On a cold November night in 1998, Luna drives through Crescent Falls, a dying mill town in upstate New York, and stops at a diner she's never seen before. The waitress is too cheerful, the coffee tastes like rust, and a framed photograph on the wall shows a woman who looks exactly like Luna — same scar above her eyebrow, same crooked smile. The waitress claims the photo was taken in 1972, decades before Luna was born. As she tries to leave, the diner's layout shifts: the door she came in through leads to a dark hallway, the windows show the same street but the cars are from the 1970s, and the photograph now hangs empty, the woman gone. Luna pockets the frame and finds herself back in her car, the diner gone, a single Polaroid on the passenger seat showing her own face, dated three days from now. It lingers on the fear of being caught in a loop — of seeing your own ghost before you've become one.