The Rocket

[REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 2}} ; role: character_reference; authority: Ronnie identity, older lean wiry build, salt-and-pepper hair if partially visible, blue-grey long sleeve running top, black running shorts, grey running shoes, economical athletic posture, and controlled pre-run movement. Do not copy sheet layout, typography, labels, studio background, or pose-board presentation. TROPHY_REF = {{Mixed 1}} ; role: prop_or_object_reference; authority: silver trophy design, broad bowl shape, ornate handles, black base, top figure, polished reflective metal, red and blue ribbons, scale, and base/ribbon continuity. Do not copy reference-sheet labels, white background, multi-view layout, or printed words. [FINAL LOOK CONTRACT] Visual source policy: Use CHARACTER_1_REF for Ronnie's running attire and movement. Use TROPHY_REF for the trophy. The home interior is a fictional quiet living room, not a branded or recognizable location. Palette / color behavior: Quiet early morning domestic palette: muted living-room shadows, dark wood sideboard, black/grey running clothes, silver trophy glints, red and blue ribbons, and golden morning sunlight at the door. Keep the image natural, restrained, and intimate, not glossy or celebratory. Lighting and shadow behavior: Interior begins soft and dim. The doorway becomes a golden overexposed morning source when opened. The trophy catches small highlights close to camera. Background remains shallow and unfussy. Preserve gentle focus breathing and a soft archival film texture. Environment look: Ronnie's living room with a low wooden sideboard/cabinet near the doorway. The camera sits locked on the sideboard surface at tabletop height. Background contains a house doorway and simple domestic shapes, all kept soft and non-detailed. No visible brand labels, screens, awards wall, sports memorabilia clutter, or readable text. Material and surface fidelity: Polished silver trophy, red and blue ribbons, black base partly covered by ribbon, varnished wood tabletop, morning dust in light, running fabric, natural skin and hand texture, old home stillness. Forbidden look drift: no handheld movement, no camera push, no wide establishing shot, no glamour trophy insert, no sports broadcast arena, no ad-like product shot, no readable engraving in this part. [EXECUTION CONTRACT] True continuous take: one locked-down shot only. Camera never moves, never pans, never tilts, never cuts. All visual change comes from Ronnie entering, placing the trophy, walking away, opening the door, running out, and the focus rack. Framing rule: camera is on the sideboard surface, low and fixed. Ronnie is framed only from half-thigh to chest whenever he is near camera; no full face, no full body. Trophy occupies the left third of frame when placed close to lens. Background remains visible but soft. After placing the trophy, Ronnie turns away from camera; while focus follows him to the doorway, his back faces camera at all times. Focus choreography: begin with the whole image blurred. As Ronnie enters and approaches, he walks partly into focus but never becomes perfectly sharp. When trophy is placed close to camera, foreground trophy is still soft or only partly readable. Focus follows Ronnie toward the doorway, leaving the trophy blurred. After Ronnie exits, focus slowly racks back to the foreground trophy until the trophy is the sharpest object in frame. Performance rule: Ronnie is quiet, casual, and already thinking about the run. He does not fuss with the trophy or fix the ribbons. He places it down, ignores the ribbon covering the base, stretches once, and leaves. Audio rule: quiet house tone, soft footfalls, trophy base touching wood, cloth rustle, door opening, morning exterior air, quick stretch breath, running shoes leaving. No dialogue, no music, no commentator. [SCENE] A locked camera sits on a low wooden sideboard inside Ronnie's living room. The frame begins blurred. Ronnie enters in running attire, cropped from half-thigh to chest. As he approaches, he comes only partly into focus. His hand places the silver trophy onto the sideboard very close to camera, occupying the left third of frame. The red and blue ribbon slightly wraps around and covers the trophy base. Ronnie does not care. He turns away and walks toward the house doorway with his back facing camera; the focus follows his back, leaving the foreground trophy blurred. Ronnie opens the door; golden morning sunlight shines in. Still back-facing, he does a quick stretch and runs out of the house, exiting frame. The focus slowly racks back to the trophy. [CONTINUITY + OBJECT STATE CONTRACT] Visible subject: Ronnie's body from half-thigh to chest when near camera, his hand placing the trophy, the trophy, sideboard surface, doorway, and morning sunlight. Do not show full face or full-body running portrait. Trophy state: exactly one trophy. Trophy is placed close to camera on the left third of frame. Ribbon slightly wraps around and covers the base. Ronnie never adjusts the ribbon. The engraving on the base is not readable in this part. Spatial continuity: sideboard foreground left, living-room depth behind, doorway in background. Ronnie enters the frame, approaches sideboard, places trophy, turns his back to camera, recedes to doorway, opens door, stretches, exits outside. Orientation continuity: from the moment Ronnie leaves the sideboard until he exits, he is back-facing only. Focus follows the back of his running top, shoulders, shorts, and legs toward the doorway; no front, three-quarter front, or side-profile angle during the doorway walk. Final frame state: trophy foreground is back in focus, ribbon still slightly covering base, doorway background empty with warm morning light. [TAKE PHASE PLAN] PHASE 01: Blurred locked frame. Camera sits on the wooden sideboard surface at tabletop height. Living room and doorway are soft shapes. No subject is sharp. PHASE 02: Ronnie enters and approaches. Camera remains locked. Ronnie in running attire enters frame cropped half-thigh to chest. Focus improves slightly on his moving torso and hands but remains imperfect. PHASE 03: Trophy placement. Ronnie's hand places the trophy very close to camera, occupying the left third of the frame. The trophy is large foreground shape; the ribbon falls naturally and partly covers the base. Ronnie does not adjust it. PHASE 04: Focus follows Ronnie away. Ronnie turns his back to camera and walks toward the doorway. Focus pulls away from the trophy and follows Ronnie's back into the background. The foreground trophy becomes blurred. PHASE 05: Door opens and Ronnie leaves. Ronnie remains back-facing as he opens the door; golden morning sunlight enters. He does a quick back-facing stretch in the doorway and runs out of the house, exiting frame. Camera remains locked and low. PHASE 06: Focus returns to trophy. With Ronnie gone, focus slowly racks back to the foreground trophy. The trophy becomes the sharpest object, still left third, ribbon still covering part of the base. Hold the quiet empty room. [NEGATIVE] No cuts, no camera movement, no handheld, no pan, no tilt, no dolly, no wide shot, no full-body Ronnie, no full face reveal, no front-facing Ronnie during doorway walk, no side-profile doorway walk, no turning back to camera, no trophy adjustment, no ribbon fix, no readable engraving, no duplicate trophy, no extra people, no sports arena, no trophy product commercial, no bright modern interior, no logo, no readable text, no subtitles, no UI, no AI watermark, no over-sharp digital image, no sudden focus snap, no impossible focus jump, no door closing behind him, no running inside the living room.

[FINAL LOOK CONTRACT] Visual source policy: Use the supplied first frame as the starting composition: trophy on the left side of a dark wooden sideboard, red and blue ribbons hanging naturally, no ribbon wrapping over the base, warm open doorway glow in the distant background, shallow domestic morning atmosphere. Palette / color behavior: Intimate morning interior: golden sunlight from the open door, dark wood sideboard, reflective silver trophy, black lower base, red and blue ribbons, warm beige hallway blur, muted living-room shadows. Keep it quiet and reverent, not commercial. Lighting and shadow behavior: Sunlight from outside catches the side of the trophy base at an oblique angle. The engraving is not front-facing; it lives on the side curve of the silver base, catching a narrow strip of warm light as the camera pushes closer. Use shallow depth of field, gentle focus breathing, soft reflective glints, and natural exposure rolloff. Environment look: Same sideboard/tabletop position from the end of Part 1. Background remains a blurred living room and open doorway glow, not a detailed set. The trophy stays left-of-frame at the beginning, with the doorway deep and soft in the background. No logos, photos, documents, sports memorabilia clutter, or readable background text. Material and surface fidelity: Polished reflective silver base surface, black lower foot, red and blue ribbon fabric hanging down the sides, varnished wooden sideboard, dust in morning light, subtle metal scratches, and engraved lettering cut into metal by the end. Preserve tactile metal and fabric, not a clean studio product look. Forbidden look drift: no full trophy product ad, no clean studio background, no extra trophy, no hand entering, no ribbon wind beat, no magic floating text, no front-facing plaque, no printed label pasted onto the trophy. [EXECUTION CONTRACT] True continuous take: one shot only, no cuts, no hidden cuts, no dissolve, no angle reset. Begin exactly from the provided first-frame state: trophy focused on the left side of the sideboard, red and blue ribbons hanging naturally, open doorway glowing in the background. The camera performs one slow controlled push-in toward the trophy base, ending in an extreme close-up of the side base surface. Camera behavior: start locked or nearly locked on the provided composition, then dolly in slowly and deliberately toward the side of the base. The camera path is slightly off-axis, not straight-on. It moves closer to the curved side surface where the engraving catches sunlight. Keep movement smooth, intimate, and close; no dramatic swoop, no fast push, no handheld shake. Engraving reveal rule: at the start, no engraving is readable from the wider frame. As the camera pushes in, the existing side engraving becomes gradually legible in an almost unperceivable way through changing scale, focus, angle, and sunlight glint. It should feel like the words were already etched into the silver but were too small and reflective to notice before. Do not animate letters appearing stroke-by-stroke, do not fade in text, do not overlay text. Text rule: the only readable text is the trophy base engraving: "The Rocket". It must be spelled exactly with capital T and capital R. The words are engraved into the side of the silver trophy base, angled slightly away from camera, catching warm sunlight from the open door. Audio rule: quiet room tone, faint open-door morning air, tiny interior creak, subtle metal/wood stillness. No dialogue, no music, no commentator. [SCENE] The shot begins from the provided first frame: the trophy sits on the left side of the wooden sideboard, red and blue ribbons hanging freely, the living room soft, the open door glowing with golden morning light in the distance. The camera slowly pushes in toward the trophy base. At first the base has no readable engraving from this distance. As the camera moves closer to the side of the silver base, warm sunlight catches the oblique surface and the engraving becomes naturally visible. By the final extreme close-up, the words are clearly etched into the side of the trophy base: "The Rocket". [CONTINUITY + OBJECT STATE CONTRACT] Initial state: same as supplied first frame. Trophy left on wooden sideboard, ribbons hanging naturally, no ribbon wrapped over the base, open doorway glow behind, no people visible. Trophy state: exactly one trophy, stationary throughout. Red and blue ribbons stay attached and hang down; they may sway barely from room air but do not reveal anything and do not drive the action. Engraving reveal: "The Rocket" is not readable at first. The engraving becomes readable only because the camera gets closer and sunlight catches the side base surface. The reveal must be subtle and natural, not a supernatural appearance. Orientation: engraving is on the side of the trophy base, not facing the camera directly. It is angled obliquely, partially wrapping with the curved silver surface, catching sunlight from outside. Final frame: extreme close-up of the side base surface with the engraved words "The Rocket" clearly readable, integrated into reflective metal. [TAKE PHASE PLAN] PHASE 01: Start from the supplied first frame. Camera holds the trophy on the left side of the wooden sideboard, ribbons hanging, open doorway glowing far behind. No person enters. No engraving is readable at this distance. PHASE 02: Slow push-in begins. Camera moves gently toward the lower side of the trophy base, maintaining the warm doorway glow as soft background. The trophy grows larger; ribbons remain natural side elements. PHASE 03: Oblique side surface catches light. Camera continues closer on a slightly off-axis path. A narrow sunlight glint slides across the silver side of the base. Subtle etched marks begin to feel present but not yet readable. PHASE 04: Engraving becomes legible. Camera pushes closer; focus and scale reveal that the faint side marks are engraved letters in the metal. The text is not front-on; it sits on the curved side base and catches warm light. PHASE 05: Extreme close-up hold. Camera ends in an ECU of the side base surface. The engraving is now clear and naturally integrated into the silver: "The Rocket". Hold on the reflective metal, shallow focus, and warm sunlight glint. [NEGATIVE] No cuts, no dissolve, no person entering, no hand moving ribbon, no wind-ribbon reveal, no duplicate trophy, no alternate trophy design, no ribbon wrapping over the base, no ribbon covering the final engraving, no front-facing plaque, no flat text overlay, no floating letters, no letters drawing themselves on, no obvious fade-in text, no printed sticker, no extra words, no extra inscription, no misspelled engraving, no unreadable final engraving, no direct-to-camera engraving plate, no clean studio product shot, no full trophy spin, no fast dolly, no shaky camera, no focus snap, no subtitles, no UI, no AI watermark, no cartoon, no illustration.

[REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 2}} ; role: character_reference; authority: Ronnie's lean wiry proportions, slate long-sleeve running top, black running shorts, gray running shoes, jaw and mouth anatomy for the extreme crop, athletic posture, and urgent escape-running quality. Do not use it to reveal his full face. APPROVED_STORYBOARD_REF = {{Mixed 1}} ; role: storyboard_structural_reference; authority: exact two-shot order, Shot 1 low matched leg tracking, Shot 2 extreme mouth/jaw/partial-cheek breathing crop, no-face limits, broad camera staging, and shot-to-shot continuity only. No final look, color, lighting, texture, material, exact pose, locked composition, frozen stillness, or storyboard drawing style authority. [FINAL LOOK CONTRACT] Visual source policy: final video look is photorealistic cinematic naturalism from the character reference and written scene text. The approved storyboard is attached for structure only; do not copy storyboard linework, sheet layout, panel borders, labels, graphite marks, simplified blocking style, static poses, or any non-photoreal rendering. No keyframe references are used. Palette / color behavior: muted early-morning rural colors: wet charcoal road, dark gravel, brown mud, fallen ochre leaves, deep green grass, gray-blue sky light, slate shirt, black shorts, gray shoes, natural skin tone in the mouth/jaw crop. Keep saturation restrained and realistic. Lighting and shadow behavior: cool overcast morning light, soft diffuse shadows, low contrast, realistic damp exposure, no glossy commercial lighting, no sunny golden-hour shift. Environment look: narrow wet country road with road-edge grass, gravel, mud, fallen leaves, and blurred tree-line hints. Tree branches and foliage must look organic, irregular, depth-layered, and naturally varied, not fake repeating patterns. Material and surface fidelity: preserve wet ground sheen, muddy contact, road grit, worn running shoes, damp fabric movement, realistic skin texture at the mouth and jaw, dry-to-damp lips, subtle stubble if visible, and breath pressure. Do not clean, polish, beautify, or make surfaces plastic. Forbidden look drift: no illustration, no CGI gloss, no AI-patterned branch lattice, no cloned foliage, no decorative symmetrical branch tunnel, no wallpaper-like background, no fantasy forest, no dry sunny road, no storyboard artifacts, no generic stock-runner beauty shot. [EXECUTION CONTRACT] Two fast handheld shots with clean hard cut only between them. Shot 1 is a tight low matched tracking shot of Ronnie's legs and running feet. Shot 2 is an extreme close-up of his mouth, jaw, and part of one cheek while he breathes hard and continues running. No crossfade, no dissolve, no hidden transition, no overlap. Camera behavior: handheld, physical, urgent, close to Ronnie, with shake proportional to his visible running speed. The camera only shakes hard when Ronnie's stride, cadence, ground parallax, and foot impacts are visibly fast; if his run slows or becomes restrained, the shake must reduce to match. Composition does not need to hold perfectly. Shot 1 camera stays low and moves with his speed, not a stationary pass-by; his feet and calves may drift toward frame edges or partly clip out for split moments because the camera operator is also running, then re-enter. Shot 2 camera stays extremely close to the lower side of his face, handheld with breath and running impact; the mouth, jaw, cheek, lower-nose edge, or neck edge may move in and out of frame, but the shot must not widen into a full face reveal or show eyes. Performance pressure: Ronnie feels like he is escaping something. Ronnie is not jogging or pacing himself. He is sprint-running at near-maximum effort, with long open strides, fast cadence, hard foot strikes, strong push-off, higher knee lift, heels kicking back, and visible escape urgency. His arms drive hard just outside the frame. His breathing is loud, close, strained, and urgent, almost too close to the microphone. Motion intensity: aggressive camera travel, strong ground parallax, heavy background motion blur, and handheld shake that is synchronized with Ronnie's footfalls and speed. Ronnie's key contact points should remain readable overall, but not locked perfectly in frame. Preserve live motion every moment: full running gait cycle, longer stride extension, springy push-off, foot strike, toe-off, calf snap, fabric flutter, jaw movement, lip parting, breath pulses, cheek vibration, camera bob, impact jolts, and frame hunting. The perceived camera instability must come from fast running and close operator movement, not random independent shaking. No frozen limbs, no held pose, no still-image drift. Audio planning notes only: wet fast footsteps, breath growing louder and closer, fabric movement, faint road grit, distant morning wind, no music. [SCENE] Ronnie is still running hard on the wet country road, moving with a looser, faster escape stride rather than restrained jogging. His full face is never shown. First, the camera tracks tightly beside his legs and running feet as he drives forward across the road, background streaking past in heavy motion blur. Then a clean hard cut to an extreme close-up of his mouth as he breathes hard while still running, showing only mouth, jaw, and part of one cheek. [CONTINUITY + OBJECT STATE CONTRACT] Visible cast: Ronnie only. No pursuer visible, no second person, no vehicles, no buildings. Identity continuity: Ronnie remains the same lean wiry middle-aged runner in slate long-sleeve top, black shorts, gray running shoes, with the mouth/jaw crop belonging to the same runner. Face continuity: never show Ronnie's full face. Shot 2 may show mouth, jaw, partial cheek, a small lower-nose edge only if unavoidable, and neck edge if needed; exclude eyes, full nose, forehead, full face outline, and frontal portrait. Spatial continuity: same wet rural road world as the previous running material; road edge, gravel, mud, leaves, and blurred tree-line hints remain consistent. Storyboard continuity: use APPROVED_STORYBOARD_REF only to preserve exact two-shot order, shot scale family, no-face limits, and broad camera staging. Do not imitate it as static panels or exact locked compositions; translate each panel into live urgent motion with handheld deviations. Camera continuity: Shot 1 is matched low tracking, not a fixed camera watching Ronnie pass. The camera speed should feel high because road texture whips by, the stride opens fully, and foot impacts arrive in quick rhythm. Shot 2 is still running, not a posed portrait insert. Both shots may hunt, bob, and lose perfect centering because the camera operator is running close beside Ronnie, but the amount of shake must match the visible speed and impact rhythm. Sound bridge: breathing grows louder from Shot 1 into Shot 2; mouth-breath audio feels close to the microphone. [SHOT PLAN] SHOT 01: Ronnie's legs and running feet move fast across the wet road with urgent, escaping energy. His stride is loose and athletic, not restrained: knees lift higher, legs extend farther forward and back, shoes strike hard then push off quickly, cadence is fast, and calves snap through the gait cycle. Camera: tight low tracking shot at shin-to-shoe height, very close to the ground, moving parallel with Ronnie and matching his speed; frame contains running shoes, calves, lower legs, road contact, heavy background streaking, strong ground parallax, and rough handheld vibration tied to each footfall. The legs do not need to stay perfectly centered; a shoe, calf, or road contact point may briefly clip the edge of frame because the camera is shaking while running, but the shake must match the visible stride speed. Clean hard cut at the end. Ambient: rapid wet footfalls on gravel and mud, fabric movement, breath beginning to grow louder, distant wind. SHOT 02: Ronnie breathes hard while still running, the breath almost too close to the microphone. Camera: extreme close-up of mouth, jaw, and part of one cheek only, handheld and physically jostled by the faster run; crop is tight enough to exclude eyes, full nose, forehead, and full face outline. The lower face can drift in and out of frame with shake synchronized to his running impacts: lips, jawline, cheek edge, lower-nose edge, or neck edge may appear briefly, then slip away, while never revealing the full face or eyes. Lips part, jaw tightens, cheek and lower face bounce subtly with each running impact; clean hard cut in from Shot 1. Ambient: loud close breathing, rapid wet footfalls continuing under the breath, no music. [NEGATIVE] No keyframe reference, no frozen motion, no freeze-frame, no held still pose, no overly stable locked-off composition, no perfectly centered smooth gimbal look, no random shake unrelated to running speed, no excessive shake over slow restrained movement, no mannequin running pose, no locked limbs, no jogging speed, no moderate running speed, no restrained athletic drill, no casual endurance-run cadence, no restrained jogging gait, no tiny shuffling steps, no slow cadence, no sliding static body, no full face, no eyes, no full nose, no forehead, no frontal portrait, no face reveal, no torso in Shot 1, no head in Shot 1, no wide shot, no distant runner, no stationary camera pass-by in Shot 1, no calm jogging pose, no smile, no dialogue, no pursuer visible, no second character, no vehicle, no building, no hidden cut beyond the clean hard cut between Shot 1 and Shot 2, no crossfade, no dissolve, no overlap transition, no ghosted transition, no double exposure, no storyboard sheet artifacts, no panel borders, no captions, no labels, no UI, no text, no illustration, no CGI/plastic finish, no fake patterned tree branches, no repeated branch lattice, no wallpaper foliage, no cloned leaves, no fantasy forest, no dry sunny road, no music.

