He called Meera, the only journalist he trusted, who ran the small cultural column in the regional paper. Meera had been his ally years ago — she believed in stories as living things, mutable with context. He asked her to help him craft a counter-history, not a rebuttal of denials but a document of context: timestamps, alibis, proof that three different people had been where the film implied they were not. Meera agreed, and together they assembled interviews: stall owners, a bus conductor, a neighbor who had kept a ledger of dates and names because habit made him meticulous. They gathered receipts, festival pamphlets, and grainy CCTV that corroborated fragments of their life.
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Then the threats began.