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Mara thought of the clip and the crate in the corridor. She thought of the people who had left markers and then vanished from the city's maps. She thought of the two replies she’d received: a caution and a photograph. Choice, the note said — and the implication was clear: someone had been deciding for others.

When they left, they carried the projector back into the city, not to hide it, not to sell it, but to stage it in a public square and let the neighborhood decide whether to use it. The film would inevitably change things. That's what it did — it offered visions that could nudge a population toward remembering or erasing. The choice, when it was opened to a populace instead of a single guardian, was messy and human and full of debate. Some demanded it be destroyed. Some wanted to broadcast only the disappeared artist's work. Some insisted on a protocol: any future use required a council of citizens, a seven-day public comment period, and an independent audit.