In one interlude, they're sitting in a coffee shop having a raucous conversation. The guy on the end of the booth (Craig Hall) is frozen, waiting. The girl behind him (Rachel Rutherford) gets up and leaves; he follows. Next thing you know, they're Tony and Maria, outside on the High Line, an abandoned elevated railroad track that the city has since turned into a park. It's another escape, a dream stage high above the city's dirt and rumble and clash. He's waiting for her, looking deliberately casual. When she comes, they embrace hesitantly, then passionately. He tries to go, returns to lift her in huge, balletic swoops. She slides slowly off his back to kneel on the ground, and he walks off along the rusty tracks, into a hazy sunset.
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