Rachel outside at night. Wearing a hoodie. She's aged 15 years or so from her character reference. P

Rachel outside at night. Wearing a hoodie. She's aged 15 years or so from her character reference. POV shot. Rachel is fuming angry. Screaming, and acting wild. hitting Jonas. Jonas who is holding the camera, but is not shown. He is trying to calm her down. Rachel keeps repeating "How is that fair to me Jonas? How is that fair?!" as tears well in her eyes and her makeup runs down. She looks unkempt. 30-second argument sequence with five hard cuts. Create a tighter medium-wide two-shot showing both characters from roughly the knees up, with the porch entrance and driver’s side of the car visible. BLOCKING LOCK: Mom stands near the foot of the porch steps, screen-left. Rick has already exited the car to the left. He stands fully outside the car, one step left of the open driver’s door and closer to the camera. The open door is behind Rick’s body and never blocks him. Rick remains screen-right overall. They face each other and never switch positions. PERFORMANCE: Rick is mildly drunk but charming: loose posture, slight sway, delayed reactions, and an easy half-smile. Mom is openly hostile and contemptuous. She speaks with biting sarcasm, glares at him, talks over his excuses, and uses sharp accusatory gestures. She is mean and personally cutting, not merely annoyed. No warmth toward Rick. SHOT 1: Tighter medium-wide two-shot, not the full establishing view. Rick is fully visible in front of the open driver’s door. Mom glares at him and delivers with vicious sarcasm: “Really nice, Rick. You were supposed to be here two hours ago.” SHOT 2: Over Mom’s shoulder toward Rick. The open car door remains behind Rick and does not obscure him. With a charming half-smile: “What? There was traffic. Come on. I’m here now.” SHOT 3: Reverse over Rick’s shoulder. Mom scoffs and cuts him off sharply: “Traffic? You live 10 minutes away.” SHOT 4: Medium on Rick with the open door behind him. He sways slightly and gestures toward the house: “Well I used to not even drive, to my own freaking house that I paid for.” SHOT 5: Return to the exact tighter Shot 1 composition. Neither character changes position. Mom leans forward, points at him, and unloads with cold contempt: “Yeah Rick, you paid for half the house. And you don’t spend half the time watching your son. How is that fair to me?” She keeps glaring after the line.