A zombie grabs his throat. Then his friend pulls him up.

SCENE CONTEXT
A young man sprints flat out down a narrow, rain-soaked street in a dark urban neighborhood at night, chased by the reanimated corpse of his friend. He looks back over his shoulder, loses the road, slips on the wet asphalt, goes down on his back, scrambles backward on his elbows, and the dead friend closes the distance and reaches a decayed hand toward his throat.

ACTIVE REFERENCES
<<<street>>> — narrow city street at night, wet black asphalt mirroring every light source, shuttered shopfronts and awnings along the right side, low concrete buildings and balconies on the left, sagging overhead power lines, a tall apartment block closing the far end with a scattered handful of lit windows, mist hanging between the buildings. 100% matches the reference.
<<<alma>>> — man in his late twenties, lean build, black hair wet and pushed flat to his forehead, grey nylon hooded anorak with a red t-shirt hem showing below the jacket, grey nylon trousers, off-white sneakers. Face wet with rain and tears. 100% matches the reference.
<<<friend_dead>>> — reanimated man, same age and build, short bleached-blonde hair darkened and matted with rain, milky white eyes with no visible iris, torn lower lip and dried blood around the mouth and chin, olive-green t-shirt soaked and stained with dirt and old blood, dark grey joggers, black-and-white chunky sneakers. His hands and forearms are dead flesh — grey-green mottled skin, dark veins visible under the surface, knuckles swollen, fingernails blackened and split, one strip of skin torn loose across the back of the right hand exposing tendon. 100% matches the reference.

LOCATION MAP
Foreground: wet asphalt and standing puddles holding long vertical reflections of the shop lamps. Midground: the two figures on the road, the kerb and shuttered storefronts on the right, a utility pole with drooping cables. Background: the tall apartment block at the far end of the street, six or seven windows lit pale, mist thickening with depth, fog density 45%, haze visible at 25 meters. Light drizzle falling at 15% intensity, visible as fine streaks only where it crosses a lamp beam.

FIRST FRAME / BLOCKING
Frame one is already at full sprint speed. <<<alma>>> occupies the centre of frame, upper body filling it, running toward camera at maximum effort down the middle of the wet road. <<<friend_dead>>> is 8 meters behind him, offset to the right of <<<alma>>>'s head so his face and shoulders stay visible past <<<alma>>>'s cheek, small and out of focus, a lit window in the far block glowing behind him.

FORMAT MODE
Timed multishot, three segments:
0.0s to 3.0s — CUT 1
3.0s HARD CUT
3.0s to 7.0s — CUT 2
7.0s HARD CUT
7.0s to 10.0s — CUT 3
Cuts only at the two specified points, the camera does not cut on its own.

OPTICS
CUT 1 — CU, 29° FOV, portrait compression, <<<alma>>>'s head and shoulders fill the frame for the entire segment, <<<friend_dead>>> readable as a small soft compressed figure far behind and to the right of his head. Shallow depth of field, focus locked on <<<alma>>>'s eyes, background lamps rendering as large soft round bokeh. No drift mid-segment.
CUT 2 — WS, 84° FOV, rectilinear wide, both figures sharp, the street receding into mist behind them. Deep focus. No drift mid-segment.
CUT 3 — MS, 47° FOV, neutral human perspective, <<<alma>>>'s propped upper body filling the left two thirds of frame, standing room above him on the right for <<<friend_dead>>>. Focus locked on <<<alma>>>'s eyes. No drift mid-segment.
Heavy natural motion blur on sprinting limbs at 180-degree shutter, mild halation blooming off the brightest practicals.

CAMERA
CUT 1 — Camera leads <<<alma>>>, retreating at 22 km/h to hold him at constant size, chest height, 1.2 meters in front of his face, hard handheld with a 4–5 cm vertical punch on every stride. Operator axis on the road centreline, camera on the unlit side of his face so the shop lamps rim him from the right. The background streaks past with strong motion blur.
CUT 2 — Camera planted on the right kerb beneath a shop awning, perpendicular to the direction of travel, looking straight across their path. Chest height, 8 meters back from the running line. Locked off with a fast 20 km/h pan that whips to follow them from left of frame to centre, then snaps to a hold. The bottom edge of frame sits at their lower ribcage — both figures visible from the belly up, the road surface stays out of frame.
CUT 3 — Camera on the ground beside <<<alma>>> at his eye level, 40 cm above the wet asphalt, 1.2 meters from his shoulder, looking across his body in profile. Locked off with a 2 cm handheld tremor. Tonal character wide-latitude and clean in shadow, deep blacks holding detail, practicals rolling off softly.

