This looked like a

8:54

new space, almost immaculate.

8:56

What the hell is going on? We don't mean

8:58

you any harm. We

9:00

made miss you, Mary. Without

9:02

that equipment? Without that

9:05

equipment, we can't hear you, Mary. We're just mailing you.

9:07

Mary. Mary!

9:12

Mary. Mary. Mary!

9:18

Mary. Mary.

9:23

Mary. Mary. Mary.

9:28

I'll be

9:28

hearing the blessing. That will be

9:30

my guess. Stay quiet,

9:33

Mary. Wait, you got babies? Mary.

9:38

Mary. Mary. Mary.

9:44

Mary. Mary.

9:49

I think that's the door they went through.

9:57

It

10:00

had changed again. This

10:03

wasn't the derelict space we had entered, nor

10:05

was it the contemporary interior of the original Blake House.

10:09

The stone beneath us

10:10

was now covered by a large rug.

10:13

The walls were a dark burgundy color, and

10:15

the windows were covered with heavy drapes. It

10:19

was dark in here now. Night had

10:21

fallen outside. Is

10:23

this... So

10:27

close.

10:28

But not if

10:30

this

10:30

makes any sense. I'm trying to make it make sense

10:32

that some people got crying here.

10:33

Ready?

10:46

What is that?

10:48

Some ancient beastie, I imagine.

10:51

Did this hurt us? Oh,

10:53

yes, it did, sir. Okay.

11:02

We were in a library. Floor-to-ceiling

11:05

bookshelves covered

11:05

every wall. There

11:08

were a couple of leather, chest-filled sofas and

11:10

a writing desk with a lamp on it. That

11:12

lamp was the only source of light. This is nice.

11:20

Less nice.

11:24

I could just make her out in the shadows

11:26

across the

11:26

room.

11:30

An 11-year-old girl with long

11:32

hair wearing a dress. As

11:35

she moved, the light from the desk lamp glinted

11:38

off a

11:38

pair of long scissors in her hand. Is she real? Define

11:42

real. Are you

11:44

married? Look on the desk. There

11:48

it was. A thick notebook

11:51

bound with a rubber band. It

11:54

looked out of place in this room. You go left. Get

11:56

the book. I'll distract.

11:59

Hello Mary! We're

12:02

not getting a gym, we just need to talk something.

12:04

We'll be on our way.

12:20

This

12:30

is always right here. How do we get along? Stop

12:32

trying

12:32

to make it make sense. You're bleeding. Where

12:35

is she? We won't hear her. The radio broke.

12:38

We need to get out of here. Uh-huh.

12:41

How?

12:41

Tried all the doors. What

12:44

is it? What

12:46

is it? Come

12:48

on, here.

12:49

What is it? What

12:52

is it? What is it?

12:57

Stop it! Shut

12:59

the door! There's

13:02

no door! What? Oh. They

13:06

were not how they ended up in

13:08

the shut-up. Wait. This is... It

13:11

was daytime again. That

13:13

was easy to judge because we were looking directly

13:16

up at a gray, suffolk sky. We

13:18

were at the bottom of the hole outside the Blake House. In

13:21

the original Marston House cellar where

13:23

the five bodies had been found in 2016. We

13:26

climbed out of the hole and we were back on solid ground

13:28

outside the Blake House,

13:32

which looked exactly as it had when we arrived. Ah.

13:36

We need to get you to a hospital. We

13:38

actually don't. Look

13:40

at

13:40

that. That's just a scar.

13:44

I'm sorry. Look

13:46

at that. That's just a

13:49

scar. Yeah.

13:51

From when I got stabbed back in 1935. Tell

13:54

me it was worth it.

13:56

It

13:59

was.

13:59

This is it.

14:02

We found Robert Blake's notebook. Good.

14:05

And we are, aren't we?

14:29

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