“I must.”

“You do not want this in your memory.”

“Then it is exactly the thing that I must never forget.”

He bowed his head and moved aside.

Four nails in a crossbeam had served the family as hooks for clothing. The clothing lay in a sodden mass on the floor. Except for the shirts that had been tied around the necks of four children, the youngest only a toddler, the eldest perhaps nine. They had been hung up on the hooks to strangle slowly.

Across the room lay the bodies of a young couple, a middle-aged couple, and an old woman. They had made the adults in the household watch the children die.

“When he is finished by the fire,” said Virlomi, “bring him here.”

“Is there enough light inside, Lady?”

“Take down a wall.”

They took it down in minutes, and then light flooded into the dark place. “Start here,” she told the vidman, pointing to the adults’ bodies. Pan very slowly. And then pan, just a little faster, to what they were forced to watch. Hold on all four children. Then when I enter the frame, stay with me. But not so close that you can’t see everything I do with the child.”

“You cannot touch a dead body,” said one of her men.

“The dead of India are my children,” she said. “They cannot make me unclean. Only the ones who murdered them are made filthy. I will explain this to the people who see the vid.”

The vidman started, but then Virlomi noticed the shadows of the watching soldiers in the frame and made him start over. “It must be a continuous take,” she said. “No one will believe it if it is not smooth and continuous.”

The vidman started again. Slowly he panned. When he had focused on the children for a solid twenty seconds, Virlomi stepped into the frame and knelt before the body of the oldest child. She reached up and touched the lips with her fingers.

The men could not help it. They gasped.

Well, let them, thought Virlomi. So would the people of India. So would the people of the whole world.

She stood and took the child in her arms, raising him up. With no tension on the shirt, it came away easily from the nail. She carried him across the room and laid him in the arms of the young father.

“O Father of India,” she said, loudly enough for the camera, “I lay your child, the hope of your heart, in your arms.”

She got up and walked slowly back to the children. She knew better than to look to see if the camera was with her. She had to act as if she didn’t know the camera was there. Not that anyone would be fooled. But looking toward the camera reminded people that there were other observers. As long as she seemed oblivious of the camera, the viewers would forget that there must be a vidman and would feel as if only they and she and the dead were in this place.