ACTION
CUT 1 — <<<alma>>> sprints toward camera at 22 km/h at full effort, arms driving hard, mouth wide open, breath tearing out of him in fast steaming bursts, tears already running down both cheeks. He runs hard for the first two seconds. At 2.0s he snaps his right hand up and drags the back of it across his cheekbone and under his eye in one violent swipe, then slams the arm straight back into his sprint rhythm and keeps driving forward to the end of the segment. Behind him and to the right of his head, <<<friend_dead>>> runs at 21 km/h with a broken inhuman gait, holding roughly 8 meters back.
CUT 2 — Both figures enter from the left edge of frame at speed, travelling toward the right of frame along the same line, <<<friend_dead>>> directly behind <<<alma>>> at the same distance from camera with clear open road visible between them. <<<alma>>> sprints at 22 km/h, <<<friend_dead>>> follows 10 meters back at 21 km/h, each ripping through the vertical light spills from the storefronts. At 4.8s <<<alma>>> twists his head back over his right shoulder to look for <<<friend_dead>>>, his face turning three-quarters toward camera, eyes searching down the road behind him while his legs keep driving forward. At 5.4s he snaps his head back to the front. At 5.8s, still recovering from the turn, his lead foot lands wrong on the slick asphalt — his torso pitches forward and to the right, arms fly out, and by 6.1s he has dropped straight down out through the bottom edge of frame and is no longer visible. The frame holds on empty wet road. <<<friend_dead>>> covers the whole 10 meter gap without slowing, arrives at the spot where <<<alma>>> went down, plants his feet, stays upright, and angles his upper body down toward the bottom edge of frame, one arm dropping low.
CUT 3 — <<<alma>>> is on his back on the wet road, head toward the right of frame, having just landed. He immediately drives both elbows under himself and props his upper body up off the asphalt, chin lifting, and shoves backward along the ground with his heels, dragging his hips across the wet surface. His head tilts back and up, eyes flicking upward and then locking on <<<friend_dead>>>. He pushes back twice, the second push weaker than the first, and stops. At 8.5s <<<friend_dead>>> steps into the right of frame standing over him, close enough to fill the space above his shoulder. At 9.1s <<<friend_dead>>>'s right hand comes down toward <<<alma>>>'s throat, moving with steady intent — quicker than a slow reach, without any snap or lunge — the arm extending on a straight line to the neck. The segment ends at 10.0s with the hand held still at <<<alma>>>'s throat height in the centre right of frame, forearm angled down across the frame, palm turned inward toward him, fingers spread and half curled, 15 cm from his neck, and <<<alma>>> propped on his elbows staring up at it.

PERFORMANCE
CUT 1 and CUT 2 — <<<alma>>>'s whole face is working at sprint effort: mouth wide, cheeks pulled back, neck tendons standing out, eyes narrowed against rain and wind. Grief runs underneath and through it — the inner ends of his eyebrows pulled hard up and together, forehead creased in the centre, eyes red-rimmed and streaming, tears running continuously down both cheeks and being torn sideways by the wind of his own speed. His mouth shapes are half sprint-effort and half sob. The tear wipe in CUT 1 is fast and angry, done without breaking stride. On the shoulder-check in CUT 2 his face contorts as he sees what is chasing him, brow collapsing, mouth pulling wide.
CUT 3 — breathing is fast and shallow, chest snapping up and down in short panicked pulls rather than deep heaves, mouth open, nostrils flaring. Inner eyebrows stay pulled up and together. His chin trembles and his lower lip pushes up. Fresh tears spill from the outer corners toward his temples, mixing with the rain. Frustration reads as a hard exhale through bared teeth as he shoves himself backward, then his face collapses when he recognises the face above him and the fight drains out of him. His eyes stay wide and locked upward, tracking the descending hand.
Both cuts — pore-level skin detail under the water film, capillary flush across cheeks and nose from exertion, visible breath vapour, sharp specular catch-lights from the shop lamps sitting in his eyes.
<<<friend_dead>>>'s face carries no expression — slack jaw hanging open, milky eyes unfocused, tongue and teeth visible, waxy skin mottled with dried blood at the lip and chin, rainwater running off his brow. Pursuit is driven and mechanical, never frantic.

