"Dear Ann, I've come back to New York," "Some years ago you asked me about myself," ""What are you doing," you asked I didn't answer then but I want to now," "When you've read this letter, if you wanna come away with me if you want me to take you from here, tell Victor you can trust him, _e'll find me," "I'll start somewhere near the beginning," "William is not my name." "A few years before I met you I was returning from a place I'd always wanted to visit," "Japan, I was transferring in San francisco to a flight home," "Once I was back on the plane I asked if I could go back to the boarding area because I had left a book there." "By the time I found my book, the gate had closed so I sat and read my book until the plane took off without me, I decided to take the long bus ride across the country to my home" "in Connecticut, just outside of New York," "Several hours into the trip I heard on the radio that the plane I missed had crashed into a mountain, I closed my eyes and slept," "The next day I learned that they had not been able to recover any bodies," "The plane and all the passengers had been incinerated on impact," "I got off the bus in New York and decided to stay for a while," "I realized that for all anyone knew I no longer existed," "for no particular reason without really thinkin9 about it I bought a passport under the name of William Vincent," "I took a c] ass and learned a trade and got a job editing nature videos for use in the schools." "I think that's what they're used for, I'm not really sure." "I managed to find an empty storefront to live in in a neighborhood in Chinatown not far from the East River." "Okay," "Yes." "from "They can hover in midair,"" "They can hover in midair by rapidly flappin9 their win9s" "12 to 90 times per second," "They can fly backwards and are the only group of birds able to do so," "They can also stop in midair." "Hummingbirds are continuously hours away from starving to death and are able to store just enough energy to survive overnight," "Hummingbirds are capable of slowing down their metabolism at night or any other time food is not readily available," "They enter a hibernation-like state known as torpor," "During torpor, the heart rate and rate of breathing are both slowed dramatically the heart rate to roughly 50 to 180 beats per minute reducing the need for food," "The most astonishing quality of hummingbirds is their ability to broadcast color." "Hummin9birds radiate like hot coals in the sun," "The color that reaches your eye is created by pigment which absorbs some colors and rejects others," "Like soap bubbles hummingbird's color comes from iridescence, not pigment, lt winks on and off depending on the light source and the angle of the viewer," "That's a nice dress." "Where'd you get it?" "It's a kimono." "I know it's a kimono." "I like it." "Change." "(Boss3 You know you don't wanna fuck with me, ri9ht?" "Of course I do." "Of course you do." "So he says, "Hey, you're right, but" ""can we actually do that, like" ""who's in charge of this pro] ect, you know" ""and I'm like, listen" ""if some noise needs to be made, I will make the noise." "Okay?" "All right?"" "And he says, "Whoa, Jason, whoa."" "I'm like, whoa what, Ted?" "The problem with Ted is, he doesn't get it." "He's like, pretty much like, I can name off three or four executives in this company alone who in a few months are gonna be redoing their resume and who do you think they're gonna ask to take one of those offices?" "But, I think that comes from ]'ve done a] ot of meditation over the years, I have to," "You would think that in, like, the cutthroat business that I'm in when you're dealing with derivatives it's all crazy." "It's very chaotic," "But, you need to find a time for peace," "When you're workin9 a] ob] ike that." "Because if you don't, you're going to be chaotic yourself," "_'__ take it one step further, lf you really wanna know about financial markets, Iet's talk about Per Bak" "Right?" "Right." "Let's talk about, Iet's talk about, uh" "Kolmogorov." "If you wanna hear really the theory of turbulence order of chaos, phase transition." "And that's where these guys should be living right now if they want to