We immediately change perspective and move to a car graveyard.  Here we see Ballard's car, or what remains of it, sitting beneath an overpass across which it can never pass again.  We hear cars travelling overhead, like planes, but it is clear that for this vehicle, all travels are over.

Ballard is standing behind the car, looking on, just as we had seen him in the previous scene looking into the empty parking space.  This is the reality for him, this is where his last journey had ended.

Soon Ballard will not be alone.  With the arrival of a guiding angel, he will soon take the next step.  It is not clear if it is coincidence or not, but at the same time he is visiting his car, standing at a crossroads, Remington wanders into view.  She too is here to look at her smashed vehicle, her dead husband’s car.  She is drawn to Ballard, and to Ballard's own vehicle.  It is as though she has anticipated Ballard’s visit, and wanted to make sure she was part of it.

Ballard's reaction to his car is one of wonder.  He has yet to completely come to terms with his new found enjoyments, and he not only needs to see the damage, but he also has to run through events in his mind.

To this end, Ballard opens the driver’s side door and climbs into the seat, trying to relive the moment of impact, and what immediately followed.  At the time of the original accident, what followed was severally limited by his injuries.  Despite having Remington at the scene with him, nothing could be consummated due to the effects of the impact.  Now he relives the scene with Remington, without the immediate, disarming, physical side effects.

We see him rubbing the scar on his forehead, and then reaching out into the air where the windshield had been, touching the rear view mirror that must have struck his head. 

He reaches down toward the pornography strewn on the floor, it's speckled with shards of broken glass.  He touches a Polaroid of what we can assume is a previous lover taking off her blouse, exposing her breasts.  These are thoughts of memories past, of more obvious sexual acts and favours.

When Remington arrives they exchange a long glance at each other.  It is clear that she is farther along the path to a Crash realisation than Ballard.  She shifts from one foot to the other, waiting for him to make a move.  She is clearly not sexually aggressive, and wants him to lead her - to accept this new way of thinking and feeling without interference.  It’s almost as though she does not want to induct Ballard into the Crash world, that all participants must simply find themselves there, fully accepting, without explanation.

In order to further illustrate her passive aggression, it is Remington who walks to the front of Ballard's car and begins to connect with the impact zones.  She reaches out with gloved hands, moving the light fixtures in their broken sockets, feeling the textures and sharp edges of the car that had killed her husband.

All of this touching makes Ballard nervous, and he reaches out to prevent her touching the car, a spark of tension flying between them.  This is perhaps one of the strangest seductions shown in film. The couple are united not by the death of Remington's husband, although that's a consequence of the accident. Rather, they are already attracted to the potential for another accident, another vehicle, and the possibilities of other things they can do in cars, such as having affairs which Remington later tells us "felt like accidents".

Whereas we might expect such a sexual encounter to end in a hotel room or back at one of their apartments, this being Crash we will inevitably end up in a car.  Ballard says:  "I somehow find myself driving again".  And soon they move to his new home for seduction – a place modelled exactly as his crash vehicle had been.