ZOMBIE MOVEMENT
<<<friend_dead>>> covers ground fast but moves wrong. His head hangs loose to one side and bobs out of time with his stride. His shoulders roll unevenly, one riding higher than the other, and his spine stays slightly twisted so his torso leads at an angle to his hips. His arms swing dead and heavy from the shoulders with the elbows barely bending and the hands loose and trailing. One leg swings stiff from the hip with the knee locking on each plant while the other bends normally, giving the sprint a lurching limp. Small involuntary muscle twitches fire in his neck and forearms between strides. He never rises onto his toes; each foot slaps down flat and hard into the water.

PHYSICS
Every sprinting footfall blows a puddle apart into a wide fan of spray and sends ripples racing across the standing water, shattering the reflected lamp light. The soaked anorak snaps and buffets backward at speed, the red t-shirt hem heavy with water. On the fall, <<<alma>>>'s full momentum carries him forward and down, the landing reading as a foot losing grip at 22 km/h. On the ground his elbows and heels dig into a shallow film of water, his backward shove pushing a low wave out from under him and leaving a wet drag mark. Rain lands on his face and runs off his cheeks and jaw. Tears run sideways toward his temples. Tight wet contact shadows under both figures. Water runs down <<<friend_dead>>>'s dead forearm and drips from the blackened fingernails as the hand descends.

LIGHTING
Night, no moon, no ambient sky light. Key from the warm sodium shop lamps under the awnings along the right side of the street, throwing hard side light across both figures and rimming shoulders and hair, strobing across them as they sprint past each lamp. Secondary key from the pale cool window light of the tall block at the far end, silhouetting <<<friend_dead>>> from behind. Large soft fill bounces up off the wet asphalt, lighting faces from below and keeping the eyes readable. In CUT 3 that bounce becomes the main light on <<<alma>>>'s face, with the lamps rimming his forehead and the descending hand catching a hard sodium edge from above that picks out the swollen knuckles and torn skin. Every lamp lays a long vertical reflection down the road. Exposure sits low with deep protected blacks and the practicals as the only bright points. Mixed white balance — 3200K on the shop lamps, 4300K overall.

COLOR GRADE
Deep desaturated blue-cyan night: wet asphalt reading as near-black steel holding cold reflected light, concrete facades in dense blue shadow, mist glowing faintly cyan wherever a lamp reaches it. The sodium lamps and the red t-shirt hem are the only warm elements in frame, so the red at <<<alma>>>'s waist stays the single point of human colour in a cold street. Zombie skin holds a grey-green cast under the cool fill; blood at the mouth and the exposed tendon on the hand stay dark and desaturated.

AUDIO
CUT 1 and CUT 2 — fast tearing breaths broken by small choked sobs, rapid hard wet footfalls hammering soaked asphalt. From <<<friend_dead>>>, wet guttural clicking in the throat, a broken rasping snarl, uneven flat-footed splashing that never falls into a regular rhythm.
CUT 3 — <<<alma>>>'s breathing dominates, fast and shallow and shaking, one broken catch in the throat, the wet scrape of his sneakers and elbows pushing across the road. <<<friend_dead>>>'s rasp coming from above and very close.
Throughout — steady light rain on metal shutters and awnings, distant low city hum. No music.

STYLE
Photorealistic live-action, handheld documentary realism, low-key night cinematography, desaturated cold palette, fine organic film grain, no stylisation.

OUTPUT SETTINGS
8K, 24fps, real-time speed in all three segments, anamorphic-neutral framing, deep blacks retained without crushing.