survive." "But they don't, they can't possibly grasp that." "Economic crisis, my ass." "This is an economic opportunity." "You should-- You know what?" "You should check out a book um, oh, what is the name of that?" "It's, uh, Per Bak, _ow Nature Wor" " I'll think of it." " Okay," " You know, I'll be ri9ht back." " Okay," " And I'll think of it." " Great, I'll definitely remember it before I get back, okay?" "I can't wait," "Hi." "Do I know you?" "Uh, no." "Sorry if my, uh, staring bothered you." "It's, uh, it's okay." "I don't mind." "I don't like your friend." "Oh, you mean Jason?" "Yeah." "Do you like him?" "I don't know." "Why?" "] ust asking." "Do you know him?" "Hm-mm." "I'm Rebbecca." "Hi." "What's your name?" "ason, sighs] The scotch is" "You're very beautiful." "Wow." "Joseph?" "Sorry." "I enjoyed tormenting the man in the bar and I think it was nice that I might have made the woman happy," "Even for a moment." "Even if I didn't care about her." "There hadn't been many that I had cared about," "Only two brothers that I'd known when I was a teenager back in the town where] grew up." "I'd lost touch with the two brothers, but I thought of them often and saw them, in a way, in parks, on the street, different places," "And I saw them as I'd known them as young boys, not as the adu] ts they would be now, lt was a lovely thing to imagine, but I knew it was just that, Imagined," "But I saw them as if they were really there, I wondered how they were, where they were," "Anyway, wherever they are, it's probably best that they don't know me given the man I've become," "I knew them when I was this age the age I am now in this shot, 16." "I'm 30 now, so the things I remember are from a long time ago." "His name was Joseph back then, not William." "He did some odd things, but I think he was a nice person." "Maybe a little" "He could run very fast." "We used to race." "He was a beautiful runner." "Really beautiful runner." "I'd been lvin9 as William Vincent for three years before I met you, ln that time, we might have passed near to one another and not known it," "I wonder if either of us might have felt something in the passing, lf it happened," "for instance I wonder if you were nearby that night I saw that man wearing suspenders and a bow tie?" "He's] ust kind of drifting down the sidewalk looking at his phone," "What the fuck?" "The man] ust walked away unaware that Ihad lifted some things from his pocket," "] ust a receipt and a business card, Nothing," "But it seemed as if there was something else in the air that night." "Something odd," "It was an unusually quiet, empty ni9ht." "But I felt as if something had happened," "There was something wrong that night but I didn't mind." "I mi9ht have even liked it," "I went out to eat still with the sense that there was somewhere wrong in this city, somewhere," "Hi." "Hey." "What time is it?" "It's late." "What's the occasion?" "Do I need an occasion?" "You are an occasion." "This place sucks." "Watching what's going on," "You don't have to flatter me, you know," "is that a good tip?" "Excuse me?" "is that a decent tip?" "Yeah, it is." "He's just trying to earn a living." "You're a fucking asshole." "Open the iris all the way and bring the condenser up," "The subject now appears against a dark background" "] ust like aspen leaves against a dark sky," "The color seen in dark fi]] ed] i9htin9 can give new information," "(female narrator3 Dark fi]] ed] ighting is a good technique for viewing the smallest observab] e] ifeforms." "And also helps us understand that William never meant any harm," "Nor did he mean any kindness," "He never meant anything," "We can take the risk if, if we're able to" "Ri9ht." "I don't know that we're able to and I don't know that we need to wait for everything" "(man3 Excuse me." "Excuse me. _ think you might have taken something of mine?" "I don't think so." "Give me my phone." "Like I said, I don't think so." "I'm not fucking around." "Give me my phone." "Okay?" "Does your friend have a problem?" "(man3 ] don't know how] can make this any clearer I want you to give me my phone, Right now!" "This your phone?" "What the fuck?" "You little prick!" "We__, fuck you." "fuck