This chapter continues the work on the city while placing a greater emphasis on temporal issues. It focuses on witnessing and on the fixing of the temporal flow. Fado singer Beatriz de Conceicao proves fado itself to be a kind of testimony, presenting evidence of the everyday life of those same citizens and streets. When talking about witnessing one must be clear what they are describing. Jorge Luis Borges provides one with the written report of his Saxon's witnessing but, in doing so, he reminds us that we have neither the Saxon's own written account nor the sonic record of those bells: those sounds are lost. The chapter connects the discussion of witnessing, recording and fixing back to the fado's connection with the city. Places in the city are not merely architectural metaphors; they are also screen memories for urban dwellers, projections of contested remembrances.