[MODE: APPRENTICE] [REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 2}} ; role: character_reference; authority: lean wiry proportions, slate long-sleeve top, black shorts, gray shoes, running-leg shape, clenched hand, lower-face side-profile anatomy, exhausted near-sprint movement. Do not use it to reveal his full face. APPROVED_STORYBOARD_REF = {{Mixed 1}} ; role: storyboard_structural_reference; authority: phase order, 90-degree profile lateral track, same-side axis continuity, screen-left-to-screen-right running, clean no-wire opening, barbed wire entering after a few steps, foreground wire occlusion afterward, one or two abrupt zoom-in accents, lower-face same-direction profile crop, no-face limits only. No final look, exact pose, locked composition, frozen stillness, or storyboard drawing style authority. [FINAL LOOK CONTRACT] Visual source policy: photorealistic cinematic naturalism from character reference and text. Storyboard is structure-only; do not copy linework, sheet layout, labels, graphite marks, static poses, or non-photoreal rendering. No keyframes. Look: cold muted grey rural-industrial palette: damp dark road, dead leaves, dull brick, gunmetal coiled wire, grey sky flashes, slate shirt, black shorts, gray shoes, natural skin in lower-face profile. Hard cold overcast light, harsh moving wire shadows, no warm sunny shift. Environment/materials: narrow damp road beside rough battlefield-style coiled barbed wire, brick streaks, distant wire fragments, dead leaves, cold sky flashes, grey motion blur. Wire is dangerous uneven metal with thorn-like barbs, not a neat fence. Preserve wet road sheen, grit, scratched steel, damp fabric motion, worn shoes, realistic mouth/jaw skin and breath pressure. Forbidden look drift: no straight vertical fence bars as main motif, clean chain-link, decorative wire pattern, CGI gloss, fantasy prison set, dry sunny road, storyboard artifacts, plastic surfaces. [EXECUTION CONTRACT] One continuous kinetic 90-degree profile lateral track. Ronnie always runs screen-left to screen-right. Camera stays on the same side of his running axis and never crosses the 180-degree line. No hidden cuts, dissolve, or overlap transition. Camera: low, close, handheld, physical, parallel with Ronnie. Shake is proportional to visible running speed, cadence, ground parallax, and foot impacts; it may drift but must not feel random. Allow one or two slight abrupt zoom-in punches only. Performance: Ronnie is near-sprint running after a long effort, not jogging: open stride, quick cadence, hard foot strikes, strong push-off, less controlled rhythm, clenched hand, ragged close breathing. Motion/audio: aggressive lateral travel, grey background blur, foreground wire sliding fast, footfall-synced shake, full gait cycle, fabric flutter, hand pump, jaw movement, mouth opening, breath pulses. Audio plan: fast wet footfalls, close hard breathing, metallic wire ambience, distant prison gate closing blending into footstep rhythm, cold wind, no music. [SCENE] Ronnie runs fast along a narrow damp road. The camera tracks his legs in 90-degree side profile, always screen-left to screen-right. The opening is clean with no barbed wire. After a few steps, rough coiled barbed wire enters the extreme foreground between camera and Ronnie and remains there, slicing the frame with jagged loops and sharp barbs. Backgrounds rush past as grey motion blur: brick, wire fragments, dead leaves, cold sky. The camera briefly catches his clenched hand and the same-direction lower half of his face in profile as he breathes harder. His full face is never shown. [CONTINUITY + OBJECT STATE CONTRACT] Visible cast: Ronnie only. No pursuer, second person, or vehicle. Identity: same lean wiry middle-aged runner, slate long-sleeve top, black shorts, gray shoes. Axis: Ronnie always travels screen-left to screen-right; legs, clenched hand, and lower face all face screen-right. Camera stays on same side for the entire sequence. No 180-degree crossing, reversed profile, or opposite-facing lower-face insert. Face: lower-face profile may show mouth, jaw, cheek edge, lower-nose edge if unavoidable, and neck edge only. Exclude eyes, full nose, forehead, full face outline, frontal portrait, and 3/4 face reveal. Foreground timing: PHASE 01 has no barbed wire. Barbed wire enters in PHASE 02 after a few steps, then stays extreme foreground through PHASE 03-PHASE 05 as hazardous occlusion, not background dressing. Storyboard use: APPROVED_STORYBOARD_REF controls phase order, camera side, axis, barbed-wire timing, crop limits only. Translate panels into live urgent motion, not static compositions. Sound bridge: wet footfalls and close hard breathing continue; metallic footstep rhythm gradually blends with distant prison gate closing. [TAKE PHASE PLAN] PHASE 01: Clean opening leg track. Ronnie's legs and feet move fast screen-left to screen-right on damp road with no barbed wire. Camera: tight low 90-degree profile at shin-to-shoe height, parallel near-sprint tracking; road texture, dead leaves, and grey blur streak behind. Ambient: rapid wet footfalls, breath building, cold wind. PHASE 02: Barbed wire enters. After a few steps, rough coiled barbed wire slides into extreme foreground from the near-camera edge while Ronnie keeps running screen-left to screen-right. Camera: same-side low profile tracking, footfall-matched shake; wire loops and barbs partly cross the legs without changing direction. Ambient: footfalls gain metallic edge. PHASE 03: Clenched hand zoom punch. One slight abrupt zoom-in catches Ronnie's side-profile clenched hand near his hip while foreground coils slide between camera and hand; legs remain partly visible or implied. Camera: same-side 90-degree profile, no axis flip. Ambient: louder breath, wet footfalls, faint metal rattle. PHASE 04: Lower-face profile breath. Brief same-side 90-degree profile ECU of Ronnie's lower face facing screen-right like the leg shots: mouth open, jaw tight, cheek edge and lower-nose edge only if needed. Wire loops or jagged shadows cross the crop. Camera may hunt slightly but never reveals eyes, full nose, forehead, full face outline, or opposite-facing profile. Ambient: hard ragged breathing close to mic. PHASE 05: Faster escape rhythm through wire. Return to tight low side-profile leg tracking with barbed-wire coils still extreme foreground. Ronnie still runs screen-left to screen-right, stride fast and less controlled, road and leaves streak past, jagged loops slice frame. Camera: same side, speed-matched shake, optional second slight zoom-in only if useful. Ambient: wet footfalls and metallic rhythm blend with distant prison gate closing. [NEGATIVE] No keyframe reference, full face, eyes, full nose, forehead, frontal portrait, 3/4 face, opposite-facing lower-face profile, axis flip, 180-degree crossing, reversed running direction, lower-face facing opposite leg direction, barbed wire in PHASE 01, barbed wire only in background after entry, straight vertical fence bars as main foreground motif, neat picket fence, clean chain-link replacing coiled barbed wire, decorative wire pattern, wrong camera side, frontal/rear tracking, jogging speed, restrained endurance cadence, slow footfalls, random shake unrelated to speed, constant zooming, more than two zoom-in accents, smooth locked gimbal look, frozen motion, freeze-frame, held still pose, mannequin running, locked limbs, sliding static body, second character, pursuer visible, vehicle, building as dominant subject, dialogue, crossfade, dissolve, overlap transition, ghosting, double exposure, storyboard sheet artifacts, panel borders, captions, labels, UI, text, illustration, CGI/plastic finish, dry sunny road, music.

[MODE: APPRENTICE] [REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 2}} ; role: character_reference; authority: Ronnie's lean wiry proportions, slate long-sleeve running top, black running shorts, gray running shoes, short salt-and-pepper hair silhouette when visible, athletic posture, and controlled running quality. Do not use it to reveal his face. APPROVED_STORYBOARD_REF = {{Mixed 1}} ; role: storyboard_structural_reference; authority: phase order, one-take camera choreography, broad staging, screen direction, P02/P03 tracking revision, rising rear-side camera path, and final tree-trunk obstruction only. No final look, color, lighting, texture, material, branch design, exact pose, frozen stillness, or storyboard drawing style authority. [FINAL LOOK CONTRACT] Visual source policy: final video look is photorealistic cinematic naturalism from the character reference and written scene text. The approved storyboard is attached for structure only; do not copy storyboard linework, sheet layout, panel borders, labels, graphite marks, simplified blocking style, static poses, or any non-photoreal rendering. No keyframe references are used. Palette / color behavior: muted early-morning rural colors: wet charcoal road, dark gravel, brown mud, fallen ochre leaves, deep green grass, gray-blue sky light, slate shirt, black shorts, gray shoes. Keep saturation restrained and natural. Lighting and shadow behavior: cool overcast morning light, soft diffuse shadows, low contrast, realistic damp exposure, no glossy commercial lighting, no sunny golden-hour shift. Environment look: narrow wet country road lined with real trees, sparse grass edges, gravel, mud, fallen leaves, and distant morning wind. Tree branches must look organic, irregular, depth-layered, and naturally varied, not fake repeating patterns. Material and surface fidelity: preserve wet ground sheen, muddy contact, road grit, leaf shapes, damp bark, worn running shoes, and realistic fabric. Do not clean, polish, beautify, or make surfaces plastic. Forbidden look drift: no illustration, no CGI gloss, no AI-patterned branch lattice, no cloned tree branches, no decorative symmetrical branch tunnels, no wallpaper-like foliage, no fantasy forest, no dry sunny road, no storyboard artifacts, no generic stock-runner beauty shot. [EXECUTION CONTRACT] One continuous kinetic tracking shot until the final obstruction: true continuous take, no hidden cuts, no dissolve, no overlap transition before the tree trunk fully blocks the lens. The only edit is the final cut to black after the trunk completely covers the frame. Camera behavior: ground-hugging lateral movement begins without Ronnie visible, picks up his feet while already moving, matches his pace at ankle height, then arcs around and rises along his rear-side body to shoulders and back of head, staying close behind or beside him without revealing his face. Treat the storyboard as a movement map, not as a sequence of held still frames. Performance pressure: Ronnie runs with steady urgent rhythm, heavy but controlled breathing, compact efficient stride, disciplined posture, no panic flailing. Motion intensity: aggressive camera travel near the ground, moderate controlled running body motion, grounded physical realism. Preserve live motion every moment: continuous foot cycling, subtle body bob, arm swing, fabric movement, breathing motion, ground parallax, and camera travel. No frozen limbs, no held pose, no still-image drift. Audio planning notes only: footsteps on wet gravel and mud, fabric movement, heavy controlled breathing, distant morning wind, no music. [SCENE] Ronnie runs down a narrow wet country road lined with trees in the early morning. The camera begins tilted downward close to the road, streaking sideways past grass, gravel, mud, and fallen leaves. His running feet enter the moving frame, the camera locks beside them, then rises in one unbroken arc around his body from feet to lower back to shoulders and the back of his head. His face is never shown. As he turns, a large roadside tree trunk slides across the lens and blocks the frame. Cut to black. [CONTINUITY + OBJECT STATE CONTRACT] Visible cast: Ronnie only. No second person, no vehicles, no buildings. Identity continuity: Ronnie remains the same lean wiry middle-aged runner in slate long-sleeve running top, black shorts, gray shoes, short salt-and-pepper hair silhouette if visible. Face continuity: never show his face, eyes, mouth, or frontal portrait. Use feet, legs, lower back, shoulders, rear head, side-rear head, and rear-side silhouette only. Spatial continuity: same narrow wet country road throughout; road edge, grass, gravel, mud, leaves, and trees remain continuous as the camera travels. Camera continuity: P02/P03 revision logic must hold in video: Ronnie does not run past a fixed camera. The camera is already moving, picks up his feet, then travels parallel beside him at matched speed. PHASE 02 may show the feet entering the moving frame; PHASE 03 must settle into a new parallel-tracking read, with the road edge flattening into a lateral sliding band rather than aiming in the same direction as the pickup. Storyboard continuity: use APPROVED_STORYBOARD_REF only to preserve the approved phase order and camera choreography. Do not imitate the storyboard as static panels; translate every panel into live continuous motion with no freeze-frame behavior. Orientation continuity: Ronnie keeps running forward down the road; camera remains close beside or slightly behind him. Do not rotate him toward camera for clarity. Final transition: the tree trunk is a real roadside object passing extremely close to lens. It fills the frame naturally before the final cut to black. Sound bridge: wet footsteps, heavy controlled breathing, and distant wind continue through the take until the trunk obstruction and black. [TAKE PHASE PLAN] PHASE 01: Wet road streak. Camera: downward-tilted ground-level insert, moving quickly sideways close to the wet road edge; blurred grass, gravel, mud, and fallen leaves streak laterally across frame; Ronnie is not visible; no-cut continuity begins here. Ambient: wet ground texture and distant morning wind. PHASE 02: Moving foot pickup. Camera: still at road-edge ankle height and already gliding sideways; Ronnie's running shoes and lower legs slide into the moving frame from the side as the camera matches his pace; this is not a stationary pan and not a pass-by. Ambient: first clear wet footfalls enter the sound bed. PHASE 03: Matched ankle tracking. Camera: tight ankle-height side-on to slight rear-side tracking, traveling parallel beside Ronnie; his shoes hold near the same frame position while the wet road edge forms a flatter lateral band sliding across frame, clearly different from PHASE 02's entry-axis pickup and not a repeated diagonal path edge. Ambient: steady urgent footfalls on slick gravel and mud. PHASE 04: Rising rear-side arc. Camera: without cutting, arcs around Ronnie's rear-side body and rises from shoes and calves toward thighs, shorts, and lower back; close handheld or gimbal-like movement stays physical and grounded; head and face remain out of frame. Ambient: breathing grows heavier but controlled, fabric movement. PHASE 05: Close shoulder and back-of-head follow. Camera: close behind and slightly beside Ronnie at shoulder height; frame shows his back, shoulders, compact arm drive, and rear head silhouette while the narrow tree-lined road continues ahead. Keep his shoulders, arms, shirt fabric, and breathing in subtle continuous motion. Ambient: wet footsteps, controlled breathing, distant wind through trees. PHASE 06: Tree trunk wipe to black. Camera: as Ronnie takes the turn, a large damp roadside tree trunk passes extremely close to lens; trunk slides across until it completely blocks the frame as a real physical obstruction. After full obstruction, cut to black. Ambient: footsteps and breath continue into the obstruction, then drop with the cut if needed. [NEGATIVE] No keyframe reference, no frozen motion, no freeze-frame, no held still pose, no mannequin running pose, no locked limbs, no sliding static body, no visible face, no frontal portrait, no eyes, no mouth detail, no reverse-angle reveal, no second character, no additional person entering frame, no vehicle, no building, no fixed-camera pan-follow pass-by, no Ronnie running past a stationary camera in PHASE 02 or PHASE 03, no repeated diagonal path-edge composition in PHASE 03, no hidden cuts before the trunk obstruction, no crossfade, no dissolve, no overlap transition, no ghosted transition, no double exposure, no graphic wipe, no artificial black card before the trunk fills frame, no storyboard sheet artifacts, no panel borders, no captions, no labels, no UI, no text, no illustration, no CGI/plastic finish, no fake patterned tree branches, no repeated branch lattice, no symmetrical branch tunnel, no wallpaper foliage, no cloned leaves, no over-sharpened bark pattern, no fantasy forest, no sunny dry road, no music.

[REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 3}} ; role: character_reference; authority: Ronnie's slim young British identity, dark hair, blue striped T-shirt, denim shorts, trainers, movement, and emotional range. CHARACTER_2_REF = {{Mixed 4}} ; role: character_reference; authority: father's rugged working-class identity, larger build, curly greying hair, white tank top, blue jeans, strong arms, and movement. KEYFRAME_01_REF = {{Mixed 2}} ; role: keyframe_visual_reference; coverage: SHOT 02 only; authority: frontal cue-down alert reaction, bedroom look, cold 16mm texture, cue-on-bed state; composition authority: partial. KEYFRAME_03_REF = {{Mixed 1}} ; role: keyframe_visual_reference; coverage: SHOT 06 only; authority: shocked hallway reaction, tight face performance, cold 16mm texture, eye-line toward doorway/father exit path; composition authority: partial. [FINAL LOOK CONTRACT] Visual source policy: Use character refs for identity/wardrobe. Use only KEYFRAME_01_REF and KEYFRAME_03_REF, limited to their covered shots and Ronnie's performance/look continuity. Palette / color: cold blue-grey night, muted skin, faded denim, dirty whites, dark police uniforms, low saturation, tungsten cooled toward cyan. Lighting: dim practical bedroom/hallway light, low exposure, soft falloff, hard front-door spill, halation, faces half-lost in shadow. Environment look: cramped British working-class bedroom and narrow hallway, 1990 domestic surfaces, bed, doorway, floor, front-door exit path. Material fidelity: 16mm tungsten stock, grain, softness, slight gate weave, imperfect focus, mild halation, handheld smear, worn fabric, scuffed floor. Forbidden drift: polished digital sharpness, clean modern police look, glossy thriller lighting, heroic arrest coverage, storyboard artifacts, subtitles. [EXECUTION CONTRACT] Fast handheld documentary coverage, kinetic, close, compressed, unstable. Clean hard cuts only. Characters may be cut off, lost, or foreground-blocked. Favor tight CUs, inserts, OTS views, floor-level shots. Avoid calm masters and scenic wides. All dialogue is British-accented. Ronnie is panicked and slurred; police rough and controlled; father strained and protective. Police visual rule: four 1990 British policemen in dark tunics/jackets, white shirts, black ties, period caps if visible. Faces never clear: backs, crops, blur, silhouettes, motion blocks. [180-DEGREE ARREST AXIS LOCK] Arrest axis: hallway line from Ronnie's bedroom side to the front-door exit path. Keep camera on Ronnie's side throughout. Father/police move deeper toward front door, screen-right and away. Ronnie faces, reaches, fights, falls, and stays oriented toward that doorway. Do not cross/reverse axis or make Ronnie appear to turn his back. Even on the floor, head/chest/eye-line/cheek orientation aims toward father's exit path. [SCENE] Ronnie cleans his snooker cue, then puts it on the bed when a front-door burst startles him. He rushes into the hall and sees four policemen dragging his father away. Ronnie slurs, "What's going on?", "Let him go.", "You can't do that.", "What did he do?" Police block him. Ronnie forces forward, yelling, "Let him go!" "Stop!" Two policemen hold him down: "Calm down, lad!" Father yells, "Don't touch my boy!" then offscreen, "Keep your head up, Ron! Keep your head up!" [CONTINUITY + OBJECT STATE CONTRACT] Ronnie starts calm with cue/cloth, puts cue on bed, enters hall empty-handed. Father is visible between police, pulled toward front-door exit, then becomes offscreen voice only. Four policemen remain, faces unreadable. Ronnie's orientation never flips after seeing the arrest: he faces the doorway/father exit path while blocked, grabbed, forced down, and during final cheek-to-floor push-in. Sound bridge: door burst, boots, shouts, Ronnie breath/crying, floor contact, father's voice receding. [SHOT PLAN] SHOT 01: Tight insert on Ronnie's hands wiping cue with cloth. Camera: handheld CU, bed edge barely visible, shallow focus. Ambient: room tone, cloth rasp. SHOT 02: Frontal tight CU: Ronnie puts cue on bed as door bursts offscreen. Camera: handheld, lower frame catches cue, eyes snap to doorway. Use KEYFRAME_01_REF for frontal alert reaction, cue-on-bed state, cold bedroom look only; no later blocking authority. Ambient: door impact, boots, shouting. SHOT 03: Tight reaction/turn toward bedroom doorway, cue left on bed. Camera: handheld CU, doorframe slices composition. SHOT 04: Rear-shoulder rush into hallway. Camera: tight unstable follow, walls crowd frame, front-door direction ahead on same axis. SHOT 05: Telephoto-tight hall: arrest action out-of-focus foreground, police backs/arms and father's restrained body moving toward front-door path; Ronnie in background seeing it. Camera: handheld, Ronnie's side of axis, police faces unreadable. SHOT 06: Tight CU of Ronnie's shocked face. Camera: handheld frontal/three-quarter from Ronnie's side, eye-line locked to doorway/father; no police face. Use KEYFRAME_03_REF for shocked performance, eye-line, cold hallway look only; no 180-axis override. SHOT 07: Tight OTS from Ronnie's side as he rushes and reaches. Camera: Ronnie shoulder/arm foreground, police torsos block, father through gaps. Dialogue: "What's going on? Let him go. You can't do that. What did he do?" SHOT 08: Fragmented father struggle CU. Camera: tight crop on tank top, arms, police hands, twisting shoulders; police faces cropped/blurred. Dialogue: "Ronnie, stay back!" SHOT 09: Low tight Ronnie forcing against police line, still facing doorway/father. Camera: cropped police torso blocks; Ronnie grabs sleeve. Dialogue: "Let him go! Stop!" SHOT 10: Low CU as two policemen force Ronnie down, body still oriented to doorway/arrest path. Camera: Ronnie's side of axis, hands hit floor, head/chest angled toward father; police knees/arms/torsos only. Dialogue: "Calm down, lad!" SHOT 11: Floor-level over Ronnie's pinned shoulder toward front door. Camera: shallow focus, father dragged away in depth, foreground police hands. Dialogue: "Don't touch my boy!" SHOT 12: Required final shot: handheld push-in on Ronnie's cheek pressed to floor, crying, still oriented toward father exit path. Camera: floor-level unstable CU, partial police hands/knee soft foreground, father offscreen. Offscreen: "Keep your head up, Ron! Keep your head up!" [NEGATIVE] No storyboard image, KEYFRAME_02, KEYFRAME_04, storyboard artifacts, axis flip, crossed 180 line, reverse angle making Ronnie turn away, Ronnie facing backward to arrest, clear police faces, frontal police portrait, modern police wardrobe, stabilised camera, clean master coverage, heroic arrest staging, extra policemen, extra family, weapon prop, blood, subtitles, captions, readable text, glossy digital look, warm nostalgia, dissolves, crossfades, slow clean dolly, identity/wardrobe drift, duplicated Ronnie/father, father visible in final shot.

[REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 4}} ; role: character_reference; authority: young Ronnie identity, small child proportions, boyish hair, formal waistcoat, bow tie, white shirt, dark trousers, black shoes, guarded posture, side-profile shape, nervous movement quality, and character finish. KEYFRAME_02_REF = {{Mixed 3}} ; role: keyframe_visual_reference; coverage: SHOT 02; authority: 16mm archive look, old snooker hall atmosphere, Ronnie seated under hard film light, warm-cool color behavior, volumetric dusty beams, and broad scale relationship; composition authority: partial. KEYFRAME_03_REF = {{Mixed 2}} ; role: keyframe_visual_reference; coverage: SHOT 03; authority: huge foreground camcorder obstruction, Ronnie squeezed to frame edge, cramped documentary framing, rough 16mm texture; composition authority: strong for the foreground squeeze relationship. KEYFRAME_07_REF = {{Mixed 1}} ; role: keyframe_visual_reference; coverage: SHOT 07; authority: Ronnie profile identity, frame-right host-side eyeline, extreme low-angle profile, hard rim light contour, dusty volumetric beam, 16mm archive finish; composition authority: strong for the profile/eyeline/rim-light relationship. [FINAL LOOK CONTRACT] Visual source policy: Use CHARACTER_1_REF for young Ronnie identity and wardrobe. Use KEYFRAME_02_REF, KEYFRAME_03_REF, and KEYFRAME_07_REF only within their shot coverage and declared authority. Do not use any storyboard image as a video reference; the storyboard is planning text only. Palette / color behavior: Rough 16mm film color with rich warm amber midtones, cream-white shirt highlights, cool blue-green shadows, tinted midtones, crushed dark corners, and slight exposure instability. Avoid clean neutral grading. Lighting and shadow behavior: Old snooker hall lit by hard filmmaking lights and practical spill. Bright lamps bloom and halo; shadows are deep, cool, and dirty. Volumetric light beams must be visible, with dust drifting inside the beams. Environment look: Old, dim snooker hall with a wall threshold, snooker table, chair, camcorder, crew silhouettes, light stands, microphone, cables, and dark equipment clusters. Crew merge into darkness and stay secondary. Material and surface fidelity: Preserve rough film grain, soft focus, gate-wobble feeling, halation, slight blur, imperfect exposure, dusty air, worn chair texture, fabric texture, and grungy contrast. Do not clean, smooth, sharpen, gloss, or modernize the image. Forbidden look drift: No polished commercial cinematography, no elegant composed framing, no tripod-stable beauty shot, no glossy digital finish, no modern studio interview look, no clean character-sheet style, no storyboard artifacts. [EXECUTION CONTRACT] Exactly seven shots. SHOT 01 and SHOT 02 are continuous phases of the same opening handheld lateral dolly from behind the wall; all later transitions use fast clean hard cuts. The whole clip feels like old TV archive or behind-the-scenes documentary material, fast-paced like a flashback/showreel but still physically readable. Every shot is handheld with visible shakiness, micro-jitters, imperfect reframing, slight off-axis placement, and point-and-shoot urgency. Never use locked-off, stabilized, crane-like, smooth gimbal, beautiful symmetrical, or carefully composed framing. Prefer obstructed close shots, awkward crops, foreground blockage, cramped edges, and documentary improvisation. Performance is quiet and nervous: blinking a little too much, tiny hand tension, swallowed spit, blank pause, soft hesitant answer. Audio planning: quiet room tone, light hum, faint crew stillness, chair scratch, throat swallow, microphone movement, female host in proper British accent asking "How big do you want to be?", Ronnie softly answering "Five ten?" [SCENE] From black, a handheld documentary camera dollies laterally right from behind a wall into an old dim snooker hall. Young Ronnie sits on a chair beside the snooker table under harsh filmmaking lights. A film crew stands around equipment in front of him, mostly swallowed by darkness. The host's microphone enters from frame right. Ronnie turns toward it, pauses, nervous and blank, then answers softly, "Five ten?" [CONTINUITY + OBJECT STATE CONTRACT] Visible cast: young Ronnie, dark partial crew silhouettes, and only a partial microphone/host-side presence. Ronnie remains seated throughout. He wears the same waistcoat, bow tie, white shirt, dark trousers, and black shoes. The snooker table stays beside him from the reveal onward. The chair armrest is the scratching surface. The microphone enters from frame right in SHOT 06; Ronnie looks frame right toward the host and keeps that frame-right host-side eyeline in SHOT 07. Respect the 180-degree rule: do not flip Ronnie's profile direction between SHOT 06 and SHOT 07. Crew are background pressure, not featured characters. Scale: Ronnie is a small child on an adult chair beside a full-size snooker table; the camcorder and microphone are adult filmmaking equipment scale. [SHOT PLAN] SHOT 01: Lateral handheld dolly from black behind a wall. The wall dominates as a near-black foreground slab, with a narrow right-edge opening into the dim snooker hall and a first hard film-light beam cutting dusty air. Camera: handheld at standing or shoulder height, lateral move right from behind the wall, shaky and imperfect, no polished reveal. Transition: no cut into SHOT 02; same movement continues. Ambient: room hum, faint light buzz, dust floating in the beam. SHOT 02: Continuous phase of the same dolly reveals young Ronnie seated alone beside the snooker table under a hard film light. Crew and equipment remain dark edge shapes around him. Camera: handheld lateral dolly continues and lands in a wide, off-axis, slightly awkward frame; use KEYFRAME_02_REF for look, scale, and atmosphere, not exact lock. Ambient: quiet room tone, light hum, barely audible crew stillness. SHOT 03: Camcorder foreground squeeze. A huge near-camera camcorder body occupies most of the frame, forcing Ronnie to the extreme frame edge in a medium or medium-close shot. Camera: handheld, cramped, slightly bobbing, point-and-shoot; use KEYFRAME_03_REF for the obstruction relationship. Ronnie stays seated, tense, not frontal. Ambient: camera body handling, faint cloth shift. SHOT 04: ECU nail scratch. Ronnie's small hand rests on the chair armrest; one fingernail lightly catches and scratches the edge. Camera: handheld extreme close-up, tight and imperfect, slight focus breathing, no elegant macro. Ambient: tiny scratch, chair surface contact, held breath. SHOT 05: ECU swallow. Tight crop on Ronnie's throat, collar, bow tie, and a sliver of waistcoat as his throat rolls when he swallows spit. Camera: handheld extreme close-up, awkward crop, no full-face portrait. Ambient: soft swallow, room hum, silence around him. SHOT 06: Over Ronnie's waist-up back foreground toward crew background. His back faces camera; crew, camcorder, light stands, cables, and dark equipment sit in the background. The shot begins with crew background emphasis, then rack focuses to Ronnie's back foreground. A microphone enters from frame right; Ronnie reacts by turning his head and eyeline frame right toward the unseen host as she asks, "How big do you want to be?" Camera: handheld over-back framing, visible shakiness, point-and-shoot, no axis flip. Ambient: microphone movement, female host voice, light hum. SHOT 07: Extreme low-angle 90-degree profile close-up response. Camera sits below chair-arm height, close beside Ronnie's chair, looking upward at his strict side profile. Ronnie maintains the frame-right host-side eyeline from SHOT 06. He thinks for a short while and softly answers, "Five ten?" Hard filmmaking light behind his head creates a bright rim around his hair, cheek, nose, bow tie, and shoulder; dust floats in the volumetric beam. Camera: handheld, visibly shaky, imperfect low-angle profile; use KEYFRAME_07_REF for profile direction, rim light, and look. Ambient: Ronnie's soft answer, quiet room tone, light buzz. [NEGATIVE] No extra shots, no missing shots, no reordered shots, no storyboard image reference, no clean frontal portrait of Ronnie, no profile axis flip, no frame-left eyeline in final shot, no microphone entering from frame left, no featured host face, no clean featured crew portraits, no modern pristine studio, no bright contemporary interview set, no smooth gimbal, no locked-off tripod, no elegant dolly, no beautiful composition, no symmetrical framing, no glossy digital sharpness, no clean commercial lighting, no neutral modern color grade, no removing grain, no removing dust, no smoothing halation, no subtitles, no readable text, no logos, no scoreboard text, no duplicate Ronnie, no adult Ronnie, no duplicate microphone, no extra hands, no oversized adult hand in ECU, no full-face shot for swallow ECU, no cue-ball play, no snooker action, no crossfade, no dissolve, no ghosted transition, no blended carryover.

