SCENE Match point in a night stadium final. Two former friends who chose the…

SCENE Match point in a night stadium final. Two former friends who chose the same career play the last point of a brutal match. She wins. He walks away. ACTIVE REFERENCES @image1 — the cat. A very fluffy cream-white Persian standing upright on two legs, about 175cm tall, round and imperious. Mint-green framed sunglasses worn at all times, a silver chain with a heart pendant, a quilted cream puffer jacket over mint shorts, chunky pastel sneakers, a chrome-framed racket, an enormous plume tail. All panels define ONE cat; exactly one cat appears in the film. 100% matches the reference. @image2 — the mouse. A fluffy sand-and-pink mouse standing upright on two legs, a little shorter than the cat but her huge round ears bring her to the same height. Gold-rimmed aviator sunglasses worn at all times, a pink and teal visor, a pink and teal fleece tracksuit, teal socks, chunky pink and white sneakers, a long thin pink tail, a white and pink racket. All panels define ONE mouse; exactly one mouse appears. 100% matches the reference. COURT GEOGRAPHY Fixed for the entire film and never crossed. @image1 plays the NEAR half of the court, closest to camera. @image2 plays the FAR half, beyond the net. In every side-on view @image1 is screen-LEFT and @image2 is screen-RIGHT, and the ball travels left to right when he hits it and right to left when she hits it. In every behind-the-baseline view the camera sits behind @image1, he is low in the frame, @image2 is small and far beyond the net, and the ball travels away from camera when he hits and toward camera when she hits. The ball is visible in flight in every rally shot as a motion-blurred streak on a clear arc, not only at the moment of impact. FORMAT Twelve shots, 30s, eleven HARD CUTS, no fades. Shots 1-11 run roughly 2.4s each; shot 12 runs 3.6s. Two clean hits maximum in any one shot. Cuts only at the specified points. Only ever moves forward — never loops or reverses. FRAMING NOTES 84° = wide establish; 47° = neutral perspective; 29° = tight medium; 18° = close-up; 12° = detail insert. Locked within each segment, no drift. 0-2.4s SHOT 1 — 47°, camera 3m out at 1.6m, static, side on at the net. Night stadium under floodlights. @image1 at x38 y50 and @image2 at x62 y50 stand a metre apart at the net, visible at 0.0s, facing forward, waiting. No empty frame. Neither turns their head. Neither looks at the other. HARD CUT. 2.4-4.8s SHOT 2 — 18°, camera 1m from his face at 1.6m, static. @image1 at x50 y48, fur backlit into a halo. His jaw works once. His eyes stay locked forward behind the mint sunglasses, deliberately not moving to his left. HARD CUT. 4.8-7.2s SHOT 3 — 18°, camera 0.9m from her face at 1.5m, static. @image2 at x50 y50. Both ears swivel toward him — the only part of her that moves. Then they pin flat back and she faces front, whiskers still. HARD CUT. 7.2-9.6s SHOT 4 — 84°, camera 9m behind his baseline at 4m, static, looking down the length of the court. THE MASTER SHOT. The whole court is visible — near baseline, net, far baseline, both tramlines. @image1 at x50 y72 in the near foreground with his back to camera, @image2 small at x50 y38 beyond the net. He throws the ball up and cracks the serve; it streaks away from camera over the net and she blocks it back toward camera. HARD CUT. 9.6-12.0s SHOT 5 — 47°, camera 6m out at 1.5m, static, side on to the net. @image1 enters frame-left at x25 y55 and drives a forehand — the ball streaks left to right across frame in a clear low arc, over the net at x50, and @image2 at x78 y52 slides across and returns it, the ball streaking back right to left out of frame. Two hits, clearly seen. HARD CUT. 12.0-14.4s SHOT 6 — 84°, camera 9m behind his baseline at 4m, static. THE MASTER SHOT again, identical position. @image1 at x50 y72 scrambles left across the near court and lifts a deep ball away from camera; @image2 at x50 y38 runs it down at her far baseline and sends it back toward camera. The rally is long and both are covering ground. HARD CUT. 14.4-16.8s SHOT 7 — 47°, camera 4m out at 1.3m, static, low, side on. @image1 at x40 y45 rises off the ground for the overhead smash, back arched, jacket riding up, tail extended, fur exploding outward — and the ball streaks left to right and downward out of frame at enormous speed. HARD CUT. 16.8-19.2s SHOT 8 — 29°, camera 3m out at 0.6m, static, side on to her far court. SLOW MOTION, the only slow beat. @image2 at x45 y55 leaves her feet in a full horizontal dive toward screen-right, racket at maximum stretch, one ear folded back by the air, aviators sliding a centimetre down her snout — and gets a paw to it. The ball lifts off her strings toward screen-left. HARD CUT. 19.2-21.6s SHOT 9 — 84°, camera 9m behind his baseline at 4m, static. THE MASTER SHOT, identical position, real time snaps back. The ball drops over the net toward camera and lands inside the near baseline at x62 y66. @image1 at x40 y70 lunges for it and misses by a metre. @image2 stands still at x50 y38. A wave of camera flashes ripples along the dark stands. HARD CUT. 21.6-24.0s SHOT 10 — 47°, camera 4m out at 1.2m, static. @image1 at x50 y50 goes down onto both knees on the court, racket falling flat beside him, head dropping forward, shoulders rising and falling, tail limp behind him. Silver and pink confetti begins falling around him. HARD CUT. 24.0-26.4s SHOT 11 — 29°, camera 2.5m out at 1.5m, static. @image2 at x50 y50 has not celebrated. Her racket hangs at her side. She looks across the net at him through the falling confetti, ears half up, and takes one step forward. Then another. HARD CUT. 26.4-30.0s SHOT 12 — 84°, camera 9m out at 1.8m, static, side on to the net. @image2 at x60 y52 walks to the net and stops there, one paw resting on the cord, waiting. @image1 at x38 y50 picks up his racket, stands, turns his back to her and walks away toward the tunnel, tail low. She stays at the net. Confetti keeps falling on both of them and the crowd keeps roaring. She does not move as the shot ends. CROWD RULE The stadium reads as enormous through light and objects, never through distant figures. Thousands of camera flashes firing in scattered bursts through the dark stands, banners and flags lifting and dropping, waves of pastel colour moving through the seating, confetti and streamers. No individually detailed spectators and no small motionless figures anywhere. PHYSICS Real mass and real fur, and the fur is the star. Every strand moves — long cat fur flattening along the direction of each swing and settling a beat late, the mouse's dense fleece rippling in waves, both tails carrying momentum and arriving after the body. The silver chain swings on its own weight. Court chalk lifts in a puff on every hard stop and drifts sideways. The ball compresses hard against the strings and leaves with real speed and a true arc. Sunglasses shift under impact. Ears move independently of the head. Confetti falls slowly and irregularly, catching air, never straight down. LIGHTING Four hard floodlight banks from high on all sides — multiple crossed shadows under each player, strong rim light picking out every strand of fur at the silhouette edges, hot speculars on chrome, mirrored lenses and sneaker panels. The stands beyond are deep black except for the flashes. Cool white key, warm bounce off the court. ATMOSPHERE A real stadium in real air. Dust and chalk hanging in the floodlight beams, the court scuffed with skid marks and worn paint, heat shimmer off the surface, the far side of the stadium softened by depth haze so the upper tiers sit lighter than the court. SCORE Big-budget sports-film hybrid at