you." "Go fuck yourself, asshole." "Find out who he is." "(female narrator3 William is standin9 outside a door." "On the other side of the door a woman and a man are having sex," "In a park, a child runs." "Another rides a bike." "A little 9irl reads." "A man walks under a tree." "No, A man walks past some potted bushes on the street," "He enters a restaurant." "You remember me?" "I'm Victor." "Uh-huh." "So, uh, listen, um" "Um" "So, anyway this man I know is very impressed with you he saw the little thing you did on the street a couple of days ago with the phone and a wallet, and uh you know I was there." "Um uh, he would like to meet you." "So anyway this man, uh l don't wanna- l don't wanna be coy or anything, but this man has, uh a lot of interests that are" "not aboveboard." "So" "Can I get you something, sir?" "No, thank you." "So like I said, he, he, he, he, he, he, he would, he would like to meet you." "Uh-huh." "And what is not aboveboard?" "Let's let him tell you about that." "Okay." "And you, uh and you're a part of this thing that you're talking about?" "Mm-hm." "So you're the muscle?" "Yeah." "Are you muscling me?" "You'd know if I was." "Yeah, I guess I would." "So this man uh, I don't know what this is about who he thinks you are, but he thinks you can earn him money." "Maybe you can, maybe you can't but he thinks you can so he would like to meet you." "Yeah?" "Yeah." "It's so weird." "Please?" "What's in it for me?" "That would be money." "You sound like you're in a movie." "Yeah." "What if I say no?" "Don't." "What if I do?" "It's my job to bring you to him." "Please don't make me do my] ob." "So if I say no, somebody's gonna come and beat me up?" "Hm. I don't know." "No?" "See?" "So?" "I don't know, I'm] ust trying to figure out if I'm in trouble here or who you are, or what" " You know." "Please, just come with me." "I'm saying please." "Okay." "(William, off3 Idon't know why I went with him," "He seemed like a nice man, and maybe his boss was interestin9, I don't know." "As we drove to meet him I thought of a photograph I'd taken in Japan, ln particular, a shaded area in the corner of a frame where l could barely make out a woman," "I hadn't known she was there when I took the picture," "I wanted to talk to the brothers," "When we used to come here you guys would race over there, by that pond." "Yeah, I remember." "You used to race, too." "You won." "Yeah, I was pretty fast, wasn't I?" "The fastest." "Remember?" "I don't remember, I was too young maybe." "You used to sit over there." "No, I used, I used to sit here with you guys." "Sometimes." "It's nice to see you again." "I told this woman in a letter that I thought it was better that you guys don't know me now." "It was better for you." "Why?" "I'm not so nice now." "I never thought you were nice." "You're nicer than you think you are." "No, I'm not." "So how'd you become a criminal?" "I don't know." "Wait here." "This is William." "Hello, William." "Hi." "Who are you?" "A friend." "I liked you manner on the street the other day." "Yeah, thanks for steppin9 in." "What would have happened if I hadn't?" "I don't know." "Were you afraid?" "No." "You didn't seem afraid, I, I guess." "You're a secretive one, huh?" "Are you a tough guy?" "No." "No." "But you are secretive," "That's my impression, anyway," "You know, I don't much like people who aren't who aren't like that." "Victor, would you give us a minute?" "Sure." "Actually, give Ann a call, would you?" "is she there?" "Hang on a second," "Yeah, she's ready anytime," "Well, thank you for coming, I wanted to meet you," "You're a film editor, ri9ht?" "Uh, yeah." "Why don't you have any friends?" "I do." "No, you don't." "Okay." "You know, there is someone I'd like you to meet," "Victor will take you to her." "She's a gift." "You're giving me a woman?" "No." "How could I do that?" "I don't know." "No,] ust a friend someone I'd like you to meet, if you're willing." "A simple sign of respect which I'd like to think that you'd reciprocate." "Uh, okay, great." "Great." "Victor." "No, uh, I don't, I don't think so." "Not really my thing." "You'd be doing me a favor." "Maybe some other time." "H i." "I'm Ann." "Victor told