The last part of this movement (1:35) is a slight stab forward with open fingers, as if punctuating the end of her explanation. She then covers her vitals, instinctively, fearfully, in a closed gesture. She is listening to her pursuer's response to her speech. Whatever that person says, combined with the dawning suspicion that she is ambushed, causes her to switch tactics. She begins expressing anger. Her slight knee bend, releasing tension (1:38), starts it off. She begins listing things off, using her fingers to count, possibly reasons she is upset with her company's behavior that evening, or reasons she refuses to play along (e.g. "One, I'm tired and have to get up in the morning ... two, the way you described this disgusting place was complete BS ... ") . She pulls her fingers back, like a person listing off grievances, and bends her knees, releasing tension and punctuating each point. At 1:45, she then drops her hands again, listening to her pursuer's reply. At 1:48, she lifts her hands to her head again, something we've already seen her do in fear and frustration, and turns away from her company. This is at once disgusted and angry, and, more importantly, deceptive and searching. Not only does turning your back on someone show strength, something which can repel victimizers, who seek weakness, but this particular turn is toward the stairwell, not far off. She seeks another exit. She's betting that her attacker is not aggressive enough to test the veracity of her strong, angry gesture. Importantly, THE DOORS ARE STILL OPEN. Nothing that has happened so far, over the course of two minutes, has changed that. She is off camera for a full fourteen seconds before the edit +Cody Fry points out. This indicates to me that her pursuer gave chase at that moment, and had to edit the tape to cover his tracks.