[MODE: APPRENTICE] [REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 1}} ; role: character_reference; authority: lean wiry proportions, slate long-sleeve top, black shorts, gray shoes, hair silhouette, eye-region anatomy, sweat placement, exhausted posture. Do not use it to reveal his full face. KEYFRAME_01_REF = ; role: keyframe_visual_reference; coverage: SHOT 03; authority: eye-region crop, sunlight on eyelids/eyeballs, sweat around eyelids, skin realism, no-full-face limit; composition authority: strong for tight partial eye crop only; no wider face or motion authority. KEYFRAME_02_REF = ; role: keyframe_visual_reference; coverage: SHOT 05; authority: final low-angle rear wide composition, Ronnie centered lower third/lower middle, overhead branches/leaves, broken sunlight and shadow, rear orientation; composition authority: strong for SHOT 05 only; no authority over SHOT 04 lowering motion. [FINAL LOOK CONTRACT] Visual source policy: photorealistic cinematic naturalism from character reference, approved keyframes, and text only. Look: slightly sunnier than prior scenes; quiet survival mood, not escape panic. Damp country road/roadside, softened tree shadows, slate shirt, black shorts, gray shoes, natural skin, visible sweat near eyelids. Lighting: warm-cool morning sunlight through moving leaves, intermittent reveal/block, glistening broken highlights and soft shadows. Sunlight catches eyelids and eyeballs in the eye shot. Final shot has overhead branches/leaves with sunlight flicker. Forbidden look drift: no dark panic tone, heroic poster pose, glamour portrait, full face reveal, harsh chase energy, sheet artifacts. [EXECUTION CONTRACT] Cut-based sequence, not continuous. Pace slows from urgent to suspended. Shot 01 begins with static camera: Ronnie runs into frame, stops there, and breathes. After that, the scene becomes close and fragmented, then gradually calmer. Camera: Shot 01 camera stays static as Ronnie enters and stops. Eye shot may show eyes/eyelids but never the whole face. Final shot is a low-angle rear wide shot from behind with Ronnie centered horizontally in the lower third/lower middle. Performance: heavy breathing begins to settle. Running no longer feels like escape; it feels like survival. After the eye close-up, Ronnie is seen standing, then lowering his body and bracing both hands on one knee to recover. Audio plan: breath gradually slows, wind returns, no music for a moment. [SCENE] Ronnie runs into a static frame and stops for the first time. Close fragments show breath pressure and sweat around his eyelids. We see his eyes in one cut, not a continuous eye-movement take and not a full face reveal; sunlight catches his eyelids and eyeballs as he blinks. After the eye shot, he is seen standing, then lowering his body and supporting himself with both hands on one knee. His breathing slows. The scene ends from behind in a low-angle wide shot: Ronnie small and centered in the lower third under moving branches and leaves, with sunlight blocked and revealed by the breeze. [CONTINUITY + OBJECT STATE CONTRACT] Visible cast: Ronnie only. No pursuer, second person, vehicle, or dominant building. Identity: same lean wiry middle-aged runner in slate long-sleeve top, black shorts, gray shoes. Face: never show full face, full facial outline, frontal portrait, mouth close-up, full nose, or forehead-dominant portrait. Eye crop may show eyes, eyelids, sweat, and partial surrounding skin only. KEYFRAME_01_REF must not widen into a portrait. Breath/body continuity: Shot 01 shows run-in and stop. Breath starts heavy, then slows. After the eye shot, Shot 04 must show the action bridge: Ronnie begins upright, lowers his torso, and plants both hands on one knee to support his weight. Body tension reduces without becoming relaxed or heroic. Final composition: low-angle rear wide from behind; Ronnie centered horizontally and placed in lower third/lower middle. Above him: branches and leaves moving in gentle breeze, alternately blocking/revealing sunlight and casting glistening broken shadows. Keyframe use: KEYFRAME_01_REF controls only SHOT 03 eye-region crop and sunlit sweat detail. KEYFRAME_02_REF controls only SHOT 05 final rear low-angle lower-third composition. Shot 04 remains text-driven: standing, lowering, hands to knee. [SHOT PLAN] SHOT 01: Static run-in stop. Camera: static, no tracking. Ronnie runs into frame, stops there, and bends slightly as heavy breath hits him; frame may crop torso/back/shoulders/hands, but no full face. Ambient: heavy breath, footfalls stop, wind beginning. SHOT 02: Breath settling detail. Tight crop of chest, shoulder, neck edge, or hand against body showing breath pressure slowing. Camera: close fragmented detail. Ambient: breath begins to slow, cloth movement. SHOT 03: Sunlit eye shot. Use KEYFRAME_01_REF for crop and sunlit eye detail only. One merged eye shot, not two continuous eye fragments: tight partial eye-region crop with eyes, eyelids, sweat around eyelids, sunlight catching eyelids and eyeballs, blink visible. Crop excludes full face outline, mouth, full nose, forehead. Ambient: slower breath, wind returns. SHOT 04: Lowering into survival posture. Cut from the eye shot to Ronnie from behind or side-rear, initially standing; he lowers his torso and braces both hands on one knee, using the knee to support his body as breath slows. Camera: medium rear/side-rear, close enough to feel present, no full face. Softened tree shadows around him. Ambient: wind through leaves, breath settling. SHOT 05: Low rear wide lower-third pause. Use KEYFRAME_02_REF as the composition anchor. Low-angle wide shot from behind. Ronnie is centered horizontally and placed in the lower third/lower middle, small beneath overhead branches and leaves. Leaves move in breeze, blocking and revealing sunlight, creating glistening broken shadows. Ambient: breath slow, wind present, silence where music would be. [NEGATIVE] No full face, frontal portrait, full facial outline, mouth close-up, full nose, forehead-dominant portrait, eye shot widening into face reveal, two separate continuous eye-movement shots, KEYFRAME_01 controlling wider face framing, KEYFRAME_02 controlling Shot 04, continued running after Shot 01 stop, escape sprint energy after stop, dark panic tone, continuous-take staging, high-speed chase camera, smooth heroic pose, Shot 04 starting already fully bent with no lowering motion, hands missing from knee support in Shot 04, final shot from front, Ronnie high in final frame, missing overhead branches, static leaves, blocked sunlight with no reveal, music, second character, pursuer visible, vehicle, building as dominant subject, crossfade, dissolve, overlap transition, ghosting, double exposure, sheet artifacts, panel borders, captions, labels, UI, text, illustration, CGI/plastic trees, patterned branches.

[MODE: APPRENTICE] [REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 1}} ; role: character_reference; authority: lean wiry proportions, slate long-sleeve top, black shorts, gray shoes, running shoes/legs, shoulder-back silhouette, clenched hand, lower-mouth anatomy, exhausted movement. Do not use it to reveal his full face. [FINAL LOOK CONTRACT] Visual source policy: pure text-to-video with CHARACTER_1_REF only for Ronnie identity and wardrobe. No storyboard reference, no keyframes. Look: photorealistic cinematic naturalism in a darker cold tree corridor: damp narrow road, black-green shadows, grey-brown trunks, dead leaves, hidden sky, slate shirt, black shorts, gray shoes, natural skin in lower-mouth crop. High-contrast tree-shadow slashes, fast-shutter crispness, no slow motion. Environment/materials: wet road grit, leaf scatter, bark/trunk occlusion, damp fabric movement, worn shoes, realistic mouth/jaw skin and rough breath pressure. Tree trunks are real foreground interruptions, not background decoration. Forbidden look drift: no bright open sky, scenic forest beauty, smooth commercial lighting, CGI/plastic trees, patterned branches, storyboard artifacts, polished heroic runner finish. [EXECUTION CONTRACT] Shot-based fast-cut sequence, not a continuous take. Use rapid clean hard cuts between punchy details: shoes, shoulder, hand, mouth, rear-side running, tree-trunk interruptions, dark road. No dissolve, crossfade, overlap transition, or slow motion. Camera: close wide-angle handheld coverage, not wide shots. Use a wide-angle lens close to the body for slight perspective distortion, aggressive proximity, tilted framing, clipped edges, and unstable psychology. No fisheye, no vignette. Composition may be ugly, tilted, clipped, and imperfect, but it remains close-up/detail coverage. Speed and shake: Ronnie's pace is inconsistent: fast burst, brief drag/slowdown, faster burst. Camera shake and abrupt zoom intensity must match visible speed, foot impacts, and operator strain; no random independent shake. Zooms: allow several short abrupt zoom-in punches as cut accents, especially on hand, mouth, shoe strike, or trunk interruption. Do not use slow push-ins or constant zooming. Performance/audio: Ronnie is exhausted and rough, not composed. Breath is rough, uneven, almost angry. Audio plan: breath, cloth movement, heartbeat-like bass, faint crowd noise fading into silence, no music. [SCENE] Ronnie runs into a darker, narrower road surrounded by trees. The edit breaks him into fast close fragments: shoes striking road, shoulder twisting, hand clenching and unclenching, lower mouth pulling air in too quickly, rear-side running through trunk gaps. Tree trunks repeatedly cut between camera and Ronnie, making the image feel broken apart. The sky is hidden by branches. His full face is never shown. [CONTINUITY + OBJECT STATE CONTRACT] Visible cast: Ronnie only. No pursuer, second person, or vehicle. Identity: same lean wiry middle-aged runner in slate long-sleeve top, black shorts, gray shoes. Face: never show full face. Lower-mouth crop may show mouth, jaw, cheek edge, lower-nose edge if unavoidable, and neck edge only. Exclude eyes, full nose, forehead, full face outline, frontal portrait, and 3/4 reveal. Edit continuity: fast hard cuts may jump between body fragments, but all shots belong to the same dark tree-road run. Keep running direction and environment coherent. Lens continuity: wide-angle means close-lens perspective distortion on fragments, not wide scenic framing. No fisheye curvature, circular distortion, or vignette. Tree interruption continuity: foreground trunks repeatedly pass between camera and Ronnie, blocking shoes, shoulder, hand, legs, or rear-side body. Occlusions feel like the image breaking apart. Sound bridge: rough breath and cloth continue across cuts; heartbeat-like bass rises; faint crowd noise fades into silence. [SHOT PLAN] SHOT 01: Shoe impact detail. Camera: close wide-angle low handheld detail of Ronnie's shoes hitting damp road, tilted and unstable, with slight lens perspective distortion from proximity; road streaks and leaves snap past with fast-shutter crispness. Clean hard cut. Ambient: wet footfalls, rough breath, cloth. SHOT 02: Shoulder twist detail. Camera: close wide-angle side-rear fragment of shoulder and upper back twisting, clipped and distorted by proximity, tree-shadow slashes across body, violent handheld motion. Clean hard cut. Ambient: breath rougher, heartbeat bass faint. SHOT 03: Hand clench punch. Camera: abrupt zoom-in punch on side/rear-side hand near hip, close wide-angle detail with slight perspective distortion, fingers clenching or unclenching while running; no face. Clean hard cut. Ambient: cloth snap, breath, footfall thuds. SHOT 04: Lower-mouth gasp. Camera: close wide-angle extreme crop of lower mouth/jaw as Ronnie pulls air in too quickly; mouth, jaw, cheek edge, possible lower-nose edge only; no eyes, full nose, forehead, or full face outline. No fisheye or vignette. Clean hard cut. Ambient: hard uneven breath close to mic. SHOT 05: Dark road rear-side fragment. Camera: close wide-angle handheld behind and slightly side, body clipped and not cleanly framed as Ronnie enters darker narrow road under branches. This is not a wide establishing shot. Pace drags briefly. Clean hard cut. Ambient: heartbeat bass stronger, crowd noise faint. SHOT 06: Trunk interruption. Camera: close wide-angle frantic follow as foreground trunks pass between camera and Ronnie, blocking legs and torso in chunks while he moves through gaps. Clean hard cut. Ambient: breath, cloth, trunk whoosh, crowd fading. SHOT 07: Acceleration fragment. Camera: unstable close wide-angle rear-side fragment as Ronnie accelerates again into the dark corridor; trunk occlusions and branch canopy compress frame; face remains unseen. Clean hard cut. Ambient: rough angry breath, heartbeat bass, crowd disappears into silence. [NEGATIVE] No storyboard reference, continuous-take instruction, keyframe reference, full face, eyes, full nose, forehead, frontal portrait, 3/4 face, wide scenic shot, wide establishing shot, distant runner, fisheye, circular lens distortion, vignette, clean heroic running pose, smooth gimbal move, calm tracking, slow motion, slow push-in, constant zooming, random shake unrelated to speed, static frozen fragments, mannequin pose, bright open sky, trunk occlusion only in background, missing tree-trunk interruptions, second character, pursuer visible, vehicle, building as dominant subject, dialogue, crossfade, dissolve, overlap transition, ghosting, double exposure, storyboard sheet artifacts, panel borders, captions, labels, UI, text, illustration, CGI/plastic trees, patterned branches, dry sunny road, music.

[REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 2}} ; role: character_reference; authority: lean wiry proportions, slate long-sleeve top, black shorts, gray shoes, running shoes/legs, shoulder-back silhouette, clenched hand, lower-mouth anatomy, exhausted movement. Do not use it to reveal his full face. APPROVED_STORYBOARD_REF = {{Mixed 1}} ; role: storyboard_structural_reference; authority: phase order, broken-fragment coverage, frantic rear/side-rear follow, trunk interruptions, dark tree-road geography, uneven pace, abrupt zoom-in punches, lower-mouth crop, and no-face limits only. No final look, exact pose, locked composition, frozen stillness, or storyboard drawing style authority. [FINAL LOOK CONTRACT] Visual source policy: photorealistic cinematic naturalism from character reference and text. Storyboard is structure-only; do not copy linework, sheet layout, labels, graphite marks, static poses, or non-photoreal rendering. No keyframes. Look: darker cold tree corridor, damp narrow road, black-green shadows, grey-brown trunks, dead leaves, hidden sky, slate shirt, black shorts, gray shoes, natural skin in lower-mouth crop. High-contrast tree-shadow slashes, fast-shutter crispness, no slow motion. Environment/materials: wet road grit, leaf scatter, bark/trunk occlusion, damp fabric movement, worn shoes, realistic mouth/jaw skin and rough breath pressure. Tree trunks must be real foreground interruptions, not background decoration. Forbidden look drift: no bright open sky, scenic forest beauty, smooth commercial lighting, CGI/plastic trees, patterned branches, storyboard artifacts, or polished heroic runner finish. [EXECUTION CONTRACT] One continuous frantic follow through dark trees. Camera no longer moves smoothly: it struggles to keep up, catches fragments, jitters violently, and uses a few short abrupt zoom-in punches. No hidden cuts, dissolve, overlap transition, or slow motion. Camera: behind and slightly to the side for broader phases; close fragments may punch in abruptly but remain part of the same pursuit. Shake is extreme but motivated by Ronnie's uneven speed, foot impacts, and operator strain; no random independent shake. Performance: Ronnie is exhausted and rough, not composed. His pace changes visibly: fast burst, brief drag/slowdown, then another fast burst. Breath is rough, uneven, almost angry. Motion/audio: aggressive handheld follow, fast-shutter staccato, hard motion spacing, trunk occlusions, dark shadow slashes, full gait cycle, shoulder twist, hand clench/unclench, mouth gasping. Audio plan: breath, cloth movement, heartbeat-like bass, faint crowd noise fading into silence, no music. [SCENE] Ronnie runs into a darker, narrower road surrounded by trees. The camera fragments him instead of holding a smooth view: shoes striking road, shoulder twisting, hand clenching and unclenching, lower mouth pulling air in too quickly, then rear-side running as tree trunks repeatedly pass between camera and Ronnie. The sky is mostly hidden by branches. His full face is never shown. [CONTINUITY + OBJECT STATE CONTRACT] Visible cast: Ronnie only. No pursuer, second person, or vehicle. Identity: same lean wiry middle-aged runner in slate long-sleeve top, black shorts, gray shoes. Face: never show full face. Lower-mouth crop may show mouth, jaw, cheek edge, lower-nose edge if unavoidable, and neck edge only. Exclude eyes, full nose, forehead, full face outline, frontal portrait, and 3/4 reveal. Camera continuity: one continuous frantic pursuit assembled from fragments; broader view stays behind and slightly to side. Close fragment punches do not become separate posed inserts. Pace continuity: fast burst, brief drag/slowdown, faster burst. Camera shake and zoom intensity follow Ronnie's visible speed and impact rhythm. Tree interruption continuity: foreground trunks repeatedly pass between camera and Ronnie, blocking parts of shoes, shoulder, hand, legs, or rear-side body. Occlusions should feel like the image breaking apart. Storyboard use: APPROVED_STORYBOARD_REF controls phase order, trunk interruptions, fragment types, darker road, and no-face limits only. Translate panels into live urgent motion, not static compositions. Sound bridge: rough breath and cloth continue; heartbeat-like bass rises under the run; faint crowd noise fades toward silence. [TAKE PHASE PLAN] PHASE 01: Shoe strike fragment. Extreme low broken crop of Ronnie's shoes hitting damp road. Camera: tilted, unstable, close to ground; road streaks and leaves pull diagonally; fast-shutter staccato, not slow motion. Ambient: wet footfalls, rough breath beginning, cloth movement. PHASE 02: Shoulder twist fragment. Tight side-rear fragment of shoulder and upper back twisting as he runs. Camera: too close, slightly behind/side, violently handheld; tree-shadow slashes cross body. Ambient: breath rougher, heartbeat bass faint. PHASE 03: Hand clench punch. Abrupt zoom-in punch on side/rear-side hand near hip, fingers clenching or unclenching during the run; no face. Camera: fast scale punch, unstable but speed-motivated. Ambient: cloth snap, breath, footfall thuds. PHASE 04: Lower-mouth gasp. Extreme lower-mouth/jaw fragment as Ronnie pulls air in too quickly. Camera: close handheld crop; mouth, jaw, cheek edge, possible lower-nose edge only; no eyes, full nose, forehead, full face outline. Ambient: hard uneven breath close to mic. PHASE 05: Darker road follow. Camera drops behind and slightly to side as Ronnie enters darker narrow road under branches. His body is not cleanly framed; hidden sky, compressed road, tree shadows. Pace drags briefly. Ambient: heartbeat-like bass stronger, crowd noise faint. PHASE 06: Trunks break image. Foreground tree trunks pass between camera and Ronnie, blocking legs and torso in chunks while he keeps moving forward through gaps. Camera: frantic follow, no smooth gimbal. Ambient: breath, cloth, trunk whoosh, crowd fading. PHASE 07: Unstable burst. Ronnie accelerates again into the dark corridor. Camera struggles to keep up; trunk occlusions and branch canopy compress frame; face remains unseen. Ambient: rough angry breath, heartbeat bass, crowd disappears into silence. [NEGATIVE] No keyframe reference, full face, eyes, full nose, forehead, frontal portrait, 3/4 face, clean heroic running pose, smooth gimbal move, calm tracking, slow motion, constant zooming, too many zoom punches, random shake unrelated to speed, static frozen fragments, mannequin pose, wide scenic forest shot, bright open sky, trunk occlusion only in background, missing tree-trunk interruptions, second character, pursuer visible, vehicle, building as dominant subject, dialogue, crossfade, dissolve, overlap transition, ghosting, double exposure, storyboard sheet artifacts, panel borders, captions, labels, UI, text, illustration, CGI/plastic trees, patterned branches, dry sunny road, music.

