— REFERENCE DEFINITIONS — @hero_03: Young man in his early 20s, light tan skin, dark curly voluminous hair, clean youthful face, dark brown eyes, small silver hoop earrings in both ears, brown suede zip-up jacket over a cream white crew-neck t-shirt — character appearance only. Reference. @char_girl_passenger: Beautiful young woman in her early 20s, fair pale skin, long dark brunette wavy hair with full straight bangs, delicate refined features, soft natural makeup, brown sleeveless ribbed mock-neck top, cream high-waisted wide-leg pleated trousers with a slim dark brown belt with gold buckle, small dark brown leather shoulder bag, pointed burgundy-brown leather shoes — character appearance only. Reference. @car_sheet: Modern dark red sports sedan, sleek fastback silhouette, black mesh rims, left-hand drive, clear lightly-tinted glass with the cabin visible through the windows — vehicle appearance only. Reference. @car_wheel: Black leather steering wheel with a stitched rim and a silver four-pointed star emblem on the center hub, modern digital instrument cluster behind it, dark premium cabin interior — steering wheel and emblem reference, interior detail only. Reference. @airport: Modern airport terminal exterior — main road running along the main terminal building, drop-off lanes at the terminal curb, glass terminal facade with the main entrance, travelers with luggage, bright sunny daylight with soft warm tones — location and mood reference. Reference. — TECHNICAL BLOCK — Cinematic photoreal. 16:9. 13s. SFX only, no music. Natural grain, organic color, soft contrast, filmic look. NO CGI. NON-IP. Exactly three shots and two cuts — no more, no fewer, no extra inserts. The first two shots are brief; the third and final shot is by far the longest, taking most of the runtime, calm and unhurried. No dialogue. Extreme facial micro-expression detail. — PROMPT — The sequence consists of exactly three shots separated by exactly two cuts, all in bright sunny weather, the airport alive with everyday motion — cars passing on the access roads, travelers walking with luggage. FIXED GEOGRAPHY FOR THE WHOLE SEQUENCE: the red sedan @car_sheet is parked on the MAIN ROAD right in front of the MAIN TERMINAL BUILDING, at the RIGHT edge of the road at the right-side curb directly by the main entrance; the sidewalk and the main building are on the RIGHT side of the car; the girl exits ONLY through the REAR RIGHT door — the back door on the sidewalk side — never through the left door, never through the front door. SHOT 1 (brief) — exterior of @airport: camera positioned BEHIND the car and to its RIGHT, a 3/4 rear view from the right side — the frame shows the car's rear and its right flank, the rear right door fully visible in the center of the composition, the sidewalk and the main terminal building in the background beyond the car's right side. The REAR RIGHT door swings open toward the camera and @char_girl_passenger climbs out of it directly onto the sidewalk — one hand pressed to her stomach, slightly nauseous, her face pale with a damp sheen of sweat on her forehead and temples, a hard little swallow as a mild wave of queasiness passes through her, breathing quick and shallow; she steadies herself for half a beat against the door, then closes it and walks off to the RIGHT, exiting the frame on the right side — a brisk hurried walk, NOT running, quick purposeful steps, her hand staying lightly on her stomach, her bag swinging gently, weaving past travelers with luggage until she leaves the frame right. Cut. SHOT 2 (brief) — interior of the car, close-up of @hero_03 in the front left driver's seat, the camera inside the cabin positioned at the front passenger seat to his RIGHT, filming him from his right side: he is turned TOWARD THE CAMERA — head turned to HIS RIGHT, face toward the lens, his gaze aimed just PAST the camera, as if watching the girl walking away somewhere behind the lens; the girl is NOT in the frame. He does NOT look into his left driver's window, does NOT look to his left, does NOT look out his own side window — his face stays turned toward the camera the whole beat, warm sunlight falling on it. His posture completely loose and relaxed — one arm draped casually over the top of the black leather steering wheel @car_wheel with its silver four-pointed star emblem on the center hub, wrist hanging easy, the other resting on the center armrest, shoulders soft, settled deep into the seat. His gaze holds past the camera for a beat — then a light positive exhale, an easy contented sigh, a warm gentle smile settling on his face, and a couple of very small approving nods, barely-there, slow and light — and with the smile still on his lips he turns his head away from the camera back to the road ahead, his hands take the wheel @car_wheel, and the car eases into motion, starting to roll forward. Cut. SHOT 3 (by far the longest shot, taking most of the runtime, calm and unhurried — the closing shot) — medium shot of @car_sheet from behind, on the main road along the main terminal building of @airport in full sunlight: the car pulls away from the curb and drives off into the distance down the main airport road, growing smaller and smaller. The camera glides smoothly upward and to the LEFT in one gentle continuous move — rising and drifting left slowly, only watching the car go, NOT following it, NOT flying after it — the departing car unhurriedly shrinking toward the horizon, the main building's facade and the sunny drop-off lanes with walking travelers opening wider and wider in the frame as the camera keeps its slow rise, a long calm final farewell frame breathing to the very end of the runtime. SFX only: car door opening and closing, brisk footsteps on pavement, quick shallow breathing, a soft contented exhale, engine starting to roll, passing cars, rolling suitcase wheels, car pulling away and fading into the distance, airport ambience, distant announcements.
