Use image 1 as the reference for her full body, black lace dress, boots, rosary and broom. Use image

Use image 1 as the reference for her full body, black lace dress, boots, rosary and broom. Use image 2 as the reference for her face, eyes and hair. A 25-second vertical 9:16 found-footage clip filmed on a phone by a passenger through the side window of a moving car on a wet country road beside a dry cornfield. An old witch in black lace races the car on her broom, staring into the camera from the very first frame, vanishes, comes back and flies straight into a roadside warning sign. She catches up again, knocks on the glass, then shoots up into the stormy sky, flies into a huge flock of crows that bursts up from the field and spirals down into the corn in a cloud of black feathers. It ends on crows circling above the spot where she landed. MAIN SUBJECT A tall, gaunt old woman with very long, thin, wild grey-and-black hair that streams behind her in the wind. Her face is pale grey and deeply lined, with sunken dark-rimmed eyes, faint dark streaks running down from the eyes, and thin, tight lips. She wears a long, heavy black lace dress, layered and torn into ragged edges at the hem and sleeves, with a high black collar and a small white clerical collar tab at the throat, and worn black leather boots. Long dark wooden rosary beads with a carved wooden crucifix hang from her bony, pale hands. Her broom has a long, twisted, knotted brown wooden handle and a thick bundle of dry black twigs tied with rope. The black lace is thick and opaque and stays in place in the wind and rain. LOCATION AND HEIGHT A narrow two-lane wet asphalt country road with a strip of wet grass on the shoulder. Right next to the road: a field of dry, dark brown corn stalks, about 2 metres tall. Middle distance: rows of corn running to a low line of bare and rust-brown autumn trees. Background: a heavy, dark, stormy grey sky with low rolling clouds, always visible above the field. Ahead, the road bends gently to the left. On the grass shoulder stands ONE diamond-shaped yellow metal warning sign with a black curve arrow, on a single grey metal post, its panel about 2 metres above the ground. Hidden in the corn, about 100 metres from the road, sits a large flock of black crows, several hundred birds. Light drizzle: raindrops on the side mirror and the window glass. The car drives at about 50 km/h. When flying beside the car, she stays at window height, about 1.5 metres above the ground and 1.5 metres from the glass, which puts her exactly in line with the sign. Later she climbs to about 60 metres. No other cars and no people. CAMERA AND LOOK Handheld vertical phone footage from the passenger seat. The black door frame, window seal and rain-speckled passenger side mirror in the lower left corner stay visible, and the passenger's dark jacket shoulder sits in the lower right corner. Natural hand shake, quick unsteady pans, delayed autofocus when she comes close, faint raindrops on the glass, mild compression noise, desaturated cold tones, low contrast, strong motion blur on the corn. One light source: dim, flat stormy daylight with soft shadows, the same through the whole clip. No glossy beauty lighting, no artificial rim light, no heavy grading. The phone and the person filming never appear as a reflection. CONTINUOUS STORY 00:00-00:02 THE RUNNING START The car is already moving. She runs on the grass shoulder barely one metre from the window with the broom between her legs, holding the handle in front of her, her boots slapping the wet grass. Her head is already turned toward the camera, and her sunken eyes are locked on the lens from the very first frame, face clearly visible, hair streaming back. She keeps staring into the camera as she runs. On the third stride she kicks off hard, both boots leave the ground, she leans flat along the broom and shoots forward low and fast, passing the car and leaving the frame to the right. 00:02-00:04 GONE The phone swings forward to follow her, but there is only the empty wet road bending to the left ahead, then it pans back to the window. The grass shoulder is empty, only the corn streaks past. 00:04-00:09 BACK ON THE BROOM First the twig end of the broom slides into frame from the left, then she glides back in from behind the car, now sitting sideways on the broom, flying level beside the window. She is seen in profile, lips whispering, hands folded around the rosary. She slowly turns her head toward the camera, hair blowing across her face, sunken eyes locked on the lens, then opens her mouth in a long silent hiss. She keeps staring at the camera, not at the road. 00:09-00:10 THE SIGN The yellow warning sign comes up on the shoulder exactly in her flight line, between her and the field. Still staring at the camera, she flies straight into it. ONE hard contact: her shoulder and head slam into the metal panel with a loud clang, the panel bends backward, the post tilts, and she flips over the top of the sign and drops out of frame behind it. Twigs from the broom and a few corn leaves burst into the air. 00:10-00:12 EMPTY AGAIN The car keeps driving. Through the window, only the cornfield and the wet shoulder, with a few broken twigs and leaves still fluttering in the air. The phone shakes slightly. 