Marta Hendricks died more than 100 times, always on stage. Never had she felt death’s stinging touch for real until hearing mid-performance that her husband had perished in a fire. Christa Lewis’s performance resonates with operatic passion as Hendricks’s grief is supplanted by the mystery in which she is enshrouded after glimpsing a man who looks just like her "late" husband riding the Paris Metro. Pursuing that sighting takes her to the nexus where the worlds of high art and low crimes collide and forces her to question who the man is (and was) she was sure she knew so well.
Marta Hendriks is onstage at the Metropolitan Opera in New York when she learns of her beloved husband's death in a house fire. Overcome, she collapses and has to be carried off the stage.
Fast-forward two years and countless therapy sessions, and Marta is ready to resume her career. In a stroke of luck, she's hired at the last moment to sing Violetta for the Paris Opera. She manages to keep her emotions under tight control and triumphs in the opening-night performance. During one of her rare days off, relaxing for the first time since her husband's accident, something threatens her newfound peace. When Marta is caught in a sudden downpour, she dashes for the shelter of a subway station and spots someone doing the same. It is her husband. Marta fears she's losing her mind - or did she actually see him? Back home in Toronto, she struggles with her need for the truth at the precipice of madness.