Theo ends his dawn walk along Broadway and returns to a small coffee shop he noticed earlier, drawn in by the smell of caffeine and the promise of warmth and life. The painted window identifies the place as The Chalice at Light Street and Broadway, with posted hours.

Inside, Theo studies the busy room full of customers of many ages and backgrounds. A young man leaving with a cello and coffee politely threads through the crowd, offers Theo a friendly greeting, and Theo—unused to such open friendliness in big cities—returns the nod and smile. Theo senses he could become a regular, a hunch that will prove true during his year in Golden.

Expecting American coffee to disappoint him compared to European standards, Theo orders espresso anyway. He is surprised by its quality and drinks it slowly, treating the barista’s work as an art that deserves respect.

As he watches the shop’s interactions and the cheerful barista at work, Theo’s attention locks onto the wall art: ninety-two pencil portraits in black frames, clearly by the same artist and depicting a wide range of faces and expressions. Theo is struck by their vivid detail and imagines the portraits as living spectators who leave their frames at night to mingle and trade stories about what they observed.

Because the shop is crowded, Theo resists studying the drawings closely and decides to return later for a better look. After finishing his espresso, Theo retrieves his hat, leaves The Chalice with lingering glances around the room, and heads back to his hotel.