I’m waiting for a truck to arrive at the loading dock of my studio building. The elevated platform I’m standing on offers a view of the closed-off street below, which has been under construction for months. It’s late in the day, and there are no more workers on the site, just scattered piles of materials. Suddenly, a woman emerges from behind a pile of wooden barriers. She’s dressed all in black and wearing heavy eyeshadow. She threads a line through the stacks of bricks and concrete pipes as if she knows exactly where she’s going; yet she keeps stealing furtive glances behind her, as if she’s being pursued. What would she be doing in this construction zone, and from whom is she fleeing? For several seconds I see only her – then, when she’s far enough along that my view is less obstructed, I see her ‘pursuer’: a young man holding a Steadicam. The two reach the end of the construction zone, turn around, and walk back to where they started. I watch this procedure repeated several times before my truck arrives and I leave my perch on the loading dock.