00:12-00:15 SHE CATCHES UP She glides back into frame from behind the car, seen first from behind, her back toward the camera, hair whipping wildly forward around her head, the lace now torn wider at one shoulder. Then she turns her head over her shoulder and glares into the lens, furious, a fresh smear of dirt across one cheek. 00:15-00:18 THE KNOCK She drifts right up to the window until her face and shoulder fill half the frame, hair slapping against the glass. She raises the wooden crucifix and taps it against the window TWO times: two clear contacts, each one shaking raindrops loose on the glass. The passenger's shoulder jerks back in the lower right corner. 00:18-00:20 SHE SHOOTS UP She snaps away from the window, tilts the broom handle up and climbs steeply over the cornfield. The phone tilts up to follow her: she shrinks to a dark figure on a broom against the grey clouds, about 60 metres up, the cornfield in the lower part of the frame. 00:20-00:21 THE FLOCK Below her, about 100 metres from the road, a huge flock of black crows bursts up out of the corn all at once, a dense black cloud of several hundred birds rising fast, straight into her flight path. 00:21-00:23 INTO THE CROWS ONE continuous shot, no cut. She flies straight into the flock. The crows swirl around her and cover her and the broom in a flapping black mass, the broom handle jerks in all directions, and she loses control. She tips into a tight corkscrew spiral and falls toward the field, trailing a long twisting stream of black feathers and broken twigs behind her, with crows peeling away from her on every turn. The phone shakes as it follows her down. 00:23-00:25 THE LANDING About 150 metres from the road she drops into the cornfield. A burst of dirt, broken corn stalks and black feathers kicks up from the spot, and a slow cloud of feathers and dust hangs above the corn. The crows settle into a wide circle above the spot, turning slowly against the grey sky. The car keeps driving. The frame cuts on the circling crows. SOUND Only natural sound: steady engine hum, wet tyre noise on asphalt, wind and light rain against the window, her boots slapping the wet grass, a passenger's sharp gasp when she disappears, a low rapid whisper when she is close, a long dry hiss, a loud metal clang and a scrape of the bending sign, a passenger's short shocked laugh, TWO sharp wooden taps on the glass, the sudden roar of hundreds of wings as the flock bursts up, loud harsh cawing, frantic wingbeats around her, a dull thud and crunch of corn at the landing, then distant cawing, engine, wind and rain. No music, no narration, no laugh track. ESSENTIAL CONTINUITY Stages in order: the running start, gone, back on the broom, the sign, empty again, she catches up, the knock, she shoots up, the flock, into the crows, the landing. The car always drives forward in the same direction, and the field is always on the same side of the frame. In the running start her eyes stay on the lens the whole time, and she has strides, a kick-off and a launch. There is ONE yellow sign on ONE post, she hits it ONCE, it stays bent afterwards, and she never passes through it. The crucifix makes exactly TWO contacts with the glass and never passes through it. ONE flock rises from ONE spot in the field, the birds stay solid and never pass through her, and only black feathers fall, no smoke and no fire. ONE spiral fall and ONE landing, in the cornfield and not on the road. The window frame and side mirror stay visible in every shot, the stormy sky and light stay the same, and the drizzle never stops. Preserve her face, hair, black lace dress, white collar tab, boots, rosary and broom throughout. After the sign hit, the torn shoulder and the dirt on her cheek remain. No repeated attempts, slow motion, teleportation, duplicated people, changing outfits, CGI appearance, captions, subtitles, watermarks, recording interface, visible phone, camera operator reflection, gore, blood, smoke, fire, lightning.