The camera pans from left to right across the city from a height-equivalent to 10 stories.
The camera is pointed West almost parallel to Bloor and takes in the entire Annex onward.
It's morning, the light of the scene is mainly sunlight reflecting off the city and sky.
A crane sits next to a building under construction. It's jib points skyward and to the south.
Several old stone Gothic rooftops can be seen among the forest of trees and buildings.
It's fall-winter rather than summer-fall so the leaves on the trees are already gone.
They gather in dark fleshy masses around several sewage grates.
The sky is made of three separate tones from top to bottom: blue, purple and yellowy-white
The camera takes all of this in in a wide shot and continues to move from left to right.
An apartment building enters the shot from the right - the camera continues to pan.
Most of the balconies are empty except for a few lawn chairs, clothing racks, and garbage.
The camera stops and centers on a balcony with curtains drawn to the side of a sliding door.
The reflection of the Annex makes it difficult to see what's on the other end clearly.
The form of someone sitting clothed in sweat pants and a hooded top can be made out.
Their face is unrecognizable, as is their skin tone and gender.
The camera slowly moves toward the figure and the sliding door.
Something becomes audible through the door - a repetitive methodical sound.
The chant continues as the volume rises in relation to the camera moving in.
Moving the shot through the sliding door, the figure is revealed to be a male.
His black hair is messy and drying but there's a sign that an attempt was made to fix it.
He wears glasses, sits on top of a couch arm facing the sliding door, and isn't wearing socks.
In little more than a whisper and with the meanest requirement of breath he repeats,
"I love her... But she's happy... And I'm okay"
His breathing is relaxed and deep, but almost too lazy, as if he doesn't care to.
"I love her... But she's happy... And I'm okay"
His posture is tired and bent, his legs are loosely crossed at the ankle.
He repeats the words again, pauses, and seems to be thinking.
His eyes are heavy through his glasses as he waits and says,
"I love her... A lot... But she's happy... And I'm okay"
His tones carries with it a release of emotional tension and he pauses before he says,
"I love her... A lot... But she's happy... And I'm okay"
Another pause, followed by,
"I love her... A lot... But she's happy... And I'm happy... And we'll be okay"
"I love her... A lot... But she's happy... And I'm happy... And we'll be okay"
He's gazing out across the city, along Bloor.
The intersection of The Madison, the lights of Honest Ed's that backs Victory Cafe.
Further out across to Liberty Village and Roncesville.
"I love her... A lot... But she's happy... And I'm happy... And we'll be okay... It just takes time"
Repeating,
"It just takes time..."
His gaze centers on the apartment buildings to the West out around Christie and further.
Out where only the shape of buildings in shadow can be seen.
His breathing is deep and relaxed but a note of determination seems enters the rhythm.
"I love her... A lot... But she's happy... And I'm happy... And we'll be okay... It just takes time"
Repeating,
"It just takes time..."
He stands slowly, straightens the couch leg and walks quietly through the room and down the hall.
The camera watches him get up then follows him from behind.
The apartment is well kept but relatively grimy in neglected areas.
He makes his way into the room on the right with the door open and a light on.
The door to the left is mostly closed, but slightly open and there's wind moving through from an open window.
In the room, lit by a desk lamp and the morning light of the city he sits at a desk with a computer already on.
He writes.