Black Mirror Style Caffeine Ad

No music of any kind: no music, background music, BGM, score, instrumental, melody, synth effects or ambient pad. Only room sound, voices and action sounds. No subtitles, no text on screen. A 20-second vertical ad: a mid-1990s office world where a line of identical suits is carried on a moving walkway toward cups of coffee, and one woman in a camel coat steps out of line and finds a colleague with a caffeine pouch. A mid-1990s corporate film shot on 35mm: cool blue shadows, warm skin and highlights, soft blooming highlights, slatted window light, heavy film grain, faded colour. Every frame is symmetrical except the moment she steps out of line. Everyone wears identical dark boxy 90s suits except the two leads, who are the only warm tones. The woman in @Image 1 is the woman in the camel coat; use her face, hair and coat, not her pose or framing. The two people in @Image 2 are the woman and the colleague; use their faces and clothes (his modern tan jacket), not the framing. @Image 3 is an unlocked reference for the look only: its colour, glow and grain, not its people or composition. Shot 1, 0-3s: from very high above, a vast pale car park; identical black sedans drive in from different directions and different distances, then all pull into their spaces and stop at the exact same moment in perfect rows; every car door opens on the same beat, and one door shuts late: hers. Shot 2, 3-5s: side-on tracking shot along a moving walkway in a white marble atrium; the suits stand perfectly still, carried forward; she checks her watch. Shot 3, 5-6s: dead-on, perfectly symmetrical: a lunch lady behind a steel counter squeezes one pump of coffee into each paper cup as it passes. Shot 4, 6-8s: directly overhead, every cup on the walkway rises to every mouth at once; then close on her cup at her lips as she sips. Shot 5, 8-10s: she gags slightly on the coffee, lowers the cup, and steps off the moving walkway onto the marble floor beside it; the walkway keeps carrying the line of suits past her, one after another, nobody looking at her. Shot 6, 10-11s: high angle down on her standing alone on the marble floor, the space behind her empty; she looks straight up into the lens. Shot 7, 11-14s: far above on a marble mezzanine, the colleague sits alone at a desk; the camera pushes in on his calm face as he tucks a small white caffeine pouch under his upper lip with a fingertip, mouth closed. Shot 8, 14-20s: a two-shot of the two of them side by side at his desk: he hands her the small round tin, she takes a caffeine pouch and tucks it under her upper lip, mouth closed, and hands the tin back to him; hold on the two of them. Sounds: the car doors in unison then one late slam, the w