POSITIVE LOCKS
The street, buildings, shutters, awnings, power lines and lit windows stay identical to <<<street>>> across all three cuts, same night, same rain, same fog density.
<<<alma>>> stays in the grey nylon hooded anorak with the red t-shirt hem visible below it in all three cuts, hair and clothing soaked through throughout.
<<<friend_dead>>> stays in the olive-green stained t-shirt and dark grey joggers, blonde hair, milky white eyes, in all three cuts, with grey-green decayed hands and blackened split fingernails.
<<<alma>>> moves at full sprint speed in CUT 1 and CUT 2, legs cycling fast, arms driving, background streaking past with motion blur.
<<<alma>>>'s head and shoulders fill the frame for the entire duration of CUT 1.
In CUT 1 <<<friend_dead>>> stays behind and to the right of <<<alma>>>'s head so his face remains visible past <<<alma>>>'s cheek.
In CUT 2 <<<friend_dead>>> runs directly behind <<<alma>>> on the same line at the same distance from camera, with open road visible between them and a 10 meter gap held until <<<alma>>> goes down.
<<<friend_dead>>> runs with a lurching uneven inhuman gait in every shot where he is moving.
The tear wipe happens at 2.0s in CUT 1, one single fast swipe with the right hand, with <<<alma>>> sprinting before it and sprinting after it.
<<<alma>>>'s shoulder-check in CUT 2 happens at 4.8s, head turning back over his right shoulder toward camera, legs still driving forward, and his fall follows directly out of losing sight of the road.
In CUT 2 both figures travel toward the right of frame and the camera stays on the right kerb looking across their path.
In CUT 2 the bottom edge of frame stays at belly height for the whole segment — the road surface stays out of frame and <<<alma>>> leaves frame downward through the bottom edge.
In CUT 3 <<<alma>>> stays propped up on both elbows with his head toward the right of frame, actively shoving himself backward along the wet road, never lying flat and still.
<<<friend_dead>>> remains standing and upright through the end of CUT 3, his spine vertical and his feet planted, lowering only his arm.
The final frame holds <<<friend_dead>>>'s decayed right hand at <<<alma>>>'s throat height, forearm angled down across the centre right of frame, palm turned inward, fingers spread and half curled, 15 cm from his neck.
Both faces stay lit enough to read and identity-locked in all three cuts, held up by the bounce off the wet road.

SCENE CONTEXT
Daylight on a football pitch. A young man lies on the grass where he went down after a challenge, propped on his elbows. His teammate stands over him with a hand already extended down toward him. He takes the hand, gets pulled to his feet, they check on each other, and both jog back to their positions as play resets around them.

ACTIVE REFERENCES
<<<bridge_frame>>> — the exact opening frame of this shot. Camera at ground level in profile beside <<<alma>>>, <<<alma>>> propped on both elbows with his head toward the right of frame, the other man standing over him at the right of frame with his right hand already lowered, forearm angled down across the centre right of frame, palm turned inward, fingers spread and half curled, held at throat height. This geometry is frame one — hand position, body position, camera height and angle all start identical to it.
@scene1 — the preceding shot, for continuity of body positions, camera height, framing and the exact hand geometry at its final frame.
<<<alma>>> — 20 year old man, lean build, black hair, in the red football kit shown in the reference. Grass stains on the kit from the fall. 100% matches the reference.
<<<friend>>> — 20 year old man, lean build, short bleached-blonde hair, in the same red football kit shown in the reference. Healthy living skin, clear eyes, clean face. 100% matches the reference.
<<<pitch>>> — full-size grass football pitch in daylight, painted white line markings, goalposts, low perimeter barrier and stands beyond. 100% matches the reference.

LOCATION MAP
Foreground: cut grass at close range, individual blades and scuffed turf where <<<alma>>> went down. Midground: the two players, and the painted white line running across the pitch near them. Background: six to eight other players in their early twenties spread across the pitch — three or four teammates in the same red kit and three or four opponents in an all-black kit cut in the same style — some jogging back into position, one opponent walking past, the goalmouth and perimeter of <<<pitch>>> beyond them, stands soft in depth. Air is clear, no haze.

FIRST FRAME / BLOCKING
Frame one reproduces <<<bridge_frame>>> exactly, transposed onto the pitch in daylight. Camera 40 cm above the grass, 1.2 meters from <<<alma>>>'s shoulder, looking across his body in profile. <<<alma>>> fills the left two thirds of frame, on his back propped up on both elbows, head toward the right of frame, chest heaving. <<<friend>>> stands over him at the right of frame, only his lower body and extended arm in shot, his right hand held motionless at <<<alma>>>'s throat height, forearm angled down across the centre right of frame, palm turned inward, fingers spread and half curled.

FORMAT MODE
Timed multishot, three segments:
0.0s to 2.0s — CUT 1
2.0s HARD CUT
2.0s to 5.0s — CUT 2
5.0s HARD CUT
5.0s to 7.0s — CUT 3
Cuts only at the two specified points, the camera does not cut on its own.

