The camera does not pull back. Her face fills the frame. She is crying, but her expression is not sad. It is relieved.
The woman from the street is now in the frame, out of focus, standing in a doorway. She removes her raincoat. Beneath it, she wears a dark suit. A lapel pin catches light—a stylized mosaic tile, broken into four quadrants.
The frame opens on a narrow, rain-slicked street in what appears to be Lower Manhattan, circa 1977. The camera is unsteady—not amateur, but deliberate, as if held by someone who does not wish to be seen watching.
