Lin Page 2 2. San Francisco woman (Halley) = Hong Kong     woman (Cheng) = same actress 3. The third woman (Miho) = present at both      locations Why the duplication of actors? Across several universes, parallel lives are lived. Many Pauls (or Gun Duks) may very well populate other cities in this world, or in other worlds (hence the film's title). They are similar in some aspects, dif-ferent in others, and yet still reducible to a com-mon core, even if the core is nothing more than a twitch, a prejudice, a longing. Paul: Late twenties, disciplined yet noncommit-tal, genial but dispassionate. Daily life occu-pied with a task demanding punctuality, respon-sibility, professionalism. Teacher perhaps, or therapist. A job, something to do well, nothing more. He is not one who secretly nurses a hid- den talent - no wallflower waiting to bloom here, thank you. He is at peace with his lack of orig-inality. Perhaps because of it, he is confident. Meeting women, making them feel at ease, sleeping with them, later disassociating himself from them as gently as one lays a sleepy child to rest at night. The elegant clink of the wine glass, to the resting of phone receiver on cradle. Per-haps he plays a musical instrument, for his ears alone, even if female visitors demand a perform-ance - sorry, forgot how to play long ago - and later, in solitude, he finds happiness in his fingers roaming on the frets of his guitar, or tickling the keys of his saxophone. Movement: The film's progress should bring transposition and juxtaposition. Hope gives way to resolution; complacency erodes to bewilder-ment. San Francisco is transformed from summer fog and bleached sunlight to winter's chill winds