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IDENTITY IS THE ONLY PRIORITY. Recreate the exact real woman from the reference photos with photographic fidelity, as if photographed again the same day: identical face shape, jawline and chin, cheek volume, eye shape and eye colour, eyelid shape, eyebrow shape and thickness, nose bridge and tip, lip shape, natural skin texture, her real proportions and age. Do not beautify, slim, widen, round or idealise the face; keep her subtle natural asymmetry.
Photoreal character reference sheet, 16:9, three panels side by side on a plain neutral grey studio backdrop, soft even frontal light.
PANEL 1 (left, largest detail): tight head-and-shoulders portrait, face filling most of the panel, looking straight into the camera, soft natural smile, her hair or headscarf exactly as in the reference photos.
PANEL 2 (middle): the same woman from the knees up, front view, face clearly visible, wearing her everyday outfit from the reference photos, clean rested face.
PANEL 3 (right): the same woman from the knees up as an apocalypse survivor, face clearly visible and unchanged in structure: the same hair or headscarf, now dusty, a filthy olive waxed-canvas hooded smock-poncho with wide cape-like shoulders, a high funnel neck and the hood down, a black webbing harness with metal buckles and a diagonal chest strap, a small olive canvas chest pouch, a black long-sleeve undershirt with holes at the forearms, mud-caked dark cargo trousers. Light grime on the face, a thin healed pale scar across one cheek, grief-stricken eyes.
No sunglasses, no handbag, no text, no labels, no watermark, no third person.

IDENTITY IS THE ONLY PRIORITY. Recreate the exact real man from the close-up portrait with photographic fidelity: identical face shape, jawline and chin, cheekbones, eye shape and colour, eyelids, eyebrows, nose bridge and tip, lip shape, hair and hairline, the same facial hair as in the portrait (or none), natural skin texture and age. Body build from the full-body photo. Do not beautify, slim, widen or idealise the face.
Photoreal film costume and makeup test sheet, 16:9, three panels side by side on a plain neutral grey studio backdrop, soft even frontal light, calm neutral poses.
PANEL 1 (left, largest detail): tight head-and-shoulders portrait, face filling most of the panel, looking straight into the camera, calm slight smile, a thin silver chain with a small round silver medallion pendant visible at the collar.
PANEL 2 (middle): the same man from the knees up, front view, a plain beige crew-neck t-shirt with no logo and dark trousers, the silver medallion on his chest, clean rested face.
PANEL 3 (right): the same man from the knees up in theatrical special-effects makeup for a fantasy film role, standing calmly with a blank expression, face clearly visible and unchanged in structure so he is instantly recognisable: the same outfit worn out, frayed and dusty with dry mud stains, barefoot; pale ashen grey-green skin tint with mottled patches on the cheeks and neck, milky white theatrical contact lenses, dry cracked grey lips, dusty messy hair; the silver medallion clean.
No sunglasses, no hat, no backpack, no text, no labels, no watermark, no third person.

Cinematic short film, photoreal, in two scenes joined by one hard match cut on action at 9.6s.
SCENE 1 (0–9.6s), the present: in an abandoned house during a zombie apocalypse, a weeping young woman aims a pistol at the man she loves, now turned; she cannot shoot, drops the gun and opens her arms, and he sprints and leaps at her at full speed. At the exact instant of contact the film cuts.
SCENE 2 (9.6–24s), the memory: the same leap at the same speed, the same pose, the same screen direction, but he is alive and laughing in a golden mountain meadow, and the two fall together into the tall grass in joy. Cold, shaking and hard in the first scene; warm and soft in the second. Captured, not rendered.

[REFERENCES — two character sheets]
Image 1 = HER, the survivor. Identity locked 1:1 to the large portrait panel on the left of Image 1: face shape, eyes, eyebrows, nose, lips, skin tone, age, body build. Her hair or headscarf stays exactly as in Image 1 in every shot. Eyes always visible, no eyewear.
Image 2 = HIM, the turned one. Identity locked 1:1 to the large portrait panel on the left of Image 2: face shape, eyes, eyebrows, hair, beard, skin tone, age, body build. No eyewear, no hat.
Wardrobe for each scene is taken from the matching panel of each sheet. Locations, props and light are defined by this text.

[WARDROBE]
HER · SCENE 1: exactly the survivor panel of Image 1: the filthy olive waxed-canvas smock-poncho with wide cape-like shoulders and the hood down, black webbing harness with a diagonal chest strap, small olive chest pouch, black undershirt with holes at the forearms, mud-caked cargo trousers, muddy black boots. Grime on her face, a thin healed pale scar across one cheek, tears cutting clean lines through the dirt.
HIM · SCENE 1: exactly the makeup panel of Image 2: his outfit torn and stained with mud and grey dust, barefoot with dirty feet; realistic practical prosthetic zombie makeup that never changes his bone structure: pallid skin with grey-green mottled patches, cloudy milk-white eyes, cracked grey lips, dusty matted hair. His silver medallion survives intact and clean.
BOTH · SCENE 2: their clean everyday outfits from the middle panels, faces clean and rested, no scar, no makeup effects; he is barefoot in the grass, the silver medallion catching the sun.