me to come here." "Oh, you mean, Victor's boss." "Somebody." "It'd really be better for me if you let me in." "Would you like to take a seat?" "Mm." "Thanks." "So you're what he gives away?" "I wouldn't say that." "I'm sorry." "That was really rude, I'm sorry." "Don't be. I can see how you might think of it that way." "Anyway" "So who are you?" "Um-- l can't really offer you anything." "Um, do you want some water?" "Okay." "Okay." "Here." "Would you like some?" "I got lipstick on the glass." "Anyway." "Here." "That's so pretty," "You think?" "Yes." "You sure you don't want any?" "So this is home and work, Victor said?" "Yeah." "Movies?" "Yeah, sort of." "Can I see?" "Mm-hm." "Come on." "A 1 9th-century naturalist called them little more than organized water," "They were in our oceans 650,000,000 years ago before sharks and dinosaurs." "They do not have a central nervous system a circulatory system a respiratory system or an osmoregulatory system," "So it's understandable that Louis Agassiz the great 1 9th-century naturalist" "I shou] d probab] y get back to work," "(Ann3 Do you want me to leave?" "Okay." "So, um what is it that you do?" "Oh, things." "How's that?" "It's what I do." "So it's that." "Sounds okay." "is it?" "Why wouldn't it be?" "I don't know." "I'm Ann." "William." "What can I do for you, Victor?" "There's a couple of things my boss would, uh, like you to do." "I'll be your contact, lt's really very simple, you] ust go to this address" "deliver this pick up a couple of envelopes from the women there and uh, I'll 9et the envelopes from you," "Yeah, we__, uh here's the thing, you, uh, you get a lump sum every week, that look okay?" "It'd be okay if I needed the money." "Then give it back." "There's a lot in here, isn't there?" "I think so," "All right." "Maybe I can find a use for it." "So, Ann what's the deal there?" "She's a beautiful woman," "Yeah, so what's the deal?" "Pretty much as you see it," "Care to elaborate?" "You seem like a nice boy." "This is not a really nice group." "And, uh, you're inc] uded in this 9roup?" "Yeah, me, too." "And Ann." "So, uh anyway, uh" "Ann uh, she's, uh uh" "she's my boss's" "She owes him." "I suppose we all do." "Anyway, she's, uh she's there for him when he need, when he needs her not so much for himse] f anymore but, you know, for others, like yourself, as a favor," "Mm-hm." "So, uh, anyway, uh she was asking about you uh, asking me, uh she knows she's not supposed to ask about you that's none of my business why she did." "But you need to know that this is very dangerous for her." "And for you," "You're talking like you're in a movie, Victor." "Like a gangster movie." "_'m not a vio_ent person, Are you?" "I'm not a gangster." "You're not?" "I don't think so." "No, _ don't think so either," "There anything I can do for you, Victor?" "No." "No, thanks." "Uh, yes, you can keep your distance from Ann." "I'd rather not," "Please, William." "For Ann." "When you need me to do something uh, you'__ ask." "_ assume that's how this works," "And then, I'll either say yes or no." "Uh, and the piece you took?" "The silver?" "_e, uh, he forgives this because you didn't know who he is, but now you do, right?" "I guess." "(woman3 William?" "(Wi__iam3 Yeah." "(woman3 _ i." "(Wi__iam3 _ i." "Excuse me." "Can I get you something to drink?" "No, thanks." "You wanna sit down?" "Juliette's got one of these, too." "Okay." "I'll go see if I can get her up." "J uliette?" "Juliette's a little out of it right now." "Mm-hm." "Do you have something for me?" "Yeah." "Oh." "Thanks." "It's heavy." "Oh." "Good morning." "You want some?" "No." "Does she have that envelope?" "I don't know." "Why don't you ask her?" "Juliette!" "Hi." "Nice to meet you." "What's your name?" "I'm William." "What's that?" "William." "William?" "Yeah." "Hi." "Hi." "I'm sorry?" "Do you want some?" "No, he doesn't." "Did you already ask him?" "Mm-hm." "He really doesn't." "Do you have an envelope for me?" "Yeah." "Do you wanna hang out with us for a little bit?" "William." "Come sit down," "Jesus Christ," "fucking 5 o'clock, Ann," "Thank you." "Put some clothes on," "Whatever." "We have a guest in the house," "So, we'll see you in] ike