—“I... I have to turn you into an eternal angel.”

The English monologue suddenly breaks into Korean.
Is it to stick to the character’s identity as a Korean-American?
Or is it an unconscious admission that he himself is incomplete?

A scene with unclear intent plays out.
Onscreen, Kim Donghu caresses the body of a ballerina on TV.
His eyes, glinting with murderous desire, appear once more.

The woman’s face isn’t shown.
Even her body remains obscured.

What’s visible are pink pointe shoes.
A floor wiped spotless and a white barre gleaming under reflected light.

Capping off that imagery, which stirs the imagination—

—“I want you... I want to have you, Natasha.”