Кинематографичная погоня в зомби-апокалипсисе

Промпт на английском

FORMAT 30 seconds, horizontal 16:9, 10 shots. A photorealistic live-action zombie apocalypse sequence from a major theatrical action film. Fast, rhythmic, physically convincing action at real speed. Begin inside the chase. No slow motion, speed ramps or introductory establishing shot. REFERENCE 1 Use the single supplied photograph as the exact reference for the adult heroine: facial identity, proportions, pink bob with blue ends, hair clips, pink-and-white cropped top, matching pleated skirt, pink backpack, black fingerless gloves and heavy black boots with pink platforms, buckles and chains. Match both black pistols with bright lime-green details, one in each hand. Preserve all designs throughout. Render her as a real actress: skin pores, fine imperfections, perspiration, loose hair strands and subtle dirt. The photo defines appearance and equipment, not her opening pose or the background. Replace the studio with the hospital. STORY She must escape through an emergency stairwell at the far end of a ruined hospital corridor. Several dozen extremely fast infected patients and medical staff pursue her. She fights only to open a route, then immediately moves forward. Athletic, decisive, visibly under pressure, with human strength and weight. Solid footwork appropriate to her heavy boots. No superhero flight, posing or smiling at the camera. ENVIRONMENT AND GEOGRAPHY An abandoned emergency department: peeling pale-green paint, stained ceiling panels, exposed pipes, broken monitors, damaged wheelchairs, scattered paperwork and cracked tiles. Cold daylight through dirty windows, intermittent fluorescent lamps and dim red emergency lights. Small wet patches reflect the light; the central running path remains passable. Maintain this route: 1. Straight corridor with patient rooms on both sides. 2. Recessed nurses' station on the right. 3. Intersection with a fresh zombie group approaching from the left. 4. Damaged glass partition around an empty reception area on the right. 5. Emergency door at the end, opening into a concrete stairwell. A lightweight instrument trolley stands beside the first patient-room doorway. A separate empty gurney stands at the intersection, aligned toward the left-hand passage, wheels unlocked. Establish each object before interaction. The reception partition has cracked safety glass in a weakened frame. The emergency door opens into the stairwell. It has a recessed lever handle on the corridor side, a fixed pull handle inside and a working spring latch. Body pressure alone does not release the latch; the lever must turn. It is a temporary obstacle, not a secure barricade. Beyond it: a landing, metal railing and stairs descending to the lower floor. ZOMBIES Distinct adult patients in hospital gowns, nurses in faded scrubs, doctors in dirty coats and civilians. Varied faces and builds, pallid skin, unfocused eyes and aggressive expressions. No duplicated extras. They sprint frantically, lean into turns, grab, collide and stumble over fallen bodies. The nearest attackers engage first; distant ones take time to arrive. A dense crowd fills the background, but corridor width limits how many can reach her. No polite waiting or synchronized attacks. Fallen bodies remain down unless visibly rising later. Emphasize impact and danger without graphic gore. TIMELINE 00:00-00:03 | SHOT 1: ALREADY RUNNING Wide frontal tracking shot at chest height. The camera retreats ahead of the heroine as she sprints toward it. Show her clearly in the foreground and the pursuing horde filling the corridor behind her, nearest attackers several meters away. Both pistols are already in her hands, carried low and clear of her legs. Her backpack bounces, hair and skirt react to speed, and heavy boots strike the tiles. A pursuing zombie clips an abandoned wheelchair, sending it into the wall; others push through the gap. She glances over her right shoulder without stopping. Running, snarls and rattling equipment begin immediately. 00:03-00:05 | SHOT 2: TURN AND FIRE Cut on her shoulder turn to a side three-quarter tracking view showing her and the closest pursuers. She changes from forward running to two controlled sideways retreating steps, turning her torso and gaze toward the threat. She raises the right pistol and fires two distinct shots at the nearest attacker. Show correct muzzle direction, brief flashes, recoil, slide movement and ejected cases. The zombie collapses forward under its own running momentum. A second trips over it; the rest keep coming. Her left pistol remains controlled, clear of her body. She faces forward and accelerates. No blind backward shooting, full-body spin or bodies launched by bullets. 