The cinematic montage intercuts between Image 1 and Image 2, two lives in stark contrast; her shots are cool, glassy and immaculate, his are warm, cluttered and worn, the cut itself doing the storytelling. Sequence 1: Image 1 steps out of a chauffeured car onto a marble forecourt, shot low and wide so the building towers above her. Cut to Sequence 2: a medium shot of Image 2 standing in an industrial estate and hauling open the shutters of a garage, rust flaking, morning sun cutting through the dust. Cut to Sequence 3: Image 1 sits at the end of a vast boardroom table, her reflection doubled in the polished surface; the others around the table all men in grey business suits. Cut to Sequence 4: Image 2 eats a sandwich on an upturned crate among engine parts. Cut to Sequence 5: Image 1 sits alone in an upmarket hotel bar, sipping a glass of white wine and looking poised and sophisticated. Cut to Sequence 6: Image 2 sits with a group of friends in a traditional British pub, drinking beer. No dialogue. No music. No subtitles.