Jabari crosses the room and sits down next to her on the floor. He doesn’t say anything. He just puts his arm around her, and she leans into him, and for a moment the room with its drifting almost-faces is very quiet.
Kunal is looking at the presences. His expression is careful, scientific, the way he looks when he is trying to understand something rather than feel it.
“These are real,” he says quietly. “They are the actual losses. Not copies.”
“Then they can be returned,” Esteban says.
He says it with a certainty that surprises me, and then I see his hands. They are not shaking. They are very still, and he is looking at them with an expression of someone who has just heard a sound they thought they would never hear again.
Kunal finds his. He stands in front of one of the drifting shapes and I watch him reach for it and I watch his face when it settles into him — a slow exhale, his eyes closing, and then opening, and then filling, briefly, with something that might be tears or might just be the particular brightness of a face suddenly remembered.
I look for mine.
I know it when I see it. It has the shape of music — not a visual shape, but a felt one, a warmth and a resonance that I recognize the way you recognize a room you grew up in even when all the furniture has been changed.
I reach for it.
And then I stop.
Because I understand, suddenly, what the door meant when it asked us to give the loss willingly. Not as payment to enter. As payment for something else.
If I take mine back, the door stays open. If any of us take ours back, the door loses one of its four anchors, and I do not know what happens then — I only know that the room feels balanced right now, held steady by four absences, and that Nneka is still inside it.
I look at the others. Kunal already has his back. Esteban’s hands are steady. I don’t know if they have understood what I have understood.
I don’t reach for mine.
I turn back to Jabari. “Get her to the door,” I say. “Now. Move.”
He doesn’t ask why. He pulls Nneka to her feet and they cross the room and step through the Lossgate, back into the limestone passage, and the door does not close.
I follow.
Last through.
The moment my foot crosses the threshold, the door swings shut behind me with the same uncanny silence, and the humming stops, and the pressure behind my teeth is gone.
We stand in the passage. Five of us now. Nneka is leaning on Jabari and looking at the rest of us with an expression of exhausted gratitude that she doesn’t yet have the words for.
I put my hand to my throat.
The stone is still there. The singing is still gone.
Esteban looks at me. He has understood — I can see it in his face, the way his stillness shifts into something heavier.
“You didn’t take it back,” he says.
“I was last through. Someone had to be.”
He opens his mouth and closes it again. His hands are still steady. His loss is returned and mine is not and there is nothing tidy about that, nothing that resolves into fairness or balance or any shape that feels clean.
Kunal touches my arm. Just briefly. It is the kind of gesture that does not try to fix anything.
We walk back through the Undercroft toward the trapdoor and the street above, and Nneka tells us, in fragments, what she found in the room — not losses exactly, but the shape of them, the texture, what it feels like to sit surrounded by the accumulated grief of a hundred strangers for three months with nothing but silence and the slow understanding that you made a mistake you could not undo alone.
She went in looking for something she had lost years ago. A choice she made and could not unmake. She thought the room might give it back.
It didn’t. Some losses, she says, are not stored there. Some losses are just the shape of who you became.
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