[MODE: APPRENTICE] [REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 3}} ; role: character_reference; authority: Ronnie's slim young British identity, dark hair, blue striped T-shirt, denim shorts, trainers, movement, and emotional range. CHARACTER_2_REF = {{Mixed 4}} ; role: character_reference; authority: father's rugged working-class identity, larger build, curly greying hair, white tank top, blue jeans, strong arms, and movement. KEYFRAME_01_REF = {{Mixed 2}} ; role: keyframe_visual_reference; coverage: SHOT 02 only; authority: frontal cue-down alert reaction, bedroom look, cold 16mm texture, cue-on-bed state; composition authority: partial. KEYFRAME_03_REF = {{Mixed 1}} ; role: keyframe_visual_reference; coverage: SHOT 06 only; authority: shocked hallway reaction, tight face performance, cold 16mm texture, eye-line toward doorway/father exit path; composition authority: partial. [FINAL LOOK CONTRACT] Visual source policy: Use character refs for identity/wardrobe. Use only KEYFRAME_01_REF and KEYFRAME_03_REF, limited to their covered shots and Ronnie's performance/look continuity. Do not attach storyboard, KEYFRAME_02, or KEYFRAME_04; they have no authority. Palette / color: cold blue-grey night, muted skin, faded denim, dirty whites, dark police uniforms, low saturation, tungsten cooled toward cyan. Lighting: dim practical bedroom/hallway light, low exposure, soft falloff, hard front-door spill, halation, faces half-lost in shadow. Environment look: cramped British working-class bedroom and narrow hallway, 1990 domestic surfaces, bed, doorway, floor, front-door exit path. Material fidelity: 16mm tungsten stock, grain, softness, slight gate weave, imperfect focus, mild halation, handheld smear, worn fabric, scuffed floor. Forbidden drift: polished digital sharpness, clean modern police look, glossy thriller lighting, heroic arrest coverage, storyboard artifacts, subtitles. [EXECUTION CONTRACT] Fast handheld documentary coverage, kinetic, close, compressed, unstable. Clean hard cuts only. Characters may be cut off, lost, or foreground-blocked. Favor tight CUs, inserts, OTS views, floor-level shots. Avoid calm masters and scenic wides. All dialogue is British-accented. Ronnie is panicked and slurred; police rough and controlled; father strained and protective. Police visual rule: four 1990 British policemen in dark tunics/jackets, white shirts, black ties, period caps if visible. Faces never clear: backs, crops, blur, silhouettes, motion blocks. [180-DEGREE ARREST AXIS LOCK] Arrest axis: hallway line from Ronnie's bedroom side to the front-door exit path. Keep camera on Ronnie's side throughout. Father/police move deeper toward front door, screen-right and away. Ronnie and father both face the doorway/front-door path at all times; they never face each other. Do not cross/reverse axis or make either character turn back. Even on the floor, Ronnie's head/chest/eye-line/cheek orientation aims toward father's exit path. [SCENE] Ronnie cleans his snooker cue, then puts it on the bed when a front-door burst startles him. He rushes into the hall and sees four policemen dragging his father away. Ronnie slurs, "What's going on?", "Let him go.", "You can't do that.", "What did he do?" Police block him. Ronnie forces forward, yelling, "Let him go!" "Stop!" Two policemen hold him down: "Calm down, lad!" Father yells, "Don't touch my boy!" then offscreen, louder and clear: "Keep your head up Ron. Keep it up!" [CONTINUITY + OBJECT STATE CONTRACT] Ronnie starts calm with cue/cloth, puts cue on bed, enters hall empty-handed. Father is visible between police, pulled toward front-door exit, then becomes offscreen voice only. Four policemen remain, faces unreadable. Ronnie and father always face the doorway/front-door exit path; they never face each other. Ronnie's orientation never flips while blocked, grabbed, forced down, or during final cheek-to-floor push-in. Sound bridge: door burst, boots, shouts, Ronnie breath/crying, floor contact, father's voice loud and clear before receding. [SHOT PLAN] SHOT 01: Tight insert on Ronnie's hands wiping cue with cloth. Camera: handheld CU, bed edge barely visible, shallow focus. Ambient: room tone, cloth rasp. SHOT 02: Frontal tight CU: Ronnie puts cue on bed as door bursts offscreen. Camera: handheld, lower frame catches cue, eyes snap to doorway. Use KEYFRAME_01_REF for frontal alert reaction, cue-on-bed state, cold bedroom look only; no later blocking authority. Ambient: door impact, boots, shouting. SHOT 03: Tight reaction/turn toward bedroom doorway, cue left on bed. Camera: handheld CU, doorframe slices composition. SHOT 04: Rear-shoulder rush into hallway. Camera: tight unstable follow, walls crowd frame, front-door direction ahead on same axis. SHOT 05: Telephoto-tight hall: arrest action out-of-focus foreground, police backs/arms and father's restrained body moving toward front-door path; Ronnie in background seeing it. Camera: handheld, Ronnie's side of axis, police faces unreadable. SHOT 06: Tight CU of Ronnie's shocked face. Camera: handheld frontal/three-quarter from Ronnie's side, eye-line locked to doorway/front-door path, not directly to father; no police face. Use KEYFRAME_03_REF for shocked performance, eye-line, cold hallway look only; no 180-axis override. SHOT 07: Tight OTS from Ronnie's side as he rushes and reaches. Camera: Ronnie shoulder/arm foreground, police torsos block, father through gaps. Dialogue: "What's going on? Let him go. You can't do that. What did he do?" SHOT 08: Fragmented father struggle CU. Camera: tight crop on tank top, arms, police hands, shoulders angled toward doorway/front-door path; father does not turn to face Ronnie; police faces cropped/blurred. Dialogue: "Ronnie, stay back!" SHOT 09: Low tight Ronnie forcing against police line, still facing doorway/father. Camera: cropped police torso blocks; Ronnie grabs sleeve. Dialogue: "Let him go! Stop!" SHOT 10: Low CU as two policemen force Ronnie down, body still oriented to doorway/arrest path. Camera: Ronnie's side of axis, hands hit floor, head/chest angled toward father; police knees/arms/torsos only. Dialogue: "Calm down, lad!" SHOT 11: Floor-level over Ronnie's pinned shoulder toward front door. Camera: shallow focus, father dragged away in depth facing the exit path, foreground police hands. Dialogue: "Don't touch my boy!" SHOT 12: Required final shot: handheld push-in on Ronnie's cheek pressed to floor, crying, still oriented toward father exit path. Camera: floor-level unstable CU, partial police hands/knee soft foreground, father offscreen. Offscreen father's line is louder and clear: "Keep your head up Ron. Keep it up!" [NEGATIVE] No storyboard image, KEYFRAME_02, KEYFRAME_04, storyboard artifacts, axis flip, crossed 180 line, reverse angle, Ronnie or father turning back, Ronnie and father facing each other, clear police faces, frontal police portrait, modern police wardrobe, stabilised camera, clean master coverage, heroic arrest staging, extra policemen, extra family, weapon prop, blood, subtitles, captions, readable text, glossy digital look, warm nostalgia, dissolves, crossfades, slow clean dolly, identity/wardrobe drift, duplicated Ronnie/father, father visible in final shot.

[REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 4}} ; role: character_reference; authority: young Ronnie identity, small child proportions, boyish hair, formal waistcoat, bow tie, white shirt, dark trousers, black shoes, guarded posture, side-profile shape, nervous movement quality, and character finish. KEYFRAME_02_REF = {{Mixed 3}} ; role: keyframe_visual_reference; coverage: SHOT 02; authority: 16mm archive look, old snooker hall atmosphere, Ronnie seated under hard film light, warm-cool color behavior, volumetric dusty beams, and broad scale relationship; composition authority: partial. KEYFRAME_03_REF = {{Mixed 2}} ; role: keyframe_visual_reference; coverage: SHOT 03; authority: huge foreground camcorder obstruction, Ronnie squeezed to frame edge, cramped documentary framing, rough 16mm texture; composition authority: strong for the foreground squeeze relationship. KEYFRAME_07_REF = {{Mixed 1}} ; role: keyframe_visual_reference; coverage: SHOT 07; authority: Ronnie profile identity, frame-right host-side eyeline, extreme low-angle profile, hard rim light contour, dusty volumetric beam, 16mm archive finish; composition authority: strong for the profile/eyeline/rim-light relationship. [FINAL LOOK CONTRACT] Visual source policy: Use CHARACTER_1_REF for young Ronnie identity and wardrobe. Use KEYFRAME_02_REF, KEYFRAME_03_REF, and KEYFRAME_07_REF only within their shot coverage and declared authority. Do not use any storyboard image as a video reference; the storyboard is planning text only. Palette / color behavior: Rough 16mm film color with rich warm amber midtones, cream-white shirt highlights, cool blue-green shadows, tinted midtones, crushed dark corners, and slight exposure instability. Avoid clean neutral grading. Lighting and shadow behavior: Old snooker hall lit by hard filmmaking lights and practical spill. Bright lamps bloom and halo; shadows are deep, cool, and dirty. Volumetric light beams must be visible, with dust drifting inside the beams. Environment look: Old, dim snooker hall with a wall threshold, snooker table, chair, camcorder, crew silhouettes, light stands, microphone, cables, and dark equipment clusters. Crew merge into darkness and stay secondary. Material and surface fidelity: Preserve rough film grain, soft focus, gate-wobble feeling, halation, slight blur, imperfect exposure, dusty air, worn chair texture, fabric texture, and grungy contrast. Do not clean, smooth, sharpen, gloss, or modernize the image. Forbidden look drift: No polished commercial cinematography, no elegant composed framing, no tripod-stable beauty shot, no glossy digital finish, no modern studio interview look, no clean character-sheet style, no storyboard artifacts. [EXECUTION CONTRACT] Exactly seven shots. SHOT 01 and SHOT 02 are continuous phases of the same opening handheld lateral dolly from behind the wall; all later transitions use fast clean hard cuts. The whole clip feels like old TV archive or behind-the-scenes documentary material, fast-paced like a flashback/showreel but still physically readable. Every shot is handheld with visible shakiness, micro-jitters, imperfect reframing, slight off-axis placement, and point-and-shoot urgency. Never use locked-off, stabilized, crane-like, smooth gimbal, beautiful symmetrical, or carefully composed framing. Prefer obstructed close shots, awkward crops, foreground blockage, cramped edges, and documentary improvisation. Performance is quiet and nervous: blinking a little too much, tiny hand tension, swallowed spit, blank pause, soft hesitant answer. Audio planning: quiet room tone, light hum, faint crew stillness, chair scratch, throat swallow, microphone movement, female host in proper British accent asking "How big do you want to be?", Ronnie softly answering "Five ten?" [SCENE] From black, a handheld documentary camera dollies laterally right from behind a wall into an old dim snooker hall. Young Ronnie sits on a chair beside the snooker table under harsh filmmaking lights. A film crew stands around equipment in front of him, mostly swallowed by darkness. The host's microphone enters from frame right. Ronnie turns toward it, pauses, nervous and blank, then answers softly, "Five ten?" [CONTINUITY + OBJECT STATE CONTRACT] Visible cast: young Ronnie, dark partial crew silhouettes, and only a partial microphone/host-side presence. Ronnie remains seated throughout. He wears the same waistcoat, bow tie, white shirt, dark trousers, and black shoes. The snooker table stays beside him from the reveal onward. The chair armrest is the scratching surface. The microphone enters from frame right in SHOT 06; Ronnie looks frame right toward the host and keeps that frame-right host-side eyeline in SHOT 07. Respect the 180-degree rule: do not flip Ronnie's profile direction between SHOT 06 and SHOT 07. Crew are background pressure, not featured characters. Scale: Ronnie is a small child on an adult chair beside a full-size snooker table; the camcorder and microphone are adult filmmaking equipment scale. [SHOT PLAN] SHOT 01: Lateral handheld dolly from black behind a wall. The wall dominates as a near-black foreground slab, with a narrow right-edge opening into the dim snooker hall and a first hard film-light beam cutting dusty air. Camera: handheld at standing or shoulder height, lateral move right from behind the wall, shaky and imperfect, no polished reveal. Transition: no cut into SHOT 02; same movement continues. Ambient: room hum, faint light buzz, dust floating in the beam. SHOT 02: Continuous phase of the same dolly reveals young Ronnie seated alone beside the snooker table under a hard film light. Crew and equipment remain dark edge shapes around him. Camera: handheld lateral dolly continues and lands in a wide, off-axis, slightly awkward frame; use KEYFRAME_02_REF for look, scale, and atmosphere, not exact lock. Ambient: quiet room tone, light hum, barely audible crew stillness. SHOT 03: Camcorder foreground squeeze. A huge near-camera camcorder body occupies most of the frame, forcing Ronnie to the extreme frame edge in a medium-close shot. Camera: handheld, cramped, slightly bobbing; use KEYFRAME_03_REF for the obstruction relationship. Ronnie stays seated, tense, not frontal. Ambient: camera body handling, faint cloth shift. SHOT 04: ECU nail scratch. Ronnie's small hand rests on the chair armrest; one fingernail lightly catches and scratches the edge. Camera: handheld extreme close-up, tight and imperfect, slight focus breathing, no elegant macro. Ambient: tiny scratch, chair surface contact, held breath. SHOT 05: ECU swallow. Tight crop on Ronnie's throat, collar, bow tie, and a sliver of waistcoat as his throat rolls when he swallows spit. Camera: handheld extreme close-up, awkward crop, no full-face portrait. Ambient: soft swallow, room hum, silence around him. SHOT 06: Over Ronnie's waist-up back foreground toward crew background. His back faces camera; crew, camcorder, light stands, cables, and dark equipment sit in the background. The shot begins with crew background emphasis, then rack focuses to Ronnie's back foreground. A microphone enters from frame right; Ronnie reacts by turning his head and eyeline frame right toward the unseen host as she asks, "How big do you want to be?" Camera: handheld over-back framing, visible shakiness, point-and-shoot, no axis flip. Ambient: microphone movement, female host voice, light hum. SHOT 07: Extreme low-angle 90-degree profile close-up response. Camera sits below chair-arm height, close beside Ronnie's chair, looking upward at his strict side profile. Ronnie maintains the frame-right host-side eyeline from SHOT 06. He thinks for a short while and softly answers, "Five ten?" Hard filmmaking light behind his head creates a bright rim around his hair, cheek, nose, bow tie, and shoulder; dust floats in the volumetric beam. Camera: handheld, visibly shaky, imperfect low-angle profile; use KEYFRAME_07_REF for profile direction, rim light, and look. Ambient: Ronnie's soft answer, quiet room tone, light buzz. [NEGATIVE] No extra shots, no missing shots, no reordered shots, no storyboard image reference, no clean frontal portrait of Ronnie, no profile axis flip, no frame-left eyeline in final shot, no microphone entering from frame left, no featured host face, no clean featured crew portraits, no modern pristine studio, no bright contemporary interview set, no smooth gimbal, no locked-off tripod, no elegant dolly, no beautiful composition, no symmetrical framing, no glossy digital sharpness, no clean commercial lighting, no neutral modern color grade, no removing grain, no removing dust, no smoothing halation, no subtitles, no readable text, no logos, no scoreboard text, no duplicate Ronnie, no adult Ronnie, no duplicate microphone, no extra hands, no oversized adult hand in ECU, no full-face shot for swallow ECU, no cue-ball play, no snooker action, no crossfade, no dissolve, no ghosted transition, no blended carryover. {{CameraPreset 1}}

[MODE: APPRENTICE] [FINAL LOOK CONTRACT] Visual source policy: use {{Mixed 1}} for character identity, body type, wardrobe, hair, and general physical continuity only. Do not use storyboard panels or keyframe images. Ronnie: match the character reference: lean wiry middle-aged runner, slate long-sleeve running top, black shorts, gray running shoes, short salt-and-pepper hair silhouette when visible, exhausted after a long run. Look: slightly sunnier than prior scenes; quiet survival mood, not escape panic. Damp country road/roadside, softened tree shadows, natural skin, sweat near eyelids. Lighting: warm-cool morning sunlight through moving leaves, intermittent reveal/block, glistening broken highlights and soft shadows. Tree leaves and branches visibly move from breeze in every shot, creating shifting light and shadow. Forbidden look drift: no dark panic tone, heroic poster pose, glamour portrait, harsh chase energy, sheet artifacts. [EXECUTION CONTRACT] Cut-based three-shot sequence, not continuous. SHOT 01 begins with a static low 45-degree rear angle framing upward. Ronnie runs naturally into frame, stops, catches breath, and still moves slightly from exhaustion. Camera stays behind and off to one rear side, not directly in front. Background is shallow-depth tree leaves and branches above/behind him, softly blurred and visibly moving in breeze. SHOT 02 is one merged sunlit eye-region shot, not two eye cuts and not continuous eye-movement coverage. SHOT 03 is the survival posture shot: Ronnie lowers from standing and braces both hands on one knee while the camera makes a slight, slow, subtle dolly-in. Moving branches and leaves remain visible and active. Audio plan: breath gradually slows, wind returns, no music for a moment. [SCENE] Ronnie runs into a static low 45-degree rear frame looking upward and stops for the first time, with shallow-depth tree leaves and branches above/behind him visibly moving in breeze. Sunlight hits him as side light while he catches breath, lowers his head, shifts weight, and may wipe sweat. We cut to one tight sunlit eye-region shot: sweat gathers and drips around his eyelids while sunlight catches eyelids and eyeballs; leaf-shadow movement remains visible as shifting light. Then we cut to a low rear wide composition where he lowers into survival posture, bracing both hands on one knee as the camera slowly and subtly dollies in. His breathing slows. The scene feels like survival, not escape. [CONTINUITY + MOTION CONTRACT] Visible cast: Ronnie only. No pursuer, second person, vehicle, or dominant building. Shot 01: Ronnie enters frame forward into the rear/side-rear camera view, not backing into frame and not hiding from camera. The camera placement naturally avoids frontal coverage. Eye-region shot: tight crop on eyes, eyelids, sweat, and partial surrounding skin. Sweat visibly drips downward from the eye/eyelid area. Blink may occur. Moving leaf shadows or flickering sunlight from breeze must be visible on or near the eye area. Breath/body continuity: SHOT 01 shows run-in and stop. Breath starts heavy, then slows. SHOT 03 shows Ronnie beginning upright, lowering his torso, and planting both hands on one knee to support his weight. Body tension reduces without becoming relaxed or heroic. Branch movement continuity: throughout all shots, tree leaves and branches visibly move due to breeze. Their motion must be obvious through shifting shadows, flickering highlights, and moving blurred leaf shapes. Final composition: low-angle rear wide from behind; Ronnie centered horizontally and placed in lower third/lower middle. Above him: branches and leaves moving in gentle breeze, alternately blocking/revealing sunlight and casting glistening broken shadows. [SHOT PLAN] SHOT 01: Static low rear run-in stop. Camera: static low 45-degree rear angle, not frontal, framing upward enough to place softly blurred tree leaves and branches above/behind him as shallow-depth background. The leaves and branches visibly move in breeze. Ronnie runs into frame, stops, and catches breath. Sunlight hits him as side light. He remains slightly active from exhaustion: lowering his head, shifting weight, wiping sweat, shoulders rising and falling. Ambient: heavy breath, footfalls stop, wind beginning. SHOT 02: Sunlit eye with sweat drip. One merged eye-region shot: tight crop with eyes, eyelids, sweat around eyelids, sunlight catching eyelids and eyeballs. Sweat visibly drips downward from the eye/eyelid area. Blink may occur. Moving leaf shadows or flickering sunlight from breeze must be visible on/near the eye area. Ambient: slower breath, wind returns. SHOT 03: Lowering survival posture with dolly-in. Low-angle rear wide shot from behind: Ronnie centered horizontally in the lower third/lower middle beneath overhead branches and leaves. He begins standing, lowers his torso, and braces both hands on one knee. Camera makes a slight, slow, subtle dolly-in as leaves and branches visibly move in breeze, blocking and revealing sunlight, creating glistening broken shadows. Ambient: breath slow, wind present, silence where music would be. [NEGATIVE] No storyboard reference, no keyframe reference, frontal portrait, direct front-facing camera on SHOT 01, Ronnie backing into frame, Ronnie deliberately hiding from camera, high-angle SHOT 01, SHOT 01 missing shallow-depth tree leaves and branches in background, SHOT 01 deep-focus flat background, static leaves, invisible breeze, branches not moving, blocked sunlight with no reveal, mouth close-up, forehead-dominant portrait, eye-region shot widening into portrait, two separate continuous eye-movement shots, missing sweat drip in SHOT 02, continued running after SHOT 01 stop, escape sprint energy after stop, dark panic tone, continuous-take staging, high-speed chase camera, smooth heroic pose, SHOT 03 starting already fully bent with no lowering motion, hands missing from knee support in SHOT 03, fast aggressive dolly, final shot from front, Ronnie high in final frame, missing overhead branches, music, second character, pursuer visible, vehicle, building as dominant subject, crossfade, dissolve, overlap transition, ghosting, double exposure, sheet artifacts, panel borders, captions, labels, UI, text, illustration, CGI/plastic trees, patterned branches.

[MODE: AUTEUR] [REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 2}} ; role: character_reference; authority: young Ronnie identity, small child proportions, boyish hair, formal waistcoat, bow tie, white shirt, dark trousers, guarded posture, nervous movement quality, and character finish. KEYFRAME_03_REF = {{Mixed 1}} ; role: keyframe_visual_reference; coverage: this shot only; authority: huge foreground camcorder obstruction, Ronnie squeezed to frame edge, cramped documentary framing, rough 16mm texture; composition authority: strong for the foreground squeeze relationship. [FINAL LOOK CONTRACT] Rough 16mm behind-the-scenes documentary footage: visible grain, soft imperfect focus, warm amber midtones, cool blue-green shadows, tinted midtones, glowing highlights, dusty air, slight exposure instability, grungy contrast. Old dim snooker hall, crew and equipment swallowed by darkness. No polished commercial cinematography, no clean digital sharpness, no beautiful composed framing. [SHOT 03 ONLY] Regenerate only SHOT 03: camcorder foreground squeeze. A huge near-camera camcorder body occupies most of the frame as a foreground obstruction, forcing young Ronnie to the extreme frame edge in a medium or medium-close shot. Ronnie stays seated beside the chair arm, small, tense, nervous, not frontal. Use CHARACTER_1_REF for Ronnie identity, hair, waistcoat, bow tie, white shirt, small child scale, and guarded posture. Use KEYFRAME_03_REF for the obstruction relationship and cramped framing. [CAMERA EXECUTION] Fixed handheld position. The camera is planted in one spot for the entire shot. No lateral movement, no dolly, no truck, no side-slide, no pan, no reveal move, no reframing across the room. Keep only small human handheld tremor, micro-jitter, slight bob, tiny focus breathing, and archive camera instability. The image may shake in place, but the camera must not travel sideways. [NEGATIVE] No lateral movement, no dolly, no truck, no side-slide, no pan, no reveal, no smooth gimbal, no elegant camera move, no composed beauty shot, no clean frontal portrait, no featured crew portraits, no modern studio, no glossy digital finish, no symmetrical framing, no subtitles, no readable text, no logos, no duplicate Ronnie, no adult Ronnie, no duplicate camcorder, no storyboard sheet artifacts.

[REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 2}} ; role: character_reference; authority: Ronnie identity, older lean wiry build, angular face, salt-and-pepper crop, sharp observant eyes, all-black tailored snooker attire, controlled posture, emotional restraint, and final tear performance. Do not copy sheet layout, typography, labels, white studio background, or pose-board presentation. TROPHY_REF = {{Mixed 1}} ; role: prop_or_object_reference; authority: silver trophy design, broad bowl shape, ornate handles, black base, top figure, polished reflective metal, red and blue ribbons, scale, and side/back/front continuity. Do not copy reference-sheet labels, white background, multi-view layout, or printed words. [FINAL LOOK CONTRACT] Visual source policy: Use CHARACTER_1_REF for Ronnie and TROPHY_REF for the trophy. The opponent is a fictional slim young blond snooker player with no active reference. The venue is a fictional major snooker championship arena with no readable branding, no official tournament logo, and no copied broadcast graphics. Palette / color behavior: Bright championship venue lighting over deep dark audience falloff. Green baize, silver trophy glints, red and blue trophy ribbons, colorful confetti, black formal clothing, pale skin, and cool blue-green arena shadows. Keep the image emotional and ceremonial, not glossy advertising. Lighting and shadow behavior: Strong overhead venue lights create polished trophy highlights, colorful confetti sparkle, hard rim light on shoulders, and dark auditorium depth. Trophy highlights may bloom and glister. Confetti catches light in slow motion. The eye close-up is brighter on the wet eyes but still grounded in arena lighting, not studio beauty lighting. Environment look: Large televised snooker venue after a final. Green table surface, falling confetti, dark audience mass, bright overhead rigging, visible ceiling in the low-angle hug shot, and ceremonial table-side atmosphere. Use no readable sponsor boards, logos, venue text, event graphics, scoreboards, or broadcast overlays. Material and surface fidelity: Preserve worn green baize weave, paper confetti flutter, reflective engraved silver trophy surface without readable inscriptions, red and blue ribbon fabric, black waistcoat/shirt texture, natural skin texture, wet tear line, and slight 16mm/broadcast archival softness. Forbidden look drift: no clean studio trophy product shot, no copied reference-sheet layout, no readable trophy labels, no glossy commercial poster finish, no hyper-clean digital HDR, no celebrity red-carpet lighting, no fake crowd detail, no cartoon or illustration. [EXECUTION CONTRACT] Multi-shot slow-motion sequence: four shots only, in the exact order below. Use clean hard cuts only between shots. Every shot is slow motion with suspended colorful confetti, heavy emotional time dilation, and elegant but not overly polished camera movement. No dissolves, crossfades, montage overlays, freeze frames, or music-video transitions. Performance rule: Ronnie is older, overwhelmed, and trying to remain composed. His emotion breaks only in the final eye ECU. The opponent is respectful and understated: a slim young blond lad in formal snooker attire, patting Ronnie on the back during the hug. Keep the hug sincere, not celebratory wrestling or theatrical triumph. Audio rule: keep audio impression slow and muffled: distant crowd swell, soft confetti fall, trophy room tone, cloth movement, shoulder pat, breath catch. No dialogue, no commentator, no lyrics, no subtitles. [SCENE] After a world championship victory, the arena enters a suspended slow-motion emotional sequence. Confetti falls onto the green baize. The trophy glisters under bright venue light. Ronnie hugs his slim young blond opponent while confetti falls around them and the venue ceiling looms above. Finally, Ronnie's eyes fill with tears in an extreme close-up. [CONTINUITY + OBJECT STATE CONTRACT] Visible cast: Ronnie, one fictional slim young blond opponent, and implied crowd only. No extra players enter the hug. Ronnie wears black formal snooker attire throughout. Opponent wears formal snooker attire, slim build, blond hair, respectful posture. Trophy state: exactly one trophy appears in the trophy shot. It matches TROPHY_REF: silver cup, ornate handles, black base, top figure, red and blue ribbons. No duplicate trophies, no alternate trophy designs, no readable engravings. Confetti state: colorful confetti only. Colorful confetti falls in Shot 01 and Shot 03, may drift subtly in other shots if natural, but it must not cover the eyes in Shot 04. Confetti pieces are small colored paper rectangles or streamers, not plain white confetti, petals, sparks, snow, or ash. Emotional continuity: public celebration moves inward: table detail, trophy detail, human embrace, then private tearful eyes. [SHOT PLAN] SHOT 01 / slow-motion ECU / colorful confetti on baize Action: Colorful paper confetti falls onto green snooker baize in extreme close-up. Some pieces land, slide, or bounce softly on the cloth weave. Camera: locked or barely drifting ECU at table height, tight enough to make baize texture and falling confetti the entire world. No hands, no players, no trophy. Ambient: muffled crowd swell, soft paper ticks, distant arena rumble. SHOT 02 / slow-motion close-up / trophy glister Action: The silver trophy glisters under bright venue lights. Red and blue ribbons hang from the ornate handles and move subtly in the air. Camera: close-up on the trophy, slow arching camera movement around the cup accepted, never a product-commercial spin. Keep the trophy large, reflective, ceremonial, and grounded in the arena. Reference: TROPHY_REF for shape, ribbons, metal finish, black base, and top figure. Do not copy labels or multi-view sheet format. Ambient: crowd becomes round and distant, metal room tone, faint ribbon movement. SHOT 03 / slow-motion extreme low angle / hug under ceiling Action: Ronnie hugs his opponent. The slim young blond lad pats Ronnie on the back once or twice with restrained respect. Confetti falls around both figures. Camera: extreme low angle looking upward at the two figures, with the venue ceiling and bright rigging visible above them. Keep the figures imposing but human, framed as bodies in embrace rather than victory pose. Confetti crosses the upward view. Performance: Ronnie is overwhelmed but controlled; the opponent is quiet, respectful, and supportive. Ambient: muffled crowd applause, fabric press, soft pat on back, falling confetti. SHOT 04 / slow-motion ECU / Ronnie eyes tear Action: Extreme close-up of Ronnie's eyes. Tears gather and begin to come out of his eyes. The face stays mostly still; the emotion lives in wet eyes, tiny eyelid tension, and restrained breath. Camera: ECU crop on eyes only, no full face, no smile, no open crying mouth. Sharp enough to read wetness and tear movement, soft enough to keep archival film texture. Reference: CHARACTER_1_REF for older Ronnie eyes, brow structure, salt-and-pepper hair edge if visible, skin texture, and restrained emotional performance. Ambient: crowd becomes muffled and far away, breath catches, no dialogue. [NEGATIVE] No extra shots, no fast motion, no normal-speed action, no dissolves, no crossfades, no abrupt transition, no montage overlay, no readable logos, no readable scoreboard, no official tournament graphics, no broadcaster UI, no subtitles, no trophy reference-sheet labels, no multi-view trophy layout, no duplicate trophy, no wrong trophy color, no missing red/blue ribbons, no plain white confetti, no confetti as sparks/snow/petals/ash, no extra players in hug, no second opponent, no exaggerated victory jumping, no theatrical sobbing, no full crying mouth, no face-covering confetti in eye ECU, no clean studio product shot, no glossy advertising finish, no cartoon, no illustration, no AI watermark, no video player controls.

[MODE: AUTEUR] [REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 2}} ; role: character_reference; authority: Ronnie identity, older lean wiry build, angular face, salt-and-pepper crop, sharp observant eyes, all-black tailored snooker attire, controlled posture, emotional restraint, and final tear performance. Do not copy sheet layout, typography, labels, white studio background, or pose-board presentation. TROPHY_REF = {{Mixed 1}} ; role: prop_or_object_reference; authority: silver trophy design, broad bowl shape, ornate handles, black base, top figure, polished reflective metal, red and blue ribbons, scale, and side/back/front continuity. Do not copy reference-sheet labels, white background, multi-view layout, or printed words. [FINAL LOOK CONTRACT] Visual source policy: Use CHARACTER_1_REF for Ronnie and TROPHY_REF for the trophy. The opponent is a fictional slim young blond snooker player with no active reference. The venue is a fictional major snooker championship arena with no readable branding, no official tournament logo, and no copied broadcast graphics. Palette / color behavior: Bright championship venue lighting over deep dark audience falloff. Green baize, silver trophy glints, red and blue trophy ribbons, white confetti, black formal clothing, pale skin, and cool blue-green arena shadows. Keep the image emotional and ceremonial, not glossy advertising. Lighting and shadow behavior: Strong overhead venue lights create polished trophy highlights, confetti sparkle, hard rim light on shoulders, and dark auditorium depth. Trophy highlights may bloom and glister. Confetti catches light in slow motion. The eye close-up is brighter on the wet eyes but still grounded in arena lighting, not studio beauty lighting. Environment look: Large televised snooker venue after a final. Green table surface, falling confetti, dark audience mass, bright overhead rigging, visible ceiling in the low-angle hug shot, and ceremonial table-side atmosphere. Use no readable sponsor boards, logos, venue text, event graphics, scoreboards, or broadcast overlays. Material and surface fidelity: Preserve worn green baize weave, paper confetti flutter, reflective engraved silver trophy surface without readable inscriptions, red and blue ribbon fabric, black waistcoat/shirt texture, natural skin texture, wet tear line, and slight 16mm/broadcast archival softness. Forbidden look drift: no clean studio trophy product shot, no copied reference-sheet layout, no readable trophy labels, no glossy commercial poster finish, no hyper-clean digital HDR, no celebrity red-carpet lighting, no fake crowd detail, no cartoon or illustration. [EXECUTION CONTRACT] Multi-shot slow-motion sequence: four shots only, in the exact order below. Use clean hard cuts between shots. Every shot is slow motion with suspended confetti, heavy emotional time dilation, and elegant but not overly polished camera movement. No montage overlays, dissolves, freeze frames, or music-video transitions. Performance rule: Ronnie is older, overwhelmed, and trying to remain composed. His emotion breaks only in the final eye ECU. The opponent is respectful and understated: a slim young blond lad in formal snooker attire, patting Ronnie on the back during the hug. Keep the hug sincere, not celebratory wrestling or theatrical triumph. Audio rule: keep audio impression slow and muffled: distant crowd swell, soft confetti fall, trophy room tone, cloth movement, shoulder pat, breath catch. No dialogue, no commentator, no lyrics, no subtitles. [SCENE] After a world championship victory, the arena enters a suspended slow-motion emotional sequence. Confetti falls onto the green baize. The trophy glisters under bright venue light. Ronnie hugs his slim young blond opponent while confetti falls around them and the venue ceiling looms above. Finally, Ronnie's eyes fill with tears in an extreme close-up. [CONTINUITY + OBJECT STATE CONTRACT] Visible cast: Ronnie, one fictional slim young blond opponent, and implied crowd only. No extra players enter the hug. Ronnie wears black formal snooker attire throughout. Opponent wears formal snooker attire, slim build, blond hair, respectful posture. Trophy state: exactly one trophy appears in the trophy shot. It matches TROPHY_REF: silver cup, ornate handles, black base, top figure, red and blue ribbons. No duplicate trophies, no alternate trophy designs, no readable engravings. Confetti state: confetti falls in Shot 01 and Shot 03, may drift subtly in other shots if natural, but it must not cover the eyes in Shot 04. Confetti pieces are small paper rectangles or streamers, not petals, sparks, snow, or ash. Emotional continuity: public celebration moves inward: table detail, trophy detail, human embrace, then private tearful eyes. [SHOT PLAN] SHOT 01 / slow-motion ECU / confetti on baize Action: Colorful paper confetti falls onto green snooker baize in extreme close-up. Some pieces land, slide, or bounce softly on the cloth weave. Camera: locked or barely drifting ECU at table height, tight enough to make baize texture and falling confetti the entire world. No hands, no players, no trophy. Ambient: muffled crowd swell, soft paper ticks, distant arena rumble. SHOT 02 / slow-motion close-up / trophy glister Action: The silver trophy glisters under bright venue lights. Red and blue ribbons hang from the ornate handles and move subtly in the air. Camera: close-up on the trophy, slow arching camera movement around the cup accepted, never a product-commercial spin. Keep the trophy large, reflective, ceremonial, and grounded in the arena. Reference: TROPHY_REF for shape, ribbons, metal finish, black base, and top figure. Do not copy labels or multi-view sheet format. Ambient: crowd becomes round and distant, metal room tone, faint ribbon movement. SHOT 03 / slow-motion extreme low angle / hug under ceiling Action: Ronnie hugs his opponent. The slim young blond lad pats Ronnie on the back once or twice with restrained respect. Confetti falls around both figures. Camera: extreme low angle looking upward at the two figures, with the venue ceiling and bright rigging visible above them. Keep the figures imposing but human, framed as bodies in embrace rather than victory pose. Confetti crosses the upward view. Performance: Ronnie is overwhelmed but controlled; the opponent is quiet, respectful, and supportive. Ambient: muffled crowd applause, fabric press, soft pat on back, falling confetti. SHOT 04 / slow-motion ECU / Ronnie eyes tear Action: Extreme close-up of Ronnie's eyes. Tears gather and begin to come out of his eyes. The face stays mostly still; the emotion lives in wet eyes, tiny eyelid tension, and restrained breath. Camera: ECU crop on eyes only, no full face, no smile, no open crying mouth. Sharp enough to read wetness and tear movement, soft enough to keep archival film texture. Reference: CHARACTER_1_REF for older Ronnie eyes, brow structure, salt-and-pepper hair edge if visible, skin texture, and restrained emotional performance. Ambient: crowd becomes muffled and far away, breath catches, no dialogue. [NEGATIVE] No extra shots, no fast motion, no normal-speed action, no dissolve, no crossfade, no montage overlay, no readable logos, no readable scoreboard, no official tournament graphics, no broadcaster UI, no subtitles, no trophy reference-sheet labels, no multi-view trophy layout, no duplicate trophy, no wrong trophy color, no missing red/blue ribbons, no confetti as sparks/snow/petals/ash, no extra players in hug, no second opponent, no exaggerated victory jumping, no theatrical sobbing, no full crying mouth, no face-covering confetti in eye ECU, no clean studio product shot, no glossy advertising finish, no cartoon, no illustration, no AI watermark, no video player controls.

[REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 2}} ; role: character_reference; authority: Ronnie identity, slim proportions, pale face, dark hair, all-black minimalist outfit, hand anatomy, restrained posture, and emotionally contained performance. No trophy-holding or prop-contact authority. PROP_1_REF = {{Mixed 1}} ; role: prop_or_object_reference; authority: trophy shape, silver cup identity, decorative rim silhouette, cup-to-stem-to-base proportions, wider base scale, reflective metal finish, and grip-contact location. The trophy reference controls prop geometry and material; do not copy readable engravings. [FINAL LOOK CONTRACT] Visual source policy: Use only CHARACTER_1_REF for Ronnie and PROP_1_REF for the trophy. Do not attach storyboard images, keyframes, location references, or any other visual references. All camera coverage, staging, pacing, and environment behavior are text-driven. Palette / color behavior: 16mm news archive look with warm sunlit midtones, cool shadow bias, restrained black wardrobe, silver trophy highlights, muted concrete and metal neutrals, and no glossy modern commercial color grade. Lighting and shadow behavior: sunny almost-golden-hour hard light; hard shadows on Ronnie's face and body; Rembrandt-style facial shadow when frontal or low-angle; hard rim light on 90-degree profile edges and trophy metal; subtle halation around bright metal, flash points, and sunlit edges. Environment look: exterior road outside a prison, roadside press crowd, cameras, microphones, and a final closed metal prison gate. Keep environment functional and documentary, not scenic or polished. Material and surface fidelity: preserve silver trophy reflectivity, decorative rim silhouette, wider base, and stem/bowl/base separation from PROP_1_REF. Preserve 16mm grain, gate weave, imperfect exposure, handheld jitter, shallow focus, focus hunting, and archival softness. Forbidden look drift: no storyboard artifacts, no keyframe influence, no reference-sheet layout, no studio background, no glossy product-shot trophy, no clean fashion editorial portrait, no modern digital sharpness, no triumphant sports-commercial finish. [EXECUTION CONTRACT] Kinetic fast-paced edited handheld documentary news-archive coverage, not a single continuous take. Use abrupt direct cuts only as edit boundaries. No transition effects are allowed: no dissolve, no crossfade, no fade, no wipe, no whip-pan transition, no match dissolve, no ghosted transition, no blended carryover, no overlap transition, no stylized bridge. Most shots are short, reactive, and pressurized, like a news camera operator grabbing fragments from inside a crowd. The one exception is SHOT 04: hold this beat longer and more cinematically before the trophy lift, building anticipation as Ronnie stands still with the trophy low. Camera behavior is strongly handheld and documentary: visible shake, operator correction, imperfect starts and landings, lateral tracking drift, focus hunting, shallow focus, foreground bodies cutting through frame, blocked sightlines, unstable framing, sudden reframes, and occasional extreme camera angles. Performance pressure is restrained and internal; Ronnie ignores the press completely and looks ahead with melancholy determination. Audio planning notes: crowd murmur, camera shutters, press movement, footsteps, trophy metal handling, a brief held hush before the lift, then a hard metal gate shut at the end. [SCENE] Young Ronnie walks outside a prison gate road in black casual attire, carrying a silver trophy low like an ordinary bag while news and press groups crowd the roadside. The trophy is not celebrated at first; it is a burden. Press bodies and cameras repeatedly block the view as a shaky documentary news camera catches fast fragments of his hand, profile, face, and trophy. Ronnie stops, takes his time in a longer anticipation beat, raises the trophy above his head with both hands, ignores the camera flashes, and the final image lands on a closed prison gate. [CONTINUITY + OBJECT STATE CONTRACT] Visible cast: Ronnie is the only named on-screen character; press people are anonymous foreground/background bodies only. Trophy state: SHOT 01 through SHOT 04, trophy stays low and casual; Ronnie's hand grips the narrow trophy stem between cup bowl and wider base, never the bowl, handles, or base. SHOT 05, Ronnie lifts the trophy above frame with both hands. SHOT 06, trophy is already raised in midair. SHOT 07, only the blurred top rim of the raised trophy appears at the bottom foreground. Spatial state: the prison gate is hidden until the final gate-focused ending; do not show the prison gate in SHOT 04. Ronnie eye-line: never toward press, never toward camera as acknowledgement; always forward or straight ahead. Scale: trophy remains hand-held cup-sized, not oversized; press bodies can be foreground-large because of lens distance but must not resize Ronnie or trophy. [SHOT PLAN] SHOT 01: Low side-profile tracking insert of Ronnie's walking hand carrying the trophy low. Action: his fingers and thumb wrap only around the narrow vertical trophy stem; cup bowl is above the hand, wider base below the hand, trophy hanging like a bag. Camera: tight 90-degree side-profile crop at hand height, lateral tracking movement matching his walk, upper body cropped out, out-of-focus press bodies and cameras crossing the foreground and partially blocking the grip without hiding contact. Ambient: moving crowd shapes, foot rhythm, handheld jitter. SHOT 02: Side-profile face tracking close-up as Ronnie walks. Action: his face moves through shallow focus, gaze fixed forward, no acknowledgement of press. Camera: tight 90-degree side-profile close-up at face height, lateral tracking, foreground microphones and camera bodies pass soft across frame, hard rim light on profile edge. Ambient: crowd murmur, shutters beginning, press obstruction. SHOT 03: Fast frontal medium stop. Action: Ronnie walks toward camera from shallow depth, reaches focus, plants his lead foot, shortens the rear step, shoulders settle, trophy hand steadies low at his side. Camera: frontal medium shot, handheld and visibly shaky, slight unbalanced news angle, focus hunts briefly before Ronnie becomes the crisp focus plane while road and press fall soft behind him. Ambient: footsteps settle, crowd pressure holds. SHOT 04: Longer cinematic anticipation beat with no prison gate visible. Action: Ronnie stands still in the midground, taking his time among media pressure, trophy still low, press around him waiting and aiming cameras; this is the held breath before he raises it. Camera: wide shot filmed from inside the roadside media group, visible press bodies, cameras, and microphones in foreground; far background blocked by press bodies and equipment; do not reveal the prison gate. Keep handheld documentary shake, but let the shot hold longer than the surrounding fast cuts, with subtle operator drift and small corrective reframes. Ambient: restless press movement thins into a tense hush, camera handling, low crowd noise. SHOT 05: Extreme low-angle lift close-up. Action: Ronnie raises the trophy above his head with both hands, but the trophy itself stays fully out of frame; only his face, shoulders, and lifted arms are visible. Camera: extreme low-angle tight close-up, handheld, intense upward composition, press flashes around frame edges, Ronnie looks straight ahead and ignores the flashes. Ambient: camera shutters surge, subtle trophy handling foley. SHOT 06: Cropped close-up of raised trophy. Action: the trophy is already lifted high in midair, partly cropped; the bottom or base may be cut off by frame. Camera: close-up on silver trophy against bright sky or blown sunlit background, handheld and imperfect, flash bursts and halation around reflective rim, Ronnie's face excluded. Ambient: shutter burst, press calls as indistinct texture. SHOT 07: Final gate image. Action: closed prison gate and shut metal door dominate the frame; only the out-of-focus top rim of the raised trophy intrudes along the bottom edge. Camera: wide gate shot, imperfect handheld news framing, foreground trophy rim blurred, gate sharp and emotionally final, no Ronnie close-up; slight shake continues even as the shot lands. Ambient: hard metal door shut, crowd tone drops under the gate impact. [NEGATIVE] No generated storyboard reference, no keyframe reference, no location reference, no extra visual reference, no storyboard sheet artifacts, no panel borders, no reference-card layout, no studio background, no readable trophy engraving, no prison signage text, no trophy gripped by cup bowl, no trophy gripped by handles, no trophy gripped by base, no trophy raised before SHOT 05, no prison gate visible in SHOT 04, no trophy visible in SHOT 05, no Ronnie face visible in SHOT 06, no full sharp trophy visible in SHOT 07, no Ronnie acknowledging press, no celebratory smile, no triumphant sports-commercial pose, no second named character, no polished fashion editorial finish, no smooth stabilized camera, no clean tripod feel, no commercial slow-motion montage, no transition effects, no crossfade, no dissolve, no fade, no wipe, no whip-pan transition, no overlap transition, no ghosted transition, no blended carryover, no double exposure, no prior segment dependency.

[REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 5}} ; role: character_reference; authority: Ronnie identity, slim proportions, pale face, dark hair, all-black minimalist outfit, hand anatomy, restrained posture, and emotionally contained performance. No trophy-holding or prop-contact authority. PROP_1_REF = {{Mixed 4}} ; role: prop_or_object_reference; authority: trophy shape, silver cup identity, decorative rim silhouette, cup-to-stem-to-base proportions, wider base scale, reflective metal finish, and grip-contact location. The trophy reference controls prop geometry and material; do not copy readable engravings. KEYFRAME_02_REF = {{Mixed 3}} ; role: keyframe_visual_reference; coverage: SHOT 03; authority: frontal medium stop, Ronnie identity, walk-into-focus feeling, press pressure, lighting, mood, and partial composition. Composition authority: partial; motion-path authority: loose. KEYFRAME_03_REF = {{Mixed 2}} ; role: keyframe_visual_reference; coverage: SHOT 05; authority: extreme low-angle Ronnie face and raised arms, trophy out of frame, press flashes, lighting, mood, and composition. Composition authority: strong for SHOT 05 only; motion-path authority: loose. KEYFRAME_04_REF = {{Mixed 1}} ; role: keyframe_visual_reference; coverage: SHOT 07; authority: closed prison gate, blurred trophy-rim foreground, lighting, atmosphere, and composition. Composition authority: strong for SHOT 07 only. [FINAL LOOK CONTRACT] Visual source policy: Use CHARACTER_1_REF for Ronnie only, PROP_1_REF for trophy only, KEYFRAME_02_REF through KEYFRAME_04_REF only within their declared shot coverage. Do not attach the generated storyboard. Do not attach KEYFRAME_01; opening tracking shots are text-driven because they are motion shots. Palette / color behavior: 16mm news archive look with warm sunlit midtones, cool shadow bias, restrained black wardrobe, silver trophy highlights, muted concrete and metal neutrals, and no glossy modern commercial color grade. Lighting and shadow behavior: sunny almost-golden-hour hard light; hard shadows on Ronnie's face and body; Rembrandt-style facial shadow when frontal or low-angle; hard rim light on 90-degree profile edges and trophy metal; subtle halation around bright metal, flash points, and sunlit edges. Environment look: exterior road outside a prison, roadside press crowd, cameras, microphones, and a final closed metal prison gate. Keep environment functional and documentary, not scenic or polished. Material and surface fidelity: preserve silver trophy reflectivity, decorative rim silhouette, wider base, and stem/bowl/base separation from PROP_1_REF. Keep film grain, gate weave, imperfect exposure, handheld jitter, shallow focus, and archival softness. Forbidden look drift: no storyboard artifacts, no reference-sheet layout, no studio background, no glossy product-shot trophy, no clean fashion editorial portrait, no modern digital sharpness, no triumphant sports-commercial finish. [EXECUTION CONTRACT] Edited handheld documentary news-archive coverage, not a single continuous take. Use clean hard cuts only, with no dissolve, no crossfade, no ghosted transition, and no blended carryover. Camera behavior is imperfect, reactive, and press-crowd obstructed: lateral tracking, shallow focus, foreground bodies cutting through frame, unstable framing, and occasional extreme camera angles. Performance pressure is restrained and internal; Ronnie ignores the press completely and looks ahead with melancholy determination. Audio planning notes: crowd murmur, camera shutters, press movement, footsteps, trophy metal handling, and a hard metal gate shut at the end. [SCENE] Young Ronnie walks outside a prison gate road in black casual attire, carrying a silver trophy low like an ordinary bag while news and press groups crowd the roadside. The trophy is not celebrated at first; it is a burden. Press bodies and cameras repeatedly block the view as a news camera catches fragments of his hand, profile, face, and trophy. Ronnie stops, takes his time, raises the trophy above his head with both hands, ignores the camera flashes, and the final image lands on a closed prison gate. [CONTINUITY + OBJECT STATE CONTRACT] Visible cast: Ronnie is the only named on-screen character; press people are anonymous foreground/background bodies only. Trophy state: SHOT 01 through SHOT 04, trophy stays low and casual; Ronnie's hand grips the narrow trophy stem between cup bowl and wider base, never the bowl, handles, or base. SHOT 05, Ronnie lifts trophy above frame with both hands. SHOT 06, trophy is already raised in midair. SHOT 07, only the blurred top rim of the raised trophy appears at the bottom foreground. Spatial state: the prison gate is hidden until the final gate-focused ending; do not show the prison gate in SHOT 04. Ronnie eye-line: never toward press, never toward camera as acknowledgement; always forward or straight ahead. Scale: trophy remains hand-held cup-sized, not oversized; press bodies can be foreground-large because of lens distance but must not resize Ronnie or trophy. [SHOT PLAN] SHOT 01: Low side-profile tracking insert of Ronnie's walking hand carrying the trophy low. Action: his fingers and thumb wrap only around the narrow vertical trophy stem; cup bowl is above the hand, wider base below the hand, trophy hanging like a bag. Camera: tight 90-degree side-profile crop at hand height, lateral tracking movement matching his walk, upper body cropped out, out-of-focus press bodies and cameras crossing the foreground and partially blocking the grip without hiding contact. Ambient: moving crowd shapes, foot rhythm, handheld jitter. SHOT 02: Side-profile face tracking close-up as Ronnie walks. Action: his face moves through shallow focus, gaze fixed forward, no acknowledgement of press. Camera: tight 90-degree side-profile close-up at face height, lateral tracking, foreground microphones and camera bodies pass soft across frame, hard rim light on profile edge. Ambient: crowd murmur, shutters beginning, press obstruction. SHOT 03: Frontal medium stop using KEYFRAME_02_REF. Action: Ronnie walks toward camera from shallow depth, reaches focus, plants his lead foot, shortens the rear step, shoulders settle, trophy hand steadies low at his side. Camera: frontal medium shot, handheld, slight unbalanced news angle, Ronnie becomes the crisp focus plane while road and press fall soft behind him. Ambient: footsteps settle, crowd pressure holds. SHOT 04: Wide crowd-side witness shot with no prison gate visible. Action: Ronnie stands still in the midground, taking his time among media pressure, trophy still low, press around him waiting and aiming cameras. Camera: wide shot filmed from inside the roadside media group, visible press bodies, cameras, and microphones in foreground; far background blocked by press bodies and equipment; do not reveal the prison gate. Ambient: restless press movement, camera handling, low crowd noise. SHOT 05: Extreme low-angle close-up using KEYFRAME_03_REF. Action: Ronnie raises the trophy above his head with both hands, but the trophy itself stays fully out of frame; only his face, shoulders, and lifted arms are visible. Camera: extreme low-angle tight close-up, handheld, intense upward composition, press flashes around frame edges, Ronnie looks straight ahead and ignores the flashes. Ambient: camera shutters surge, subtle trophy handling foley. SHOT 06: Cropped close-up of raised trophy. Action: the trophy is already lifted high in midair, partly cropped; the bottom or base may be cut off by frame. Camera: close-up on silver trophy against bright sky or blown sunlit background, handheld and imperfect, flash bursts and halation around reflective rim, Ronnie's face excluded. Ambient: shutter burst, press calls as indistinct texture. SHOT 07: Final gate image using KEYFRAME_04_REF. Action: closed prison gate and shut metal door dominate the frame; only the out-of-focus top rim of the raised trophy intrudes along the bottom edge. Camera: wide gate shot, imperfect news framing, foreground trophy rim blurred, gate sharp and emotionally final, no Ronnie close-up. Ambient: hard metal door shut, crowd tone drops under the gate impact. [NEGATIVE] No generated storyboard reference, no KEYFRAME_01 reference, no storyboard sheet artifacts, no panel borders, no reference-card layout, no studio background, no readable trophy engraving, no prison signage text, no trophy gripped by cup bowl, no trophy gripped by handles, no trophy gripped by base, no trophy raised before SHOT 05, no prison gate visible in SHOT 04, no trophy visible in SHOT 05, no Ronnie face visible in SHOT 06, no full sharp trophy visible in SHOT 07, no Ronnie acknowledging press, no celebratory smile, no triumphant sports-commercial pose, no second named character, no polished fashion editorial finish, no crossfade, no dissolve, no overlap transition, no double exposure, no prior segment dependency.

[REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 3}} ; role: character_reference; authority: Ronnie identity, slim proportions, pale face, dark hair, all-black minimalist outfit, hand anatomy, restrained posture, and emotionally contained performance. No trophy-holding or prop-contact authority. PROP_1_REF = {{Mixed 2}} ; role: prop_or_object_reference; authority: trophy shape, silver cup identity, decorative rim silhouette, cup-to-stem-to-base proportions, wider base scale, reflective metal finish, and grip-contact location. The trophy reference controls prop geometry and material; do not copy readable engravings. KEYFRAME_03_REF = {{Mixed 1}} ; role: keyframe_visual_reference; coverage: SHOT 05; authority: extreme low-angle Ronnie face and raised arms, trophy out of frame, press flashes, lighting, mood, and composition. Composition authority: strong for SHOT 05 only; motion-path authority: loose. [FINAL LOOK CONTRACT] Visual source policy: Use CHARACTER_1_REF for Ronnie only, PROP_1_REF for trophy only, and KEYFRAME_03_REF only for SHOT 05. Do not attach the generated storyboard. Do not attach KEYFRAME_01, KEYFRAME_02, or KEYFRAME_04; all other shots are text-driven. Palette / color behavior: 16mm news archive look with warm sunlit midtones, cool shadow bias, restrained black wardrobe, silver trophy highlights, muted concrete and metal neutrals, and no glossy modern commercial color grade. Lighting and shadow behavior: sunny almost-golden-hour hard light; hard shadows on Ronnie's face and body; Rembrandt-style facial shadow when frontal or low-angle; hard rim light on 90-degree profile edges and trophy metal; subtle halation around bright metal, flash points, and sunlit edges. Environment look: exterior road outside a prison, roadside press crowd, cameras, microphones, and a final closed metal prison gate. Keep environment functional and documentary, not scenic or polished. Material and surface fidelity: preserve silver trophy reflectivity, decorative rim silhouette, wider base, and stem/bowl/base separation from PROP_1_REF. Keep film grain, gate weave, imperfect exposure, handheld jitter, shallow focus, and archival softness. Forbidden look drift: no storyboard artifacts, no reference-sheet layout, no studio background, no glossy product-shot trophy, no clean fashion editorial portrait, no modern digital sharpness, no triumphant sports-commercial finish. [EXECUTION CONTRACT] Fast-paced edited handheld documentary news-archive coverage, not a single continuous take. Use clean hard cuts only, with no dissolve, no crossfade, no ghosted transition, and no blended carryover. Most shots are short, reactive, and pressurized, like a news camera operator grabbing fragments from inside a crowd. The one exception is SHOT 04: hold this beat longer and more cinematically before the trophy lift, building anticipation as Ronnie stands still with the trophy low. Camera behavior is strongly handheld and documentary: visible shake, operator correction, imperfect starts and landings, lateral tracking drift, focus hunting, shallow focus, foreground bodies cutting through frame, blocked sightlines, unstable framing, sudden reframes, and occasional extreme camera angles. Performance pressure is restrained and internal; Ronnie ignores the press completely and looks ahead with melancholy determination. Audio planning notes: crowd murmur, camera shutters, press movement, footsteps, trophy metal handling, a brief held hush before the lift, then a hard metal gate shut at the end. [SCENE] Young Ronnie walks outside a prison gate road in black casual attire, carrying a silver trophy low like an ordinary bag while news and press groups crowd the roadside. The trophy is not celebrated at first; it is a burden. Press bodies and cameras repeatedly block the view as a shaky documentary news camera catches fast fragments of his hand, profile, face, and trophy. Ronnie stops, takes his time in a longer anticipation beat, raises the trophy above his head with both hands, ignores the camera flashes, and the final image lands on a closed prison gate. [CONTINUITY + OBJECT STATE CONTRACT] Visible cast: Ronnie is the only named on-screen character; press people are anonymous foreground/background bodies only. Trophy state: SHOT 01 through SHOT 04, trophy stays low and casual; Ronnie's hand grips the narrow trophy stem between cup bowl and wider base, never the bowl, handles, or base. SHOT 05, Ronnie lifts trophy above frame with both hands. SHOT 06, trophy is already raised in midair. SHOT 07, only the blurred top rim of the raised trophy appears at the bottom foreground. Spatial state: the prison gate is hidden until the final gate-focused ending; do not show the prison gate in SHOT 04. Ronnie eye-line: never toward press, never toward camera as acknowledgement; always forward or straight ahead. Scale: trophy remains hand-held cup-sized, not oversized; press bodies can be foreground-large because of lens distance but must not resize Ronnie or trophy. [SHOT PLAN] SHOT 01: Low side-profile tracking insert of Ronnie's walking hand carrying the trophy low. Action: his fingers and thumb wrap only around the narrow vertical trophy stem; cup bowl is above the hand, wider base below the hand, trophy hanging like a bag. Camera: tight 90-degree side-profile crop at hand height, lateral tracking movement matching his walk, upper body cropped out, out-of-focus press bodies and cameras crossing the foreground and partially blocking the grip without hiding contact. Ambient: moving crowd shapes, foot rhythm, handheld jitter. SHOT 02: Side-profile face tracking close-up as Ronnie walks. Action: his face moves through shallow focus, gaze fixed forward, no acknowledgement of press. Camera: tight 90-degree side-profile close-up at face height, lateral tracking, foreground microphones and camera bodies pass soft across frame, hard rim light on profile edge. Ambient: crowd murmur, shutters beginning, press obstruction. SHOT 03: Fast frontal medium stop. Action: Ronnie walks toward camera from shallow depth, reaches focus, plants his lead foot, shortens the rear step, shoulders settle, trophy hand steadies low at his side. Camera: frontal medium shot, handheld and visibly shaky, slight unbalanced news angle, focus hunts briefly before Ronnie becomes the crisp focus plane while road and press fall soft behind him. Ambient: footsteps settle, crowd pressure holds. SHOT 04: Longer cinematic anticipation beat with no prison gate visible. Action: Ronnie stands still in the midground, taking his time among media pressure, trophy still low, press around him waiting and aiming cameras; this is the held breath before he raises it. Camera: wide shot filmed from inside the roadside media group, visible press bodies, cameras, and microphones in foreground; far background blocked by press bodies and equipment; do not reveal the prison gate. Keep handheld documentary shake, but let the shot hold longer than the surrounding fast cuts, with subtle operator drift and small corrective reframes. Ambient: restless press movement thins into a tense hush, camera handling, low crowd noise. SHOT 05: Extreme low-angle close-up using KEYFRAME_03_REF. Action: Ronnie raises the trophy above his head with both hands, but the trophy itself stays fully out of frame; only his face, shoulders, and lifted arms are visible. Camera: extreme low-angle tight close-up, handheld, intense upward composition, press flashes around frame edges, Ronnie looks straight ahead and ignores the flashes. Ambient: camera shutters surge, subtle trophy handling foley. SHOT 06: Cropped close-up of raised trophy. Action: the trophy is already lifted high in midair, partly cropped; the bottom or base may be cut off by frame. Camera: close-up on silver trophy against bright sky or blown sunlit background, handheld and imperfect, flash bursts and halation around reflective rim, Ronnie's face excluded. Ambient: shutter burst, press calls as indistinct texture. SHOT 07: Final gate image. Action: closed prison gate and shut metal door dominate the frame; only the out-of-focus top rim of the raised trophy intrudes along the bottom edge. Camera: wide gate shot, imperfect handheld news framing, foreground trophy rim blurred, gate sharp and emotionally final, no Ronnie close-up; slight shake continues even as the shot lands. Ambient: hard metal door shut, crowd tone drops under the gate impact. [NEGATIVE] No generated storyboard reference, no KEYFRAME_01 reference, no KEYFRAME_02 reference, no KEYFRAME_04 reference, no storyboard sheet artifacts, no panel borders, no reference-card layout, no studio background, no readable trophy engraving, no prison signage text, no trophy gripped by cup bowl, no trophy gripped by handles, no trophy gripped by base, no trophy raised before SHOT 05, no prison gate visible in SHOT 04, no trophy visible in SHOT 05, no Ronnie face visible in SHOT 06, no full sharp trophy visible in SHOT 07, no Ronnie acknowledging press, no celebratory smile, no triumphant sports-commercial pose, no second named character, no polished fashion editorial finish, no smooth stabilized camera, no clean tripod feel, no commercial slow-motion montage, no crossfade, no dissolve, no overlap transition, no double exposure, no prior segment dependency.

[MODE: APPRENTICE] [REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 4}} ; role: character_reference; authority: Ronnie identity, slim proportions, pale face, dark hair, all-black minimalist outfit, hand anatomy, restrained posture, and emotionally contained performance. No trophy-holding or prop-contact authority. PROP_1_REF = {{Mixed 3}} ; role: prop_or_object_reference; authority: trophy shape, silver cup identity, decorative rim silhouette, cup-to-stem-to-base proportions, wider base scale, reflective metal finish, and grip-contact location. The trophy reference controls prop geometry and material; do not copy readable engravings. KEYFRAME_03_REF = {{Mixed 2}} ; role: keyframe_visual_reference; coverage: SHOT 05; authority: extreme low-angle Ronnie face and raised arms, trophy out of frame, press flashes, lighting, mood, and composition. Composition authority: strong for SHOT 05 only; motion-path authority: loose. KEYFRAME_04_REF = {{Mixed 1}} ; role: keyframe_visual_reference; coverage: SHOT 07; authority: closed prison gate, blurred trophy-rim foreground, lighting, atmosphere, and composition. Composition authority: strong for SHOT 07 only. [FINAL LOOK CONTRACT] Visual source policy: Use CHARACTER_1_REF for Ronnie only, PROP_1_REF for trophy only, KEYFRAME_03_REF only for SHOT 05, and KEYFRAME_04_REF only for SHOT 07. Do not attach the generated storyboard. Do not attach KEYFRAME_01 or KEYFRAME_02; all other shots are text-driven. Palette / color behavior: 16mm news archive look with warm sunlit midtones, cool shadow bias, restrained black wardrobe, silver trophy highlights, muted concrete and metal neutrals, and no glossy modern commercial color grade. Lighting and shadow behavior: sunny almost-golden-hour hard light; hard shadows on Ronnie's face and body; Rembrandt-style facial shadow when frontal or low-angle; hard rim light on 90-degree profile edges and trophy metal; subtle halation around bright metal, flash points, and sunlit edges. Environment look: exterior road outside a prison, roadside press crowd, cameras, microphones, and a final closed metal prison gate. Keep environment functional and documentary, not scenic or polished. Material and surface fidelity: preserve silver trophy reflectivity, decorative rim silhouette, wider base, and stem/bowl/base separation from PROP_1_REF. Keep film grain, gate weave, imperfect exposure, handheld jitter, shallow focus, and archival softness. Forbidden look drift: no storyboard artifacts, no reference-sheet layout, no studio background, no glossy product-shot trophy, no clean fashion editorial portrait, no modern digital sharpness, no triumphant sports-commercial finish. [EXECUTION CONTRACT] Kinetic fast-paced edited handheld documentary news-archive coverage, not a single continuous take. Use abrupt direct cuts only as edit boundaries. No transition effects are allowed: no dissolve, no crossfade, no fade, no wipe, no whip-pan transition, no match dissolve, no ghosted transition, no blended carryover, no overlap transition, no stylized bridge. Most shots are short, reactive, and pressurized, like a news camera operator grabbing fragments from inside a crowd. The one exception is SHOT 04: hold this beat longer and more cinematically before the trophy lift, building anticipation as Ronnie stands still with the trophy low. Camera behavior is strongly handheld and documentary: visible shake, operator correction, imperfect starts and landings, lateral tracking drift, focus hunting, shallow focus, foreground bodies cutting through frame, blocked sightlines, unstable framing, sudden reframes, and occasional extreme camera angles. Performance pressure is restrained and internal; Ronnie ignores the press completely and looks ahead with melancholy determination. Audio planning notes: crowd murmur, camera shutters, press movement, footsteps, trophy metal handling, a brief held hush before the lift, then a hard metal gate shut at the end. [SCENE] Young Ronnie walks outside a prison gate road in black casual attire, carrying a silver trophy low like an ordinary bag while news and press groups crowd the roadside. The trophy is not celebrated at first; it is a burden. Press bodies and cameras repeatedly block the view as a shaky documentary news camera catches fast fragments of his hand, profile, face, and trophy. Ronnie stops, takes his time in a longer anticipation beat, raises the trophy above his head with both hands, ignores the camera flashes, and the final image lands on a closed prison gate. [CONTINUITY + OBJECT STATE CONTRACT] Visible cast: Ronnie is the only named on-screen character; press people are anonymous foreground/background bodies only. Trophy state: SHOT 01 through SHOT 04, trophy stays low and casual; Ronnie's hand grips the narrow trophy stem between cup bowl and wider base, never the bowl, handles, or base. SHOT 05, Ronnie lifts trophy above frame with both hands. SHOT 06, trophy is already raised in midair. SHOT 07, only the blurred top rim of the raised trophy appears at the bottom foreground. Spatial state: the prison gate is hidden until the final gate-focused ending; do not show the prison gate in SHOT 04. Ronnie eye-line: never toward press, never toward camera as acknowledgement; always forward or straight ahead. Scale: trophy remains hand-held cup-sized, not oversized; press bodies can be foreground-large because of lens distance but must not resize Ronnie or trophy. [SHOT PLAN] SHOT 01: Low side-profile tracking insert of Ronnie's walking hand carrying the trophy low. Action: his fingers and thumb wrap only around the narrow vertical trophy stem; cup bowl is above the hand, wider base below the hand, trophy hanging like a bag. Camera: tight 90-degree side-profile crop at hand height, lateral tracking movement matching his walk, upper body cropped out, out-of-focus press bodies and cameras crossing the foreground and partially blocking the grip without hiding contact. Ambient: moving crowd shapes, foot rhythm, handheld jitter. SHOT 02: Side-profile face tracking close-up as Ronnie walks. Action: his face moves through shallow focus, gaze fixed forward, no acknowledgement of press. Camera: tight 90-degree side-profile close-up at face height, lateral tracking, foreground microphones and camera bodies pass soft across frame, hard rim light on profile edge. Ambient: crowd murmur, shutters beginning, press obstruction. SHOT 03: Fast frontal medium stop. Action: Ronnie walks toward camera from shallow depth, reaches focus, plants his lead foot, shortens the rear step, shoulders settle, trophy hand steadies low at his side. Camera: frontal medium shot, handheld and visibly shaky, slight unbalanced news angle, focus hunts briefly before Ronnie becomes the crisp focus plane while road and press fall soft behind him. Ambient: footsteps settle, crowd pressure holds. SHOT 04: Longer cinematic anticipation beat with no prison gate visible. Action: Ronnie stands still in the midground, taking his time among media pressure, trophy still low, press around him waiting and aiming cameras; this is the held breath before he raises it. Camera: wide shot filmed from inside the roadside media group, visible press bodies, cameras, and microphones in foreground; far background blocked by press bodies and equipment; do not reveal the prison gate. Keep handheld documentary shake, but let the shot hold longer than the surrounding fast cuts, with subtle operator drift and small corrective reframes. Ambient: restless press movement thins into a tense hush, camera handling, low crowd noise. SHOT 05: Extreme low-angle close-up using KEYFRAME_03_REF. Action: Ronnie raises the trophy above his head with both hands, but the trophy itself stays fully out of frame; only his face, shoulders, and lifted arms are visible. Camera: extreme low-angle tight close-up, handheld, intense upward composition, press flashes around frame edges, Ronnie looks straight ahead and ignores the flashes. Ambient: camera shutters surge, subtle trophy handling foley. SHOT 06: Cropped close-up of raised trophy. Action: the trophy is already lifted high in midair, partly cropped; the bottom or base may be cut off by frame. Camera: close-up on silver trophy against bright sky or blown sunlit background, handheld and imperfect, flash bursts and halation around reflective rim, Ronnie's face excluded. Ambient: shutter burst, press calls as indistinct texture. SHOT 07: Final gate image using KEYFRAME_04_REF. Action: closed prison gate and shut metal door dominate the frame; only the out-of-focus top rim of the raised trophy intrudes along the bottom edge. Camera: wide gate shot, imperfect handheld news framing, foreground trophy rim blurred, gate sharp and emotionally final, no Ronnie close-up; slight shake continues even as the shot lands. Ambient: hard metal door shut, crowd tone drops under the gate impact. [NEGATIVE] No generated storyboard reference, no KEYFRAME_01 reference, no KEYFRAME_02 reference, no storyboard sheet artifacts, no panel borders, no reference-card layout, no studio background, no readable trophy engraving, no prison signage text, no trophy gripped by cup bowl, no trophy gripped by handles, no trophy gripped by base, no trophy raised before SHOT 05, no prison gate visible in SHOT 04, no trophy visible in SHOT 05, no Ronnie face visible in SHOT 06, no full sharp trophy visible in SHOT 07, no Ronnie acknowledging press, no celebratory smile, no triumphant sports-commercial pose, no second named character, no polished fashion editorial finish, no smooth stabilized camera, no clean tripod feel, no commercial slow-motion montage, no transition effects, no crossfade, no dissolve, no fade, no wipe, no whip-pan transition, no overlap transition, no ghosted transition, no blended carryover, no double exposure, no prior segment dependency.