[SCENE 1 · 0–9.6s · THE PRESENT]
LOOK: overcast grey daylight through a dirty side window, cold blue-grey-green palette, hard contrast, chiaroscuro on faces, dust floating in the window light; an abandoned kitchen with peeling wallpaper, broken cabinet doors, a toppled chair, a clear stretch of floor between the two. Shallow depth of field, handheld realism, fine film grain. Real-time speed, no slow motion.
SHOT 1 [0–1.6s] Close-up of her, handheld with a faint tremor, aiming a pistol straight ahead with both hands; the muzzle a soft blur in the foreground, her face sharp. Tears run down her dirty cheeks past the scar, jaw shaking.
SHOT 2 [1.6–3.4s] Over her shoulder, a slow tense push-in toward him standing in the half-dark across the kitchen, ruined clothes, head tilted, the window light catching the silver medallion.
SHOT 3 [3.4–5s] Extreme close-up on his face, a sharp push-in: teeth bared in a snarl, blank white eyes, a low rattling growl; still clearly the same man.
SHOT 4 [5–8.4s] Back on her: starting in a medium close-up on the raised pistol, the camera slowly pulls back to a medium shot. Weeping, she lowers the pistol, lets it drop to the floor, then slowly opens both arms wide, the poncho spreading like wings, eyes fixed on him, surrendering.
SHOT 5 [8.4–9.6s] THE LEAP — a locked side-on medium-wide shot at chest height, real-time speed: she stands on the right third of the frame facing left, arms wide open, a bright window behind. He explodes into a sprint from the left side of the frame and launches at her, body almost horizontal, arms reaching forward. At 9.6s, the exact instant his hands touch her shoulders, CUT.

[MATCH CUT at 9.6s — a fast hard cut, no dissolve, no flash, no speed change. Same side-on framing, same chest-height camera, she stays on the right third facing left with arms wide, he arrives from the left at the same point of the leap and the same full speed. Only the world, the light, the clothes and the faces change.]

[SCENE 2 · 9.6–24s · THE MEMORY]
LOOK: golden hour in a high mountain meadow: tall seed-headed grass glowing gold, wildflowers, snow-streaked peaks in soft haze, a warm low sun behind them. Amber, honey, peach and rose; soft golden backlight halos; natural lens flares. Steadicam-smooth.
SHOT 6 [9.6–12.1s] The leap lands at full speed: alive, clean, laughing, he crashes into her open arms; the momentum knocks them both backward and they tumble into the tall golden grass, seed heads and petals bursting into the air, both laughing. As they settle the motion eases into gentle slow motion.
SHOT 7 [12.1–15.7s] Close on the two lying in the grass: she lies on her back smiling up; he is above her, laughing, the silver medallion swinging, gently stroking her cheek; the camera makes a slow arc, sun flares sweeping across the lens; slight slow motion.
SHOT 8 [15.7–18.8s] Following Steadicam from behind at waist height: hand in hand they run, laughing, toward the mountains, grass brushing past the lens, clothes moving in the wind; slight slow motion.
SHOT 9 [18.8–21.7s] Medium shot from behind on the crest of a small hill: they sit close, her head on his shoulder; a slow pan right reveals his profile as he kisses the top of her head, eyes closed; the silver medallion glints in the sun.
SHOT 10 [21.7–24s] Wide shot: a very slow pull-back as the two become small silhouettes on the hilltop against a vast pink and gold sunset. Complete stillness. The final second holds steady for a fade-out.

[CONSISTENCY]
The same two faces from the portrait panels throughout, only their states change. Her hair or headscarf matches Image 1 in every shot. The silver medallion is visible in shots 2, 3, 7 and 9. The leap's framing, screen direction and full speed are identical on both sides of the cut. Exactly one scene change, on the moment of contact.

[NEGATIVE]
No slow motion in scene 1 or across the cut. No bite, no attack landing, no gunshot, no gore, no blood; the cut happens at first touch. No CGI zombie look, no rubber mask, no altered bone structure. No survival gear, dirt, scar, makeup or weapon in scene 2; no clean clothes or clean skin in scene 1. No change of screen direction at the cut. No sunglasses, no hat. No third person. No dissolve or flash at the scene change. No text, subtitles or watermarks. No music. No dialogue.

[AUDIO] No music. Scene 1, diegetic only: ragged breathing and stifled sobs, a floorboard creaking, wind through a broken window, a low wet growl, the thud of the pistol hitting the floor, the rustle of canvas as her arms open, bare feet slapping the floor, a shriek as he leaps. At the cut the shriek turns instantly into his burst of laughter, the same voice, alive. Scene 2: bodies falling into tall grass, shared laughter, breathing as they run, birdsong, a distant cattle bell, crickets at sunset, then only the wind.

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