The story starts by introducing a man who is in his early thirties. We are not given much information about him, but we see parts of his daily routine. Everything that he does is very carefully organized and he takes a lot of time over certain specific actions (locking and unlocking the door 6 times each night). We gradually work out that he has an obsessive compulsive disorder, although it is not told to us explicitly. We see more and more of his life in these opening few minutes and realize that he is entirely alone. This will be shown in a stylized montage rather than continuity editing. The montage is broken when he accidentally gets swept up by a crowd of drunk guys on the street and taken into a bar with them. He tries to protest but they’re having none of it. As he is trying to escape the bar (which is pushing his paranoia to the limit) he starts to really stress out as he can’t find a door to lock and unlock. Suddenly a woman about the same age as him comes up to him and asks him if he’s alright. Without pausing to introduce himself or anything he says he needs to find a door to unlock. Without questioning him she takes him round to the back of the bar where there is a door used by the staff to get in and out. She gives him the keys telling him she works at the bar a few nights each week. After being allowed to go through his ritual he calms down a lot and the woman starts to talk to him. She seems unusually friendly towards him, which takes him by surprise as people don’t usually show an interest in him for long. As a result he is initially defensive – every time she compliments him he tries to play down what she has said or comes up with something that is wrong with him, a reason she shouldn’t like him. These reasons mostly focus around his OCD. However she is persistent, assuring him that she genuinely likes him for who he is. We watch as their relationship progresses, he is the happiest he has ever been and this manifests itself in some of his symptoms lessening (realistic?). We skip ahead in time as the two of them are returning from their wedding reception. As he is locking and unlocking the door she comes up behind him, we think to hug him as we have seen her do this before, it has become a part of their daily ritual, but she instead presses a tazer into his back until he blacks out. When he wakes up he is in his car in his garage with the doors locked and the ignition started. Fumes have already flooded the vehicle and he cannot get out before he passes out again, this time for the last time.

Up until this point the film has been told from the point of view of the man telling his story from his perspective, however now the narrative switches over to the woman. This is signified by the addition of her voiceover. We rewind time slightly and see her as she is putting him into the car, writing out a suicide note, connecting pipes to the exhaust, putting the key in the ignition, turning it, locking the doors and leaving, as she leaves her voice over says ‘whoops’ very coldly.

The next few scenes show the police investigation in which she plays the part of the shocked and grieving newly wed perfectly. As these scenes progress, however, we hear her voiceover explaining to us how she set everything up to look like a suicide. At this point we don’t know why she killed him.

After the police leave, declaring the case a routine suicide with no suspicious circumstances, we see her walk upstairs to their bedroom and pick up a small china shepherd figurine. She looks at it for a while then wraps it up very carefully in bubble wrap and paper to protect it. We learn that this figurine was a treasured family heirloom hundreds of years ago and was buried with her one of her ancestors, but was then stolen from his tomb. After finding this out at the age of 17 she became obsessed with tracking it down and returning it to its rightful place in order to restore the honour of her family. After years she succeeded in tracking the figurine down to the man we meet at the start, who unwittingly inherited it, not attributing any real significance to it. Since the woman’s plan stems from the idealogical mission of returning honour to her family, she couldn’t simply take the ornament as it would still not rightfully be hers – she would be no better than the thief all those hundreds of years ago. Instead she needed to find a way to transfer the figurine into her family’s bloodline again. Buying it off the man would be the logical explanation, but the woman has such strict idealogical rules that she can’t let herself consider this as it would disrespect the memory of her ancestors, as a result she concocts the plan to work her way into his life, eventually marrying him. She can then doctor his will ever so slightly to include a clause which means the figurine will pass to her in the event of his death. As soon as they are married she drops the pretense, kills him and the figurine is officially and rightfully hers.

The film ends with her travelling to the tomb to replace the figurine. While she is on the plane she begins to remember the man, tries to push him out of her thoughts but cannot. Up until this point she has been entirely focused on her goal, emotion has never got in the way. Despite her guilt she carries on with her task and the film ends with her arriving at the tomb, placing the figurine in with all the others which are already there and then exhaling. This is intentionally anti-climactic.