All Balcony v2

Part VII

She dresses with abrupt, economical movements, straightening the skirt around her hips in a motion made automatic through repetition. Her movements are unguarded. Not performative at all. On the contrary, she behaves as though she were alone, though it is unlikely that she is.

Either way, she appears unconcerned by the possibility of observation.

She turns towards the mirror, and pauses. One hand returns briefly to the waistband of the skirt as if confirming its position. A loose strand of hair is drawn behind one ear, but almost immediately it slips forward again. For several seconds, she stands motionless before shifting to a position from which the street is visible through the French doors.

The previous evening she had been observed entering the room accompanied by a man. Several photographs record their passage beyond those same doors and into the concealed area of the room. No corresponding departure had been observed the following morning.

If the man remains present, he is likely still positioned beyond the visible section of the room, perhaps on the bed to her left, perhaps elsewhere. The arrangement cannot be determined from the street.

After a moment, she moves closer to the doors but, instead of opening them—which would have permitted access to the balcony—she pauses and looks through the glass into the street. A camera lens can be seen extending from the driver’s-side window of a nearby car. With a slight inclination of the head, she smiles as though inviting the photograph. Whether this is intended for the photographer remains unclear.

The shutter clicks. Then again. Then a third time.

In the quiet of the early morning, the low, continuous hum of the idling engine and the intermittent operation of the camera shutter are the only noises audible.

Eventually she moves away from the doors. The camera withdraws in turn, reducing its profile against the vehicle.