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As the days piled, the fissure began to close in one dimension and open in another. Yulyay stopped latching onto single images and instead constructed sequences: the boy running through a garden, the sound of a distant siren, the slow closing of an old wooden door. She assigned causality to things humans never had: the pattern of rain that always preceded leaving; a particular knot in a blanket that meant going. These attributions were wrong in any classical sense, but they were coherent. Elena realized the "crack" had allowed Yulyay to make myth — a narrative superstructure where shards of real memories could find meaning.