00:05-00:08 | SHOT 3: PATIENT-ROOM AMBUSH A zombie bursts from an open room on her left. Establish the instrument trolley beside that doorway. The attacker lunges at shoulder height with both arms. She bends her knees, ducks beneath its arms and steps diagonally toward the corridor center, just past its reaching arms. Planting her supporting foot, she delivers a compact side kick to its exposed flank. The kick directs it back toward the trolley beside its doorway. Show preparation, boot contact and consequence together. The off-balance zombie stumbles into the trolley, overturning it. Trays and lightweight supplies scatter along the corridor edge; the attacker falls beside them. She retracts her leg, lands securely and continues. Both pistols remain in her hands, angled clear of her legs. No firing during the kick. 00:08-00:10 | SHOT 4: NURSES' STATION A forward three-quarter view reveals two infected emerging from the recessed station on the right, several steps ahead. The original crowd still follows behind. She shortens her stride, raises both pistols toward the forward threat and tracks the first attacker, then the second. She fires four separate shots, alternating between pistols. Each weapon recoils only when firing. The first attacker buckles beside the counter; the second collapses sideways into a chair, dragging it down. Keep these forward threats visible beyond her hands so her shot directions are unambiguous. She runs through the opening between them. Keep the shots and falls readable, with no automatic stream of fire. 00:10-00:12.5 | SHOT 5: GURNEY COLLISION A wider view reveals the intersection and a new group rushing from the left. The empty gurney is already positioned near the junction, aligned with that approaching group. She checks her momentum for one step, plants her left boot and drives her right sole into the gurney's near end frame. Its unlocked wheels roll toward the side group. Both pistols remain in her hands, clear of the kick. After a short roll, the far end strikes the leading zombie around thigh level. It folds over the mattress. The next two collide with it and each other, forming a temporary tangle of bodies and metal. She contacts a rigid low crossbar of the gurney frame, below its center of mass, so it rolls rather than overturning. The gurney delays a few attackers, not the entire horde. It stays on its wheels until contact, with believable friction and momentum. 00:12.5-00:14 | SHOT 6: THROUGH THE GAP Cut on her landing foot as she retracts the kicking leg and runs through the intersection. Track beside her, then slightly behind, maintaining her direction toward the exit. The gurney stays lodged in the left passage. One zombie lies over it, another is down, and others climb around it. The original horde reaches the junction behind her. Establish the cracked reception glass ahead on the right and the emergency door beyond. A fast pursuer breaks from the front rank and closes the distance. This same attacker reaches her in the next shot. 00:14-00:18 | SHOT 7: STRAP GRAB AND GLASS Medium-wide side view including her feet, the attacker and the glass. The pursuer catches the upper right backpack strap from behind. It tightens, jerking her backward; she takes a recovery step. She turns toward the grabbing arm and knocks its wrist away with a compact forearm strike while keeping that hand's pistol clear of her body. The grip breaks. She plants her rear foot and kicks the attacker's chest. During the turn she positions herself toward the corridor center, with the attacker between her and the glass. Off-balance beside the partition, it stumbles two short steps backward. Its back strikes the cracked panel, breaking the weakened glass, and it falls into empty reception. Show kick contact, collision and fall without cutting away. No floating or long-distance launch. Glass falls to the floor and remains there. Her backpack stays attached and both pistols remain in her hands. 00:18-00:21 | SHOT 8: RETREAT TO THE DOOR Track backward with her over the final few meters. The shattered partition remains on the correct side; the attacker stays inside reception. Facing the corridor crowd, she fires six deliberate alternating shots while taking short backward steps. Brief muzzle flashes light her hands and face. The nearest attackers fall or stumble, obstructing those behind; the distant crowd continues advancing. She checks the door over her shoulder and deliberately stops firing to escape. Both pistols still contain ammunition. No empty clicks or locked-open slides. 