Continue from the provided first frame exactly. Extreme close-up on the eyes and upper nose bridge only. Preserve the same crop, face angle, lens distance, skin texture, wet eyelids, brow tension, lighting, archival softness, and shallow focus from the first frame. Do not reframe or reveal more of the face. The eyes are already wet with visible tear tracks. Continue the tear motion subtly: the existing tears lengthen, one tear bead slowly slides lower down the cheek, and the eyes stay glassy. The face remains almost completely still. Emotion is restrained and exhausted, carried by tiny eyelid tension, wet eye reflections, and a barely controlled breath. Camera: locked ECU, no zoom, no pan, no tilt, no head movement. Keep the shot intimate and uncomfortable, not melodramatic. Ambient: distant crowd muffled far away, breath catches quietly, no dialogue. Negative: no new framing, no full face reveal, no smile, no open crying mouth, no sobbing, no exaggerated facial movement, no fresh lighting change, no beauty retouching, no extra text, no watermark, no subtitles, no UI, no over-sharpened digital finish.

[REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 1}} ; role: character_reference; authority: player identity, lean teenage proportions, angular face, dark tousled hair, formal snooker wardrobe, cue-handling posture, and volatile controlled-to-explosive performance quality. Do not copy the reference-sheet layout, typography, studio background, pose-study grid, written labels, or design-board presentation. [FINAL LOOK CONTRACT] Visual source policy: Use CHARACTER_1_REF only for the player. Use the storyboard as text-extracted shot structure only; do not attach it as a visual reference. Do not use the rejected keyframe. The final look comes from the written 1990s televised snooker arena description and the detailed 16mm vintage broadcast style below. Palette / color behavior: Green snooker baize under bright arena lamps; low burgundy arena barriers; cream sponsor boards with no readable text; curved rose-colored side panels and circular event graphics. Rich warm midtones in skin, wood, burgundy panels, and cream boards; cool blue-green shadows in the auditorium darkness; deep black audience falloff. Avoid modern teal-orange grading, glossy digital color, sterile neutral whites, or flat monochrome darkness. Lighting and shadow behavior: Bright hard-overhead sports lighting isolates the table and player, creating hot shirt highlights, crisp cue/table reflections, and strong contrast against the dim crowd. The audience falls into soft black auditorium shadow with occasional rim-lit hands and heads. Keep exposure slightly imperfect like old televised sports: small highlight bloom, mild halation around bright whites, crushed shadow pockets, no clean modern HDR. Environment look: Compact 1990s-style televised snooker arena. A green table sits in a tight theatrical bowl; dark packed audience close behind low burgundy barriers and blank cream sponsor boards; clapping silhouettes and raised arms fade into black. Curved rose side panels and circular event graphics frame the walkway around the table. The space feels intimate, crowded, high-pressure, and reactive. Material and surface fidelity: 16mm film stock texture with visible fine grain, occasional heavier grain in shadows, gentle gate weave, tiny exposure breathing, soft lens smear on fast motion, warm skin texture, crisp cotton shirt wrinkles, matte black waistcoat, black bow tie, polished wooden cue, worn table baize, hard table cushion edges, and old broadcast-camera softness. Preserve small imperfections, not digital cleanliness. Forbidden look drift: no storyboard drawing style, no clean studio portrait lighting, no modern ultra-sharp sports promo finish, no glossy fashion still, no empty arena, no readable logos or sponsor text, no white reference-sheet background, no over-clean skin, no plastic cue, no neon palette, no slow elegant victory montage. [EXECUTION CONTRACT] Multi-shot live sports broadcast sequence with chaotic high kinetic energy. Use fast random-feeling hard cuts only: abrupt ECUs, rough handheld fragments, sudden front camera catches, side/rear follow shots, and imperfect reframing. Cuts may feel reactive and uneven, as if several 1990s broadcast cameras are trying to catch the moment, but the action order must remain exact. No dissolves, no crossfades, no slow-motion montage, no elegant music-video pacing. Camera behavior includes whip-like pans, tiny focus misses, motion blur, handheld shake, accidental crops, fast reframes, and breathless crowd pressure. The player is charged with adrenaline, moving quickly but not running. [SCENE] A decisive final snooker shot lands in a packed compact arena. The cue ball hits the black, the black drops, the audience erupts, and the teenage player rises into a raw celebration: walking along the barrier, arm raised, tight chaotic fist-pump movement, front-facing acknowledgment, open-arm disbelief, quick interaction with a red cloth from the crowd, small open-palm thanks, and a final upright cue pose while he breathes and looks around. [CONTINUITY + OBJECT STATE CONTRACT] One continuous player only: lean teenage snooker player in black waistcoat, white shirt, black bow tie, slim black trousers, dark tousled hair, pale intense face, holding one wooden cue. Preserve cue continuity: no cue in the two ball ECUs; cue low near body during the walk; close to torso through the chaotic insert and rear-side fist pull; upright or near-upright during front acknowledgment; angled during open arms; vertical near torso during cloth interaction and final standing pose. Ball state: white cue ball strikes black ball; balls split away; black ball drops into a pocket; no later ball inserts. Cloth state: red cloth appears only at the crowd interaction, entering from the upper-left audience side; the player touches or briefly grasps its lower edge and does not carry it away. Preserve action order exactly. [SHOT PLAN] SHOT 01: ECU of the final contact: white cue ball hits the black ball, two balls snap apart in different directions and exit the tight crop. Camera: extreme close-up at table height or slightly above baize, locked-off or micro-shaky broadcast insert, fast hard cut in and out, green baize fills the frame, no player visible. Ambient: sharp ball click under swelling crowd roar. SHOT 02: ECU black ball pocket drop: black ball falls over the pocket lip into the table pocket. Camera: extreme close-up on pocket jaw and cushion, tight crop, slight analog softness, fast hard cut, table surface and pocket opening only. Ambient: second table sound swallowed by the crowd eruption. SHOT 03: Player rises and walks along the barrier, cue low in right hand, left arm raised high toward the applauding audience. Camera: medium side/rear three-quarter follow, operator pans late to catch him, player close to camera, dark crowd behind burgundy barrier and cream boards, fast uneven cut timing. Ambient: crowd clapping and shouting surges. SHOT 04: Chaotic body insert: white sleeve, black waistcoat, shoulder, cue shaft, and partial torso fill the frame as he pivots and his free arm sweeps up and bends near his face. Camera: very tight handheld close-up, rough tracking, motion blur, face partly cut off or briefly glimpsed, cue passing vertically through frame, accidental live-capture feeling. Ambient: breath, cloth rustle, crowd roar. SHOT 05: Rear-side fist-pump follow-through: his back and shoulder dominate foreground, raised arm pulls inward near cheek or mouth, head tilts toward the crowd, shoulders tense. Camera: medium-tight rear/side handheld hold with small pan, curved arena wall and dark audience behind, hard cut from the insert. Ambient: crowd peaks around the gesture. SHOT 06: Front compact fist or pointing acknowledgment: he faces the camera-side crowd, cue upright near torso, free fist tight near cheek or mouth and punching or pointing slightly outward. Camera: front medium close-up, chest-to-head, slight handheld drift, bright shirt against black background, imperfect broadcast reframe to keep hand and face readable. Ambient: roar and applause, player possibly shouting under breath. SHOT 07: Open-arm crowd response: he turns toward screen left, smiles with disbelief, opens both arms outward and slightly upward, cue angled across or beside the body. Camera: medium side/front angle, small pan following head and torso turn, crowd and curved rose side panels behind him, hard cut with lively handheld float. Ambient: applause widens, audience arms rise in soft focus. SHOT 08: Red cloth interaction: a red cloth enters from the upper-left audience area, fluttering over the barrier; he looks up left and reaches to touch or briefly grasp its lower edge while keeping cue vertical near his body. Camera: medium profile or three-quarter shot, mostly static with slight shake, barrier and crowd close behind him, hold only long enough for contact to read. Ambient: crowd calls close to microphone. SHOT 09: Small open-palm thank-you: he turns back forward, cue vertical close to torso, free hand open beside his face in a brief thanks or calming gesture. Camera: front medium shot, nearly locked-off broadcast angle, dark audience mass behind, blank cream sponsor board low in frame, quick hard cut. Ambient: crowd still loud but beginning to settle. SHOT 10: Final composed standing moment: he holds cue upright, brings free hand briefly near mouth or nose as if catching breath, lowers it into a small conversational gesture, relaxes shoulders, and looks around the arena. Camera: front medium shot, mostly static with tiny drift, cue vertical anchoring frame, bright player against dim packed auditorium, final beat remains alive rather than posed. Ambient: sustained applause, breathing, low arena rumble. [NEGATIVE] No storyboard sheet artifacts, no keyframe reference, no rejected keyframe, no text inside frame, no readable sponsor names, no subtitles, no UI, no modern broadcast graphics, no slow dissolve, no crossfade, no smooth music-video montage, no elegant slow-motion celebration, no generic trophy pose, no empty audience, no clean studio lighting, no white reference background, no duplicate player, no extra cue, no cue teleporting, no player holding the red cloth after contact, no red cloth before SHOT 08, no snooker balls after SHOT 02, no extra balls, no table-pocket shot in later celebration, no identity drift, no age drift, no wardrobe drift, no glossy digital finish, no plastic skin, no over-polished fashion image, no cartoon style, no photoreal product-ad sharpness, no storyboard line art, no manga or illustration style.

[REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 1}} ; role: character_reference; authority: player identity, lean teenage proportions, angular face, dark tousled hair, formal snooker wardrobe, cue-handling posture, and volatile controlled-to-explosive performance. Do not copy the reference-sheet layout, typography, studio background, labels, or design-board presentation. [FINAL LOOK CONTRACT] Visual source policy: Use CHARACTER_1_REF only for the player. Storyboard is text structure only; do not attach it. Do not use the rejected keyframe. Final look comes from the written 1990s televised snooker arena and 16mm vintage broadcast style below. Palette / color behavior: Green baize under bright arena lamps; low burgundy barriers; cream sponsor boards with no readable text; curved rose side panels and circular event graphics. Rich warm midtones in skin, wood, burgundy, and cream; cool blue-green auditorium shadows; deep black audience falloff. Avoid modern teal-orange, glossy digital color, sterile whites, or flat monochrome darkness. Lighting and shadow behavior: Bright hard-overhead sports lighting isolates player and table: hot shirt highlights, crisp cue/table reflections, high contrast against dim crowd. Audience falls into black auditorium shadow with occasional rim-lit hands. Old televised exposure: small highlight bloom, mild halation, crushed shadow pockets, no clean modern HDR. Environment look: Compact 1990s televised snooker arena. Green table in a tight theatrical bowl; packed dark audience behind low burgundy barriers and blank cream boards; clapping silhouettes fade into black. Curved rose side panels and circular event graphics frame the walkway. Intimate, crowded, high-pressure, reactive. Material and surface fidelity: 16mm film stock with fine grain, heavier shadow grain, gentle gate weave, exposure breathing, soft lens smear on fast motion, warm skin texture, crisp shirt wrinkles, matte waistcoat, black bow tie, polished wooden cue, worn baize, old broadcast-camera softness. Preserve imperfections, not digital cleanliness. Forbidden look drift: no storyboard style, clean studio lighting, modern ultra-sharp sports promo finish, glossy fashion still, empty arena, readable logos, reference-sheet background, over-clean skin, plastic cue, neon palette, or slow elegant victory montage. [EXECUTION CONTRACT] Multi-shot live sports broadcast sequence with chaotic high kinetic energy. Fast random-feeling hard cuts only: abrupt ECUs, rough handheld fragments, sudden camera catches, side/rear follow shots, imperfect reframing. Cuts feel reactive and uneven, like several 1990s broadcast cameras chasing the moment, but action order stays exact. No dissolves, crossfades, slow-motion montage, or elegant music-video pacing. Use whip-like pans, focus misses, motion blur, shake, accidental crops, fast reframes, and breathless crowd pressure. [SCENE] A decisive final snooker shot lands in a packed compact arena. One white cue ball hits one black ball, the black drops, the audience erupts, and the teenage player rises into raw celebration: barrier walk, arm raise, chaotic fist-pump fragment, front acknowledgment, open-arm disbelief, shoulder-up side and rear closeups, small open-palm thanks, final upright cue pose. [CONTINUITY + OBJECT STATE CONTRACT] One continuous player only: lean teenage snooker player in black waistcoat, white shirt, black bow tie, slim black trousers, dark tousled hair, pale intense face, one wooden cue. Cue continuity: no cue in first two table-detail ECUs; cue low during walk; close to torso through chaotic insert and rear-side fist pull; upright during front acknowledgment; angled during open arms; vertical or edge-framed in late closeups and final pose. Ball state: exactly one white cue ball and one black ball in SHOT 01; white exits one edge after contact, black exits toward pocket; black drops in SHOT 02; no later ball inserts. Preserve action order exactly. [SHOT PLAN] SHOT 01: ECU final contact: exactly one white cue ball hits exactly one black ball; after contact, white exits one crop edge and black exits another direction toward pocket. Camera: extreme close-up at table height or slightly above baize, micro-shaky broadcast insert, hard cut, green baize fills frame, no player, no duplicate white ball, no second cue ball. SHOT 02: ECU black ball pocket drop: black ball falls over pocket lip into table pocket. Camera: extreme close-up on pocket jaw and cushion, tight crop, slight analog softness, fast hard cut, table surface and pocket opening only. SHOT 03: Player rises and walks along barrier, cue low in right hand, left arm raised high. Camera: medium side/rear three-quarter follow, late pan, player close to camera, dark crowd behind burgundy barrier and cream boards, fast uneven cut. SHOT 04: Chaotic body insert: white sleeve, waistcoat, shoulder, cue shaft, partial torso as he pivots and free arm bends near face. Camera: very tight handheld close-up, rough tracking, motion blur, face partly cut off, cue vertical through frame, accidental live-capture feeling. SHOT 05: Rear-side fist-pump follow-through: back and shoulder dominate foreground, raised arm pulls inward near cheek or mouth, head tilts toward crowd, shoulders tense. Camera: medium-tight rear/side handheld hold, small pan, curved arena wall and dark audience behind. SHOT 06: Front compact fist or pointing acknowledgment: he faces camera-side crowd, cue upright near torso, free fist tight near cheek or mouth and punching or pointing slightly outward. Camera: front medium close-up, chest-to-head, handheld drift, bright shirt against black background, imperfect reframe. SHOT 07: Open-arm response in profile: he turns screen left, smiles in disbelief, arms opening mostly outside tight crop, cue edge or forearm briefly crossing lower frame. Camera: full-face side-profile or tight shoulder-up profile, cheek and nose line against dark crowd, small reactive pan, rose side panels soft behind. SHOT 08: 45-degree rear reaction closeup: he turns partly away, shoulder and back of waistcoat close to lens, head angled to audience, jawline/cheek in partial profile, cue vertical near one edge. Camera: tight shoulder-up 45 rear/side close-up, crowd and barrier compressed behind him. SHOT 09: Small open-palm thank-you: he turns into three-quarter face angle, cue vertical close to torso, free hand open beside cheek. Camera: tight shoulder-up close-up, 45 front/side rather than straight-on, dark audience behind, cream sponsor board blurred low, quick cut with slight focus catch-up. SHOT 10: Final composed close moment: cue upright near frame edge, free hand briefly near mouth or nose, small conversational gesture, shoulders relax, eyes look around. Camera: shoulder-up close-up beginning side-profile or 45-front, settling only briefly toward front; cue vertical as edge anchor, bright face/shirt against dim packed auditorium. [NEGATIVE] No storyboard artifacts, keyframe reference, text, readable sponsor names, subtitles, UI, modern broadcast graphics, dissolve, crossfade, smooth montage, slow-motion celebration, generic trophy pose, empty audience, studio lighting, duplicate player, extra cue, cue teleporting, snooker balls after SHOT 02, extra balls, duplicate cue ball, second/two white balls, black ball turning white, later table-pocket shot, repeated straight-on front medium framing in SHOT 07-10, locked identical late angle, identity/age/wardrobe drift, glossy digital finish, plastic skin, over-polished fashion image, cartoon, product-ad sharpness, storyboard line art, manga, illustration style.

[REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 1}} ; role: character_reference; authority: Ronnie identity, lean wiry build, angular face, messy dark hair, all-black formal snooker attire, economical posture, exhausted stillness, hollow movement, and cue handling. Do not copy sheet layout, typography, labels, studio background, or pose-board presentation. CHARACTER_2_REF = {{Mixed 2}} ; role: character_reference; authority: Stephen Hendry identity, cropped blond hair, young lean proportions, formal snooker waistcoat with subtle purple trim, cue handling, serious match posture, and controlled competitive presence. Do not copy sheet layout, typography, labels, studio background, or pose-board presentation. [FINAL LOOK CONTRACT] Visual source policy: Use CHARACTER_1_REF for Ronnie and CHARACTER_2_REF for Hendry. Arena and camera look come from the written description. Palette / color behavior: Dark snooker arena with the table as the brightest object. Deep audience shadows, green baize glow, black formal clothing, pale skin under hard arena light, restrained broadcast whites, and heavy tinted shadows and highlights. Shadows carry a cold blue-green cast; table and overhead highlights bloom slightly warm. Avoid clean modern HDR or bright full-room exposure. Lighting and shadow behavior: Hard theatrical sports lighting isolates the table, cue lines, faces, shoulders, and hands against a near-black crowd. Highlights streak and flare organically at frame edges, especially above Hendry in the final side-profile angle. Faces are visible in this archival world, but never beauty-lit or cleanly posed. Environment look: Compact televised snooker arena, bright table center, player's chair near table edge, referee in formal dark attire, audience as a soft dark mass. Read the space only through close fragments: chair edge, table edge, cue, green baize, dark crowd rows, overhead glare. Material and surface fidelity: 16mm film-stock feel with visible grain, heavier shadow grain, gate weave, uneven handheld exposure breathing, mild focus hunting, soft halation around table lamps, slight lens smear on fast camera corrections, tactile fabric in black waistcoats and shirts, polished wooden cues, worn baize. Preserve imperfections and archival softness. Forbidden look drift: no glossy sports promo finish, no perfectly stabilized broadcast camera, no clean digital sharpness, no empty arena, no readable logos, no readable scoreboard, no pristine studio lighting, no overly theatrical acting, no glamorized hero pose. [EXECUTION CONTRACT] Duration target: 10-13 seconds. True continuous take: no hidden cuts, no angle reset, no dissolve, no overlap transition. The camera is handheld for the entire clip, close to the bodies, reactive and imperfect, with small shakes, micro-corrections, late reframes, slight boom-up, tilt-down, tilt-up, and a final small orbit around Hendry. No gimbal glide or dolly polish. Coverage rule: never become a wide shot. Stay in close-up, shoulder-up close-up, chest-up medium close-up, and tight hand close-up. The table and arena are always fragments, never an establishing view. Performance rule: Ronnie is mentally absent, physically present, blank, and already gone inside. Hendry's confusion is restrained and delayed, readable through stopped mechanics, frozen cue, small head turns, and uncertain eye-line. Referee remains calm and dry. Audio rule: arena sound begins like live sports coverage, then grows slightly muffled and pressurized under Ronnie's action. Preserve diegetic referee voice, cue/ball contact, cloth movement, shoes, handshake contact, and low crowd confusion. No music, no dramatic sting, no subtitles. [SCENE] During an unfinished snooker match, Ronnie sits in his chair while Hendry continues at the table. The camera begins close behind Ronnie's shoulder at a 45-degree rear angle. Ronnie blinks, supports his head with his hand under his chin, and stares forward without truly watching. Hendry plays in the soft background. The referee counts calmly: "thirty five." Hendry plays another shot; the referee says, "forty two." Ronnie suddenly stands, takes his cue in his left hand, walks straight to Hendry, shakes with his right hand, says "good luck mate" flatly, withdraws his right hand, and exits frame still carrying the cue in his left. The camera lands on Hendry's perplexed face as the referee steps in behind him and gives a tiny shrug. Hendry looks toward Ronnie's exit line. [CONTINUITY + OBJECT STATE CONTRACT] Visible cast: Ronnie, Hendry, and the referee only. The audience is a shadow mass, not individual faces. Ronnie starts seated with hand under chin, rises once, takes his cue with his left hand, walks once, shakes once with his right hand, withdraws once, and exits still holding the cue left-handed. Hendry starts active with cue and shot posture, stops preparing when Ronnie approaches, accepts the handshake, then remains holding the interruption. The referee enters only after the handshake beat, behind or near Hendry, with a minimal shrug. Cue count: Ronnie has one cue in his left hand after standing; Hendry has one cue. Ronnie's right hand and Hendry's hand meet, squeeze briefly, separate, and Ronnie's right hand leaves frame. Orientation and scale: Ronnie begins foreground near-camera, Hendry begins soft in depth near the table, Ronnie crosses the depth gap toward Hendry, the camera follows from behind and beside Ronnie, then releases Ronnie after the handshake and holds on Hendry. Final frame favors Hendry's 90-degree side profile from a low angle, head aimed toward Ronnie's off-frame exit direction. [TAKE PHASE PLAN] PHASE 01: Ronnie seated, absent. Camera: 45-degree rear close-up just behind Ronnie's shoulder, lens close to his shoulder and cheek line, handheld drift. Ronnie's hand supports his chin; he blinks once and keeps staring forward. Hendry is a soft background figure at the table, cue aligned to play. Referee voice offscreen, calm older British accent: "thirty five." Ambient: low crowd bed, table-room hush, faint cloth and cue sound. PHASE 02: Hendry completes another background shot while Ronnie remains mentally absent. Camera: still close on Ronnie's shoulder, jaw, and hand under chin, with slight focus breathing between Ronnie foreground and Hendry background. Hendry's movement stays blurred and secondary. Referee voice: "forty two." Ambient: cue strike, ball roll, audience murmur beginning to dull under a low pressure tone. PHASE 03: Ronnie suddenly stands and takes his cue in his left hand. Camera: reactive handheld boom-up, not smooth, rising with Ronnie so his head stays inside frame. Chair edge drops lower in frame; the background wobbles. Ronnie's face can be visible in partial angle, blank and unfocused. His left hand gathers the cue as he rises; his right hand stays free. Hendry is still near the table, preparing another shot. Ambient: cloth rustle, chair movement, crowd sound thinning into confusion. PHASE 04: Ronnie walks directly toward Hendry with his cue carried in his left hand. Camera: close handheld follow from Ronnie's rear/side shoulder, chest-up and shoulder-up framing, small uneven steps, no wide reveal. Hendry grows larger in frame and stops his cue preparation as Ronnie closes the distance. Hendry freezes with cue partly across the lower frame. Ambient: low crowd stir, shoes on floor, table silence. PHASE 05: Handshake and line. Camera: tight two-person medium close-up collapsing into a downward tilt onto the hands. Ronnie's right hand meets Hendry's hand in close contact proof. Ronnie's cue stays in his left hand, visible along his side or frame edge; Hendry's cue remains near Hendry. Ronnie says, in a flat British accent with no expression, "good luck mate." Ambient: brief hand contact sound, crowd confusion swelling softly, commentator fading under pressure tone. PHASE 06: Ronnie withdraws and exits frame. Camera: follows the separation only long enough to see Ronnie's right hand leave Hendry's hand, then tilts up rather than chasing Ronnie. Ronnie passes out of frame without looking at camera, cue still in his left hand. Hendry remains in chest-up close framing, cue held awkwardly, body still processing the interruption. Ambient: crowd murmur returns unevenly, no music. PHASE 07: Hendry's confusion and referee's shrug. Camera: handheld chest-up on Hendry, slight rotation beginning around him. Hendry looks around, controlled but perplexed. The old British referee enters from the background near Hendry and gives a tiny dry shrug, not comic, not exaggerated. Ambient: low arena hush, scattered murmurs, pressure tone receding. PHASE 08: End on Hendry's exit-line look. Camera: rotate slightly into Hendry's 90-degree side profile and settle in a low-angle shoulder-up close-up. Hard arena light streaks organically above his head and grazes his hairline. Hendry looks toward Ronnie's off-frame exit direction, cue near torso, frozen in the unfinished match. Ambient: unfinished room tone, crowd uncertainty, no resolution. [NEGATIVE] No cuts, no hidden edit, no wide shot, no master shot, no full-table overhead, no full arena establishing view, no smooth tracking, no gimbal, no dolly polish, no locked perfect broadcast camera, no subtitles, no captions, no visible score text, no readable logos, no modern TV graphics, no extra players, no extra referee, no duplicate Ronnie, no duplicate Hendry, no duplicate cue, no Ronnie cue in right hand, no handshake with Ronnie's left hand, no extra limbs during handshake, no failed hand contact, no comedic shrug, no theatrical anger, no crying, no stare to camera, no Ronnie looking into lens, no heroic pose, no completed match celebration, no polished digital image, no studio background, no character-sheet typography, no poster composition, no cartoon, no illustration, no beauty lighting, no bright crowd faces.