OPTICS
CUT 1 — MS, 47° FOV, neutral human perspective, matching <<<bridge_frame>>>. Focus on <<<alma>>>'s face and the joined hands. No drift mid-segment.
CUT 2 — MS, 63° FOV, observational, both players framed from the belly up with the bottom edge of frame at their waistline, other players readable behind them. No drift mid-segment.
CUT 3 — WS, 63° FOV from a high vantage, both players small in a wide field of grass with other players around them. No drift mid-segment.
Natural motion blur at 180-degree shutter, clean daylight optics with no flare.

CAMERA
CUT 1 — Camera on the ground beside <<<alma>>> at 40 cm height, 1.2 meters from his shoulder, profile across his body. Fully locked off on a fixed mount for the entire segment — the same height, the same angle, the same frame from first to last, with only a 2 cm handheld tremor. It stays planted as <<<alma>>> is pulled upward and lets him rise up through the frame and partly out of the top of it.
CUT 2 — Camera 6 meters back, chest height, standing three-quarters to the two players, handheld with a gentle 3 cm float. Slow 2 km/h drift to the right around them, keeping both faces visible. The bottom edge of frame sits at their waistline so both men are seen from the belly up and the grass and their legs stay out of frame.
CUT 3 — Camera high above and to the side of the pitch, 12 meters up and 20 meters out, looking down at roughly 40 degrees across the grass. Locked off with a slow 3 km/h pan following the separating players. Faces are small and not readable at this distance; body language and kit colour carry the shot. Tonal character is wide-latitude with clean daylight highlights rolling off softly.

ACTION
CUT 1 — The frame opens exactly on <<<bridge_frame>>> geometry. <<<friend>>>'s right hand stays completely still in its held position for the first half second. <<<alma>>> lifts his own right hand up off the grass and clasps it into the waiting hand in a football grip, thumbs locking, forearms crossing. The instant the grip closes, <<<friend>>>'s arm takes the load and pulls, hauling <<<alma>>> up and forward off the grass. <<<alma>>>'s weight comes onto his feet and he rises up through the fixed frame, his head and shoulders passing out through the top edge while the joined hands stay in shot, the segment ending with him standing and the grip still closed.
CUT 2 — Both players are on their feet, hands still gripped between them, facing each other, standing close. <<<alma>>> brushes grass off his hip with his free hand. <<<friend>>> says "You good?" — on the words his chin lifts sharply up and drops back down once, a quick questioning flick of the head, eyebrows raising with it. <<<alma>>> answers "Yeah, thank you," nodding twice, chin dipping down and up, breaking into a grin. They release the grip, <<<friend>>> clapping a hand once onto <<<alma>>>'s shoulder. Behind them across <<<pitch>>>, teammates in red and opponents in black jog back toward their positions at different distances, one opponent in black walking past in the midground without looking at them, another red teammate further back pointing and calling to someone off frame, the play resetting.
CUT 3 — Seen from high above, the two players separate from the spot on the grass and move in opposite directions across the pitch. <<<friend>>> breaks away with short bounding hops, both arms pumping up and down above his shoulders, rallying his side, head up and turning toward the far end of the pitch. <<<alma>>> jogs the other way at 12 km/h back toward his position, settling into his shape, glancing once toward the ball. Around them in the wider frame, three or four red teammates and three or four black-kitted opponents jog and walk into their own positions across the grass, spreading out into a shape. The scuffed patch of grass where he fell stays visible between the two leads.

PERFORMANCE
CUT 1 — <<<alma>>>'s face is flushed and out of breath, but the strain breaks the moment the hands lock: eyes crinkling at the corners, mouth pulling into a half-laugh at himself, a short exhale of relief. <<<friend>>>'s face is out of frame, his ease reading through the loose confident set of his arm and shoulder as he pulls.
CUT 2 — Both are warm and unguarded. <<<friend>>>'s smile is quick and lopsided, eyebrows lifting with the question, eyes going straight to <<<alma>>>'s face and staying there. <<<alma>>>'s grin is wide and slightly embarrassed, head shaking once as he nods. Their eye-line holds on each other for the whole exchange. Shoulders squared toward one another, no distance between them.
CUT 3 — Read entirely from body language at distance. <<<friend>>>'s posture is fired up and serious, all drive and momentum, chest out, arms hard and rhythmic. <<<alma>>>'s is loose and recovered, an easy jog, one hand tugging his shirt straight as he goes.
Throughout — young athletic faces in their early twenties, pore-level skin detail, sweat sheen on both faces and necks, capillary flush across cheeks from exertion, hair damp at the temples, catch-lights from the open sky sitting high in both eyes, visible chest rise and fall.