00:21-00:26 | SHOT 9: SHUT THE DOOR Keep a clear medium-wide view of her hands, the threshold and the nearest attacker. She turns and briefly secures both pistols at opposite sides of her waistband, grips visible. She turns the recessed lever, pushes the door into the stairwell and crosses the threshold. She catches the inner pull handle and immediately pulls the door toward the frame. A zombie reaches through the narrowing gap, its forearm blocking closure. Holding the partly closed door with one hand, she plants her supporting foot and gives the attacker one short kick through the opening into its torso. It stumbles backward into the corridor, withdrawing its arm. She retracts her leg fully and pulls the door shut with both hands. Show the latch catching, then the crowd striking the door. It shakes and momentarily holds. Do not close the door through a limb. No new chain, lock or barricade appears. This is a temporary obstacle, not permanent safety. 00:26-00:30 | SHOT 10: ANOTHER WAVE Use one medium-wide three-quarter angle from beside the railing, showing her on the upper landing and the lower flight in the same composition. The door vibrates behind her. Frantic footsteps rise from below. At 00:26-00:27 she turns her head toward the sound. A group of infected is revealed running up from one level below, partially visible between the railings. They climb actual steps; they do not reach her before the cut. At 00:27-00:30 she draws both pistols from their established waistband positions and raises them toward the lower flight. Show both grips and the draw. During this movement she says, breathless and irritated, in English: "You've got to be kidding me." End with the approaching group below and the shaking door behind. Hard cut to black at exactly 00:30. No title card. CAMERA AND RHYTHM Ten connected shots with controlled handheld energy and physical camera movement. Favor wide and medium-wide coverage so kicks, falls, distances and obstacles remain readable. Closer framing is reserved for the final reaction. Maintain direction of travel and consistent screen geography. Establish any change of camera side. Cut on turns, steps or new movements; never replay the same strike from another angle. Show key contacts and landings. Build rhythm through running, shots, metal impact, another burst of running, glass and the door slam. Every obstacle leads directly into the next. No random inserts, excessive shaking, orbiting drone moves or camera travel through walls. PHYSICAL AND VISUAL REALISM Real skin, practical-looking materials, natural mixed lighting and seamless photorealistic effects. Clothes, straps, hair and chains respond to inertia. Accurate anatomy, hand grips, traction and body weight. Gunshots have brief muzzle flashes, recoil, slide movement, falling cases and slight smoke. No lasers or glowing projectiles. Twelve shots total across the corridor sequence, with ammunition remaining for the ending. No reload or unexplained ammunition reset. Bullets cause loss of balance, not explosive flight. Kicks exploit the attackers' existing momentum. The glass breaks under a body impact because it was already damaged. The gurney rolls because its brakes are released. Natural motion blur without obscuring the choreography. No waxy faces, plastic skin, glossy game rendering or artificial beauty filters. AUDIO Precisely synchronized boots, breathing, clothing, backpack hardware, rushing footsteps, snarls, pistol reports with corridor echoes, cases striking tiles, squealing wheels, clattering trays, glass and door impacts. Subtle background: dripping water, electrical buzzing and loose ceiling panels. When the door closes, the corridor horde becomes muffled while the stairwell footsteps sound clearer and more resonant. Only one spoken line, during the ending: "You've got to be kidding me." Natural English delivery. No narration, subtitles, captions or added music. Action sounds supply the rhythm. CONTINUITY One heroine, two pistols. Same face, hair, costume, gloves, backpack and weapon colors throughout. Weapons stay in her hands until the door sequence, remain visible at her waistband, then return to her hands at the ending. No disappearing equipment or spontaneous holsters. The trolley, gurney and partition are distinct objects in established locations. Damage persists. Fallen bodies remain where they landed unless visibly rising. No restored glass or reset obstacles. The main horde comes from behind, the side group from the left passage and the final group from below. No teleporting between groups. No duplicated limbs, supernatural strength, endless ammunition, shooting through her own body, flashes without shots, delayed contact reactions, identical zombie falls, graphic dismemberment, interface, logos or watermarks. Preserve fast, coherent action and the final immediate threat.