a week, ri9ht?" "I don't know." "Bye." "Bye, William." "See you!" "He's totally gay," "H i." "Hi." "I need to pick up the money you got from the girls." "Oh." "Did you talk to Victor?" "Um, no, I will." "Don't you trust me?" "Yeah, it's] ust that I thought" "Oh, well, yes, usually Victor gets it but I was nearby so I thought I would come." "Okay," "I like Victor." "I do, too." "He's a nice man." "is he?" "Well, who knows?" "Maybe not by your standards." "I think he's nice enough." "What are my standards?" "I know he's having a hard time, you know his wife is pretty sick." "I didn't know that." "Yeah, she is." "Where's the kimono?" "Here." "This for me?" "Can I try it on?" "Sure." "Can I lie down?" "M m-hm." "So you stole a wallet and threw it away?" "Yeah." "And that's how he" "What are you doing?" "What are you doing?" "I know why I do what I do." "You ought to stop," "Whatever you're doing," "Maybe I will." "You really ought to." "What about you?" "Maybe we'll stop together," "Yeah." "Stranger things have happened." "Yes." "Yes, you will?" "Yes, I will." "Okay." "I guess." "There's the address." "It's this guy." "You nervous?" "Yeah?" "I'm here to pick something up for Victor." "I don't know any Victor," "Yeah, you do." "I'm just here to pick it up." "Pick what up?" "You know." "Don't you have something that doesn't belong to you?" "Who are you?" "What's Victor's boss's name?" "What?" "You know Victor, right?" "Yeah." "You know his boss?" "Yeah." "What's his name?" "Who are you again?" "What's the boss's name?" "I have no idea." "You know Ann?" "Yeah." "You're such a piece of shit." "I really need to ask you to leave." "I'm only gonna ask one more time." "Leave, asshole." "What's the boss's name?" "Get the fuck outta here," "Okay." "Oh!" "fuck!" "Ah." "My boss wants to see you." "All right." "Let's go see him." "Victor, will you give us a moment?" "Sure." "That was quite a display you put on at Russell's apartment yesterday." "Do you think it was necessary?" "Did you en] oy it?" "No." "No?" "Not even a little bit?" "Are you a sadist?" "I'm sorry?" "A sadist." "Are you sadistic?" "No." "Are you?" "A little respect, please," "75,000 dollars." "It's quite a bit more than the occasion calls for, but-- l consider that a lot of money." "I guess you do, too." "What's it for?" "It's to thank you for the work that you'll do for me." "Do you have to think about it?" "Because it might be a problem if you do," "No, it's good." "Good," "Come," "Okay." "Victor will be in touch at some point." "You like Victor, right?" "Yeah." "Also, you won't be doing any more pickups or de] iveries to Ann." "Okay." "is that a problem?" "No." "Good," "Because I don't want you and Ann to ever see each other again." "If you're wondering why there's so much money in there it's to thank you for doing what I say." "Don't ever try and see her again." "Isn't that partly up to her?" "It's what she wants, lt is?" "More importantly, it is what I want." "I see." "You do?" "Yeah, I do." "Sorry." "Because light travels in waves" "(female narrator3 with specific wavelengths with specific wavelengths," "Objects become visible when they are large enough to reflect light." ", uses an oil-immersion lens to achieve a magnification of 1, OOO" ", immersion lens to achieve a magnification of 1, OOO," "Ugh!" "Get outta here." "Okay." "Do you have money?" "Yeah." "Okay, well, then go." "Go, right now." "Come with me." "No, William," "No." "You remember William?" "He's back," "That episode was back then, but like I said, he's back, and well, you know, he's probably he's probably tried to get in touch with you." "Between us?" "Of course." "He wrote me a letter." "And?" "Come on, Ann, this is really fucked up." "Don't worry, Victor." "I'm not going to be a problem." "Promise?" "Promise." "is there anything you want me to tell him?" "No." "You know what I have to do," "Yeah." "Nothing you want me to tell him?" "No." "So, uh" "I don't know, I think, uh" "Don't think, Victor." "(Victor3 Hey, William." "You know what I have to do?" "No, I don't." "Yes, you do," "Where is Ann?" "Will you get Ann?" "Get Ann." "She wanted me to tell you she's sorry." "And that she'll always love you," "Please."