PHYSICS
<<<alma>>>'s full body weight loads onto the joined hands as he is pulled — both men's forearms tensing, <<<friend>>>'s stance widening and his shoulder dropping to take it, <<<alma>>>'s boots digging into the turf and kicking up small divots of grass as he comes up. Loose grass and dirt fall from his kit and shoulders as he rises. Sweat-damp fabric clings and stretches at the shoulders. Tight contact shadows under every player on the grass. Turf compresses and springs back under every stride in CUT 3.

LIGHTING
Bright open daylight, high sun slightly off to the left, hard key from above and camera-left throwing crisp shadows down onto the grass. Huge soft fill from the open sky wrapping both faces and lifting the shadow side. Green bounce coming up off the grass onto their jaws and the undersides of their arms. Red shirt fabric drinking the hard sun on the shoulders and going rich and dark in the folds, while the opposing black kit holds a bright specular sheen along the shoulders and sleeves that keeps it separate from the grass. Exposure sits bright and clean with the sky as the brightest field and no crushed shadows. White balance fixed at 5600K.

WARDROBE
Both leads in the red kit shown in the references, worn as real sweat-damp athletic fabric on moving bodies. <<<alma>>>'s kit is grass-stained down one hip and shoulder from the fall, fabric pulled and sweat-darkened at the chest and back, shirt hem partly untucked. <<<friend>>>'s kit is clean but sweat-marked at the chest and under the arms. The opposing team wears an all-black kit cut in the same style — black short-sleeved shirt, black shorts, black socks — matte fabric picking up a sheen where the sun hits the shoulders.

AUDIO
<<<friend>>>, warm male voice in his early twenties, slightly out of breath: "You good?"
<<<alma>>>, male voice in his early twenties, breathing hard: "Yeah, thank you."
Scuff of boots on turf, the slap of the hand clasp, both men breathing heavily. Behind them, distant shouts from other players, a whistle further off, a low crowd murmur from the stands, wind across an open pitch. No music.

STYLE
Photorealistic live-action, handheld documentary realism, natural daylight, warm saturated greens, fine organic film grain, no stylisation.

OUTPUT SETTINGS
8K, 24fps, real-time speed in all three segments, anamorphic-neutral framing.

POSITIVE LOCKS
Frame one reproduces the geometry of <<<bridge_frame>>> exactly — same camera height and profile angle, same body position for <<<alma>>> propped on both elbows with his head toward the right of frame, same hand position for <<<friend>>> with the forearm angled down across the centre right of frame, palm turned inward, fingers spread and half curled at throat height.
The CUT 1 camera stays locked in one fixed position for the whole segment, holding the same height, angle and frame from the first to the last frame while the men move within it.
<<<friend>>>'s hand stays completely motionless until <<<alma>>>'s hand reaches up and clasps it.
<<<alma>>> initiates the clasp; the pull begins only after the grip closes.
Both men are 20 years old, living and healthy — clear eyes, clean unbroken skin, normal colour, young athletic faces.
<<<alma>>> and <<<friend>>> both stay in the red kit from the references in all three cuts, with <<<alma>>>'s grass stains down one hip and shoulder consistent in every cut.
In CUT 2 the bottom edge of frame stays at their waistline for the whole segment, both men seen from the belly up with their legs out of frame.
Six to eight other players are on the pitch behind and around the two leads in CUT 2 and CUT 3 — teammates in the same red kit and opponents in all-black — moving into position while the two leads hold the foreground.
The pitch, markings, goalposts and surroundings stay identical to <<<pitch>>> across all three cuts, same daylight, same weather.
Both men smile and hold eye contact with each other through CUT 2.
<<<friend>>>'s chin flicks up and back down once on the line "You good?"; <<<alma>>> nods twice on "Yeah, thank you."
In CUT 3 the camera stays high and to the side, faces small and unreadable, and the two leads move in opposite directions from the same spot on the grass.
In CUT 3 <<<friend>>> stays facing away toward the far end of the pitch, hopping and pumping both arms above his shoulders.
Identity-locked faces for both men in CUT 1 and CUT 2.