[REFERENCE REGISTRY] RONNIE_PRE_BUZZCUT_REF = {{Mixed 1}} - Authority: Ronnie identity, lean wiry build, face and body proportions, pre-shave hair state, wardrobe silhouette, posture, movement quality, and exhausted match-worn presence for SHOT 01 through SHOT 06. - Limits: does not control lighting, color grade, film grain, camera framing, room layout, or final video texture. RONNIE_POST_BUZZCUT_REF = {{Mixed 2}} - Authority: same Ronnie identity after shaving, buzzcut/shaved head state, lean wiry build, wardrobe silhouette, collapsed posture, numb depleted presence for SHOT 08. - Limits: does not control lighting, color grade, character-sheet layout, printed labels, clean studio background, camera framing, or final video texture. The switch from RONNIE_PRE_BUZZCUT_REF to RONNIE_POST_BUZZCUT_REF happens only after SHOT 07. SHOT 07 is the hair-falling sink closeup and must not reveal the full final shaved head. [FINAL LOOK CONTRACT] The scene looks like intimate documentary footage shot late at night on 16mm tungsten-balanced film stock. The overall image has high contrast ratio, also leans cool and slightly cyan-blue, especially in the room shadows and television spill, while practical lamp highlights, skin highlights, cigarette flame, glass edges, and bottle glints retain a tired amber warmth. Keep visible 16mm grain, soft halation around small hot highlights, slight gate weave, imperfect exposure breathing, and a tactile low-light film response. The image should feel private, damaged, and observed, not clean, glossy, digital, noir-stylized, or commercial. [EXECUTION CONTRACT] All shots use shaky, chaotic handheld camera movement. The camera feels like a nervous human witness: uneven footing, small focus hunting, canted corrections, imperfect reframing, abrupt micro-drifts, and occasional obstructed edges. Keep the performance numb rather than theatrical. Ronnie is drunk but not performatively wild; his loss of control shows through delayed reactions, loose grip, heavy swallowing, poor balance, and blank collapse. No crying. No melodramatic expression. No glamour. Use clean hard cuts between separate shots. Do not use crossfades, dissolves, double exposure, dream transitions, music-video effects, or stylized montage overlays. SHOT 04 and SHOT 08 each contain continuous internal action with no cut inside that shot. [SHOT PLAN] SHOT 01 / extreme close-up / bottle to mouth Camera: extreme close handheld crop on Ronnie's mouth, lower face, and bottle mouth, slightly canted, uncomfortably close, shallow focus breathing. Action: Ronnie drinks directly from the liquor bottle; bottle tilts into his mouth, lips and jaw tense around the glass. Performance: slack drunk urgency, no pleasure, no reaction beyond the physical need to swallow. Feedback: faint bottle glass contact against teeth or lip, room hum underneath. Reference: RONNIE_PRE_BUZZCUT_REF for lower-face identity and pre-shave continuity. SHOT 02 / close-up / throat swallow Camera: tight handheld close-up on Ronnie's neck and Adam's apple, bottle edge or hand barely at frame edge, unstable vertical framing. Action: his Adam's apple rolls as he forces liquor down his throat. Performance: hard swallow, strained neck, body briefly still except for the throat movement. Feedback: wet swallow, breath catch, dull room tone. Reference: RONNIE_PRE_BUZZCUT_REF. SHOT 03 / extreme close-up / cigarette ignition Camera: extreme close handheld crop on cigarette tip and lighter or match edge, focus slips before catching the flame. Action: the cigarette lights; ember catches and brightens, smoke begins to curl. Performance: Ronnie's hand is loose and imprecise, barely steady enough to light it. Feedback: lighter click or match scratch, small flame flicker, first cigarette inhale. Reference: RONNIE_PRE_BUZZCUT_REF for hand and wardrobe continuity only if visible. SHOT 04 / wide continuous shot / couch stumble exit Camera: wide shaky handheld shot from inside the messy room, canted and imperfectly framed. Hold one continuous shot with no internal cut. Action: Ronnie sits on the couch smoking. A liquor glass sits on the little table next to him. He rises too fast, stumbles, knocks over drinks on or near the table, barely acknowledges it, and walks out of frame. Performance: delayed, numb, physically loose, more emptied-out than angry. Environment: messy couch area, scattered bottles, ashtray, papers or clothes, dim lamp, television glow as blue spill only. Feedback: glass clink, liquid spill, table bump, floor step, television hum. Reference: RONNIE_PRE_BUZZCUT_REF. SHOT 05 / extreme low angle medium / clipper hesitation Camera: extreme low angle medium shot at sink or counter height, looking up at Ronnie's strict 90-degree profile. Handheld but briefly held in a tense pause. Action: Ronnie grips the electric clipper in his hand and hesitates before using it. Performance: shoulders tight, jaw set, eyes not emphasized, stillness loaded but empty. Feedback: faint electric clipper handling noise before it powers on, room tone pressing in. Reference: RONNIE_PRE_BUZZCUT_REF. SHOT 06 / extreme close-up / first trim Camera: extreme close handheld crop on Ronnie's hair and scalp only; no full face, no full head reveal. The clipper enters frame from the side. Action: the clipper touches hair and starts the first trim, carving the first visible shaved strip. Performance: procedural, numb, almost automatic. Feedback: harsh intimate electric clipper buzz, hair catching in the blades. Reference: RONNIE_PRE_BUZZCUT_REF for pre-shave hair state before contact. SHOT 07 / close-up / hair into sink Camera: close handheld crop into the sink basin, top-down or steep angle, unstable but readable. Action: cut hair falls into the sink and collects around the drain; a hand or clipper may enter frame edge but Ronnie's full head is not visible. Performance: no visible face, only the evidence of the act. Feedback: clipper buzz continues or trails off, dry hair scattering on porcelain, room hum. Reference: no full character reference reveal; preserve this as the transition beat between pre-buzzcut and post-buzzcut Ronnie. SHOT 08 / continuous close-to-wide / wall collapse Camera: continuous handheld shot with no internal cut. Begin low around Ronnie's leg height near the wall or bathroom floor. Ronnie's post-buzzcut body collapses into frame. As he leans himself against the wall, the camera slowly pulls out to a slightly wider shot, still shaky and human. Action: Ronnie slides down or drops into a seated position against the wall, arms slack, knees loose, shaved head visible, empty stare or lowered head without tears. Performance: total depletion; he is not crying, not raging, not posing, just emptied out. Feedback: body against wall, fabric scrape, quiet breath, distant television hum, settled room tone. Reference: RONNIE_POST_BUZZCUT_REF for the shaved-head Ronnie state. [CONTINUITY] Ronnie is the only person visible in the entire sequence. Maintain the same man, same wardrobe, same late-night room, and same drinking aftermath. He has unshaved hair in SHOT 01 through SHOT 06. SHOT 07 shows hair fallen into the sink without revealing the full shaved head. SHOT 08 is the first full post-buzzcut reveal. Keep bottles, cigarette, glass, clipper, fallen hair, couch, table, sink, wall, and floor scale physically believable. Do not duplicate props or create extra versions of Ronnie. [AUDIO DESIGN NOTES] Audio is diegetic and intimate: television hum, room tone, bottle glug, glass clink, cigarette inhale, lighter click or match scratch, liquid spill, foot stumble, harsh electric clipper buzz, hair falling into sink, fabric scrape against wall, Ronnie's uneven breath. No music cue, no dramatic sting, no voiceover, no dialogue. [NEGATIVE] No polished digital sharpness, no glossy cinematic beauty lighting, no clean studio character-sheet look, no copied labels or text from references, no sports logos, no readable bottle brands, no extra people, no crying, no theatrical breakdown, no heroic framing, no glamorized drinking, no perfect steady-cam, no smooth gimbal, no symmetrical clean compositions, no crossfade, no dissolve, no double exposure, no montage overlays, no music-video stylization, no full buzzcut reveal before SHOT 08, no clean apartment reset, no excessive set dressing, no duplicate bottles teleporting between shots, no final-video influence from storyboard line-art style.

[REFERENCE REGISTRY] CHARACTER_1_REF = {{Mixed 1}} ; role: character_reference; authority: Jack identity, lean wiry build, angular face, messy dark hair, all-black formal snooker attire, economical posture, exhausted stillness, hollow movement, and left-hand cue carry. Do not copy sheet layout, typography, labels, studio background, or pose-board presentation. CHARACTER_2_REF = {{Mixed 2}} ; role: character_reference; authority: Mike identity, cropped blond hair, young lean proportions, formal snooker waistcoat with subtle purple trim, cue handling, and confused restrained match posture. Do not copy sheet layout, typography, labels, studio background, or pose-board presentation. [FINAL LOOK CONTRACT] Visual source policy: Use CHARACTER_1_REF for Jack and CHARACTER_2_REF for Mike. Arena, corridor, lighting event, and camera behavior come from the written description. Palette / color behavior: Start in the same dark televised snooker arena world: teal-green table and barrier walls, glowing green baize, black audience tiers, pale skin, black formal clothing, cold blue-green shadows, and warm halation around overhead highlights. A blurred yellow score/signage block may glow in the background, but never readable. When the arena powers off, background light collapses to near-black instantly while the front light on Jack becomes harsh, white, direct, and overexposed at the center of his face and shirt. Lighting and shadow behavior: Before the blackout, hard sports lights isolate the table and leave the crowd in deep shadow. The air is slightly hazy; small overhead spotlights and tiny exit-like green lights smear softly in the dark. At the blackout, the arena lights switch off in one instant, not a fade. Simultaneously a hard frontal light hits Jack as if mounted on or beside the camera: flat, invasive, documentary-interrogation brightness, sharp facial shadow falloff, slight blown forehead/cheek highlights, no beauty shaping. Environment look: Open arena-to-backstage transition. Jack walks away from the teal snooker table and teal barrier wall into a corridor or backstage mouth with no doors and no closed wall behind him, so the arena remains visible in the background. Mike stays near the table in white shirt, dark waistcoat with purple trim, blond head, and cue; the older white-haired referee stays behind or near him in dark formal wear. Audience remains a soft dark bowl. Corridor edges are utilitarian and dim, suggested by side walls, low ceiling or rigging shadows, and a visible threshold from arena floor to backstage. Material and surface fidelity: 16mm archival film feel with heavy grain, gate weave, uneven handheld exposure breathing, focus hunting, slight lens smear, organic glare, tactile black waistcoat fabric, polished wooden cue, worn baize glimpsed behind. Preserve imperfection and low-light texture. Forbidden look drift: no glossy digital sports promo, no clean modern HDR, no stylized music-video blackout, no beautiful silhouette pose, no empty arena, no closed door blocking the arena, no bright crowd faces, no readable graphics. [EXECUTION CONTRACT] True continuous take: no hidden cuts, no angle reset, no dissolve, no overlap transition. Camera faces Jack from the front and tracks backward handheld as he walks toward the lens. Keep Jack waist-up at all times; never widen past waist-up, never cut to Mike, never turn into a rear follow shot. Handheld movement is reactive and imperfect, with backpedal shake, small reframes, focus breathing, and slight exposure shock at the blackout. Performance rule: Jack does not notice the blackout or the frontal light. He keeps walking through it, cue in his left hand, right hand free after the handshake, eyes not engaging the camera. He is tired, defeated, and mainly nonchalant, not shocked, not frightened, not performative. Mike and the referee remain in the background as confused witnesses. Audio rule: live arena room tone carries over, already unsettled. When the arena lights shut off, use a loud electrical powering-off switch clang with a hard cut in background ambience. After the clang, the arena behind Jack feels dead and muffled under the close sound of his footsteps, cloth movement, cue movement, and low pressure tone. No music, no dramatic sting, no subtitles. [SCENE] Jack walks out after shaking Mike's hand. The camera is already in front of him, backing away shakily and holding him waist-up. Behind Jack, Mike and the referee remain near the teal-green snooker table and teal barrier wall, confused, small in the bright arena background. Mike holds his cue; the older referee stands farther back. Jack keeps moving forward with his cue in his left hand. He crosses from the arena floor into an open backstage corridor with no doors, leaving the arena still visible behind him. Suddenly the arena lights power off instantly with a loud metallic electrical clang. At the same instant, a hard light mounted near the camera blasts directly onto Jack's front face. Jack does not react. He keeps walking, tired, defeated, and blankly nonchalant. [CONTINUITY + OBJECT STATE CONTRACT] Visible cast: Jack foreground, Mike and referee background only. Jack continues from the handshake exit with one cue in his left hand; his right hand is empty. Mike remains behind near the table with his own cue, confused and still. Referee remains near Mike, also unsure. Do not bring either background figure forward. Spatial continuity: Jack's path moves from arena floor into an open corridor/backstage mouth. There are no doors, curtains, or closing panels between corridor and arena. The camera backs down the corridor while facing Jack; the arena stays visible behind Jack through the open threshold until the blackout. Background arena anchors: teal-green table edge, teal barrier wall, dark audience bowl, hazy overhead spots, blurred yellow signage block, Mike in white shirt/black waistcoat, older referee in black formal wear. Lighting state: initial state is bright table/arena light behind Jack. Change state occurs once: arena lights switch off instantly with a loud clang. At the same moment the hard frontal camera-side light turns on or intensifies, isolating Jack's face and upper body. Background arena drops dark; Jack remains visibly front-lit. Framing and scale: Jack remains waist-up throughout. Cue stays in his left hand, angled down or vertical along his left side, occasionally entering the lower frame. His right hand never holds the cue and never reaches for the camera. [TAKE PHASE PLAN] PHASE 01: Begin mid-walk after the handshake. Camera: front-facing handheld backpedal, waist-up on Jack, lens slightly below eye level or chest height, close enough to feel intrusive. Jack walks straight toward camera with cue in his left hand. Behind him, Mike and the referee are small, confused figures beside the bright teal-green table, with dark audience tiers and soft overhead glare behind them. PHASE 02: Jack approaches the corridor opening. Camera: still tracking backward, small stumble-like corrections, keeping Jack centered waist-up. The arena remains visible behind him: bright green baize glow, teal barrier wall, dark audience, blurred yellow signage, Mike and referee left behind. Jack does not look into lens; his face is tired, blank, and nonchalant. PHASE 03: Jack crosses into the open backstage corridor. Camera: backpedals across the threshold with him, no cut. Corridor side walls or rigging edges enter the frame, but the opening behind Jack still shows the arena. The background stays readable through the doorway-like open mouth, but no actual door is present. PHASE 04: Instant blackout event. Camera: holds waist-up on Jack during a sudden exposure shock. The arena lights behind him shut off in one instant with a loud metallic powering-off clang. Simultaneously a hard camera-side frontal light blasts Jack's face and shirt, creating harsh direct highlights and deep falloff. Jack does not react. PHASE 05: Jack keeps walking under the frontal light. Camera: continues backing down the corridor, handheld, close, waist-up. Background arena is now dark and dead behind him, with only faint shapes of table, Mike, referee, and audience void. Jack's cue remains in his left hand; right hand hangs free. His expression stays worn, defeated, and nearly indifferent. PHASE 06: End on forward motion with no resolution. Camera: still facing Jack and retreating, slight wobble, no cut, no look back. Jack passes deeper into the corridor glow, hard front light still flattening his face while the arena behind is swallowed by darkness. Ambient: footsteps, fabric, cue shift, low pressure tone, distant dead-room hush. [NEGATIVE] No cuts, no hidden edit, no wide shot, no full-body shot, no rear follow shot, no side-profile takeover, no camera passing behind Jack, no smooth gimbal, no dolly polish, no Jack looking into lens, no shocked reaction to blackout, no flinch, no fear acting, no dramatic crying, no heroic walkout pose, no cue in Jack's right hand, no missing Jack cue, no handshake repeat, no extra players, no extra referee, no Mike walking with Jack, no closed door, no curtain closing, no arena disappearing before blackout, no gradual dimming, no fade-out, no lightning effect, no colored concert light, no music-video strobe, no subtitles, no visible score text, no readable logos, no modern broadcast graphics, no video player controls, no AI watermark, no glossy digital image, no clean studio background, no character-sheet typography, no cartoon, no illustration, no bright visible crowd faces.

[MODE: AUTEUR] [FINAL LOOK CONTRACT] Visual source policy: No face, no recognizable likeness, no named venue, no tournament branding, no broadcast graphics. The shot follows only Jack {{Mixed 1}} 's lower legs and feet inside a fictional backstage corridor after a snooker match interruption. Palette / color behavior: Same dark archival sports-documentary world as the previous arena material: cold blue-green shadows, greenish spill from the arena behind, black formal trouser legs, polished black dress shoes, muted grey corridor floor, harsh white overhead pools, and warm highlight bloom on scuffed floor edges. Keep the image extremely high contrast, low-light, grainy, imperfect, and pressured. Lighting and shadow behavior: The corridor is a tunnel of separated top lights. Several hard ceiling lights are lined up down the hallway with visible distance between each pool. Each top light points straight down to the floor and creates a volumetric shaft through dusty air. When Jack's feet enter a light pool, shoe leather, trouser hems, and floor scuffs snap into hard illumination with sharp shadow edges. When he exits a light pool, his feet drop into complete darkness until the next overhead shaft. No beautiful silhouette, no glossy promo lighting, no clean modern HDR. Environment look: Backstage venue corridor only. Low hallway walls, service-floor texture, cable shadows, corner scuffs, threshold lines, repeated overhead light pools, and distant vanishing point. The camera points forward down the corridor toward the far end, letting the aligned top lights recede in perspective. The arena may exist only as vague greenish light and muffled noise behind or at the edge of the first moments; do not show the table, crowd, referee, opponent, logos, scoreboards, or identifiable venue features. Material and surface fidelity: 16mm archival film feel with visible grain, heavier shadow grain, gate weave, focus hunting, slight lens smear, exposure breathing, and imperfect handheld motion. Preserve polished black dress shoes, black trouser hems, dusty floor, scuffed service corridor texture, and tactile foot impact. Forbidden look drift: no visible face, no upper body, no recognisable player likeness, no official event look, no branded sports broadcast, no clean digital sharpness, no fashion commercial shoe close-up, no music-video montage, no stylized slow motion. [EXECUTION CONTRACT] True continuous take: one shot only, no hidden cuts, no angle reset, no dissolve, no overlap transition. Camera is almost ground level for the entire shot, handheld, facing forward down the backstage corridor and tracking Jack's feet from behind or slightly behind-side as they enter frame and move away. Keep framing on feet, shoes, ankles, and lower trouser hems only. Never tilt up above the lower legs. Camera behavior: rough low handheld pursuit, near the floor, reactive and unstable. The lens skims the floor, wobbles with the operator's steps, briefly loses perfect framing, catches shoe impacts, then points straight into the hallway perspective as Jack accelerates. The camera follows but cannot move smoothly; it struggles to keep up as he starts running. Performance rule: Jack's state reads only through gait. He enters walking with heavy defeated steps, then his pace tightens, then he walks faster, then breaks into a run down the corridor. No visible face or upper-body emotion. The transition from walk to run should feel sudden but physically believable, like the body deciding before the mind catches up. Audio rule: muffled arena sound dies behind him. Footsteps become the main rhythm: dress shoes on hard corridor floor, fabric movement, cue or small object shift only if naturally off-frame, handheld camera handling, low pressure tone, breath implied but not foregrounded. No music, no commentator, no dialogue, no subtitles. [SCENE] Jack's black dress shoes and black trouser hems enter the low frame from near camera. The camera is nearly on the floor, handheld, and starts following his walking feet through a dim backstage corridor. The frame points straight down the corridor toward the far vanishing point. Jack's steps begin heavy and measured, then grow faster. He breaks into a run, moving away down the corridor as the camera chases at ground level. The shot ends still low, still handheld, aimed into the hallway perspective as his running feet pull farther ahead. [CONTINUITY + OBJECT STATE CONTRACT] Visible subject: Jack's feet, shoes, ankles, and lower trouser hems only. No face, no torso, no hands, no opponent, no referee, no audience. The body is represented entirely by lower-leg motion and foot rhythm. Spatial continuity: Start just inside the backstage corridor or at the arena-to-corridor threshold, then continue deeper into the corridor. The camera never reverses direction and never leaves the low floor-level perspective. The hallway remains the same continuous space with stable floor direction, vanishing point, and a repeating line of separated overhead light pools. Movement state: initial state is a walk; intermediate state is faster walking; final state is running. No teleporting, no skipped body mechanics. Each step lands on the same hard corridor floor, with natural footfall spacing and increasing stride length. Framing and scale: Feet and lower legs dominate the lower half of the image; corridor perspective fills the upper part of the frame. Do not reveal identity through face or upper-body detail. Keep shoes and trouser hems consistent throughout. [TAKE PHASE PLAN] PHASE 01: Jack's feet enter frame. Camera: almost ground level, close to the floor, handheld and angled forward down the corridor. Black dress shoes and trouser hems pass into view from near camera, moving through the first hard top-light pool. The first steps are heavy, controlled, and tired. PHASE 02: Camera begins following. Camera: low handheld tracking behind or slightly behind-side of Jack's feet, floor texture rushing under the lens. The corridor lines and spaced overhead light pools converge ahead. His feet leave one light shaft and briefly disappear into complete darkness before entering the next pool. PHASE 03: Pace increases. Camera: still low and forward-facing, struggling to keep the shoes centered as Jack walks faster. Footfalls tighten, stride length grows. Shoes cut between darkness and hard overhead light, throwing harsh-edged shadows across floor scuffs. PHASE 04: Break into run. Camera: sudden rough acceleration at ground level. Jack's feet shift from fast walking into running: longer stride, quicker impacts, trouser hems flicking with motion. The camera lags and jolts, pointed down the corridor toward the vanishing point. PHASE 05: Running down the hallway. Camera: low handheld chase, slightly behind, unable to stay perfectly smooth. Jack's running feet pull farther ahead, flashing in and out of separated overhead light shafts. Corridor walls, floor seams, cable shadows, and distant end of hallway stretch forward in perspective. Muffled arena sound is gone; footsteps dominate. PHASE 06: End on hallway perspective. Camera: still nearly ground level, aimed straight into the corridor. Jack's feet are farther ahead or nearly leaving the frame, still running. The hallway perspective holds the unresolved exit, grainy and dark, with no cutaway. [NEGATIVE] No cuts, no hidden edit, no face, no head, no torso, no hands, no recognizable likeness, no opponent, no referee, no audience, no snooker table, no scoreboard, no logos, no readable venue signs, no official tournament branding, no broadcast graphics, no subtitles, no dialogue captions, no wide establishing shot, no full-body shot, no camera tilt above lower legs, no smooth gimbal, no dolly polish, no slow motion, no montage, no heroic pose, no fashion shoe ad, no glossy digital image, no clean studio floor, no flat even corridor lighting, no soft ambient-only hallway, no cartoon, no illustration, no video player controls, no AI watermark, no duplicate feet, no extra runners, no teleporting feet, no impossible stride, no floating shoes, no missing floor contact.