[STYLE + CAMERA + ATMOSPHERE] Daylight blockbuster over a glass city. One continuous camera that sta

[STYLE + CAMERA + ATMOSPHERE] Daylight blockbuster over a glass city. One continuous camera that starts on the gravel, rises with the run, enters a long BULLET TIME pocket on the jump, then snaps back to full speed and follows her into the cabin. Rotor downwash, readable city towers, physical space the whole way. The roof lip, the near landing skid, the open side door, the pilot's seat, and the drop beside the building. SAFETY/TONE: the gunner and pilot are opponents who are ejected from the aircraft but their fates are left off-screen (they fall past the building into open air, no impact shown, no blood, no gore); this is stylized action-movie violence, played straight but not graphic. NO dialogue, no voices, no talking anywhere. [CHARACTERS] GRANNY. The same overweight elderly woman — pale pink floral bathrobe, tight silver-gray permed curls (never bald), slippers, handbag strapped across her chest. She runs at the helicopter, jumps, hangs, climbs, and takes the cockpit. Her movement is committed and physical but never acrobatic — ordinary human effort, real weight, grim composure; her impossible strength and unbothered calm are the whole character. GUNNER. He stands in the open side door, an M4 shouldered out into the wind, boots braced on the cabin sill. He tracks, fires, leans out, and tries to stamp the hand that reaches for him. PILOT. He sits in the front left seat, headset on, flying the approach, then yaws the aircraft to shake her off, then goes for a pistol, then fights the drag to the door. [PLACE] A wide skyscraper rooftop, gravel and low HVAC, daytime. A helicopter comes in along the skyline, the side door already open, the landing skids below the cabin. It drops until the near skid rides just above the roof edge, parallel to the building, with a short jump of open air between gravel and metal. [TIMELINE — EVERY 1.5 SECONDS] 0.0–1.5s. The camera is on the gravel, looking up at the granny crouched behind an HVAC box, staying small, curls tucked down, handbag clutched to her chest. The helicopter is already coming in fast along the skyline, city behind it. The gunner is in the open door, watching the roof. 1.5–3.0s. The granny lifts her head and sees the helicopter. Her jaw sets — it's now or never. She breaks from the crouch and moves straight at the roof edge the helicopter is lining up on, a heavy determined run, bathrobe streaming. The pilot banks the nose toward the building and starts the descent. 3.0–4.5s. The gunner shoulders the M4 and fires a burst at the runner. Rounds chew gravel ahead of the granny's left slipper. She cuts right without flinching and keeps closing. The pilot sideslips so the open door faces her. 4.5–6.0s. The gunner walks the next burst to follow the cut. Rounds spark the HVAC she just left. She drops a shoulder and holds her line toward the lip, curls flattened in the rotor wash. The helicopter drops until the near skid is almost level with that lip. 6.0–7.5s. The gunner leans out of the doorway, one boot planted on the sill, and fires shorter bursts as the gap shrinks. A round passes at her hip and spalls a roof light. She weaves once and does not break for cover, committed to the edge. 7.5–9.0s. The pilot holds the helicopter parallel, the skid running just above the lip, a few meters of air between them. The gunner dumps the rest of the magazine along the lip. The granny hits the lip at full stride. 9.0–10.5s. BULLET TIME begins as her slippers leave the gravel. Time almost stops. She is in the air over the drop, bathrobe and curls frozen mid-billow, both hands reaching the near landing skid. Two bullets hang behind her with visible shock cones, one at her back, one at her calf. Neither touches her. The gunner is frozen mid-lean in the door above, the bolt locking back, a brass case hanging in the air beside the empty mag well. 10.5–12.0s. BULLET TIME. Her hands close on the skid. Her body starts to swing under the bar, slippers over empty city. The gunner's eyes are wide, the muzzle dropping as he sees her already on the bar. His free boot is coming down toward her hands on the skid, the stamp caught halfway. 12.0–13.5s. BULLET TIME. The granny hangs, one arm locked over the skid, the other reaching up toward the gunner's sill-boot with unbothered calm. The gunner's stamp is still coming, the sole aimed at that reaching hand, fear plain on his face. A third bullet hangs between them, already past her ear from the last burst. 13.5–15.0s. Time snaps back to full speed. The gunner's stamp misses the hand and hits the door frame. The granny gets that boot and yanks downward with her whole weight and impossible strength. The gunner pitches forward out of the doorway. 15.0–16.5s. The gunner catches the door frame with one hand. The empty M4 swings on the sling and hits the frame. The granny keeps the yank on the boot. The pilot, seeing it in the side window, yanks the cyclic to shake her off the skid. The helicopter lurches. 16.5–18.0s. The lurch is a beat late. The gunner's fingers slip. He falls past the skid, past the hanging granny, and drops away into the open air beside the tower (his fall continues off-screen, no impact shown). The pilot keeps the yaw going, trying to peel her off the bar. 18.0–19.5s. The swing throws the granny's legs out, but she is already hauling herself to the door sill with steady grandmother effort, one hand on the frame, a knee coming up. In the cockpit the pilot leaves one hand on the cyclic, twists back, and pulls a pistol from the door pocket. 19.5–21.0s. The granny is in the cabin. The pilot fires one wild shot into the cabin roof. She ducks the line and crosses the short cabin under the rotor noise, eyes level on the pilot, the open door still behind her. 21.0–22.5s. The granny strikes the pilot across the side of the head — one flat, heavy, unhurried blow. The pistol clatters into the footwell. The pilot is still harnessed. The cyclic goes light and the helicopter yaws over the street grid. 22.5–24.0s. The granny pops the harness. The pilot grabs her wrist with one hand and the cyclic with the other, trying to fly and fight at the same time. Slippers brace against the pedestal. The city slides sideways in the windshield. 24.0–25.5s. She breaks the grip without visible strain and drags the pilot backward out of the seat toward the open door, using the yaw. The pilot's heels scrape the cabin floor. A glass tower is starting to fill the right side of the windshield. 25.5–27.0s. At the door lip the pilot catches the frame with his free hand. The granny drives a shoulder into him and shoves. The pilot loses the frame, goes out into the slipstream, and falls away beside the building (off-screen, no impact). The doorway is empty. She turns back to the cockpit. 27.0–28.5s. The granny drops into the right-front seat and takes the cyclic. The glass tower is close on the right, individual facade windows readable. She hauls the cyclic left. 28.5–30.0s. The helicopter banks left. The tower face slides along the right window and falls behind. She is alone in the cockpit, rotors steady, the avenue opening under the nose, curls settling. Hold on her hands on the cyclic and the city moving correctly past the glass. [STYLE & QUALITY BOOSTERS] The daylight blockbuster has readable space every 1.5 seconds. She runs toward the helicopter. The pilot flies the parallel pass. The gunner tracks and fires and then stamps at the hands on the skid. BULLET TIME covers the jump, the grab, and the reach. After the snap back the gunner is pulled out by the boot and falls. The pilot yaws, shoots, and fights the drag before he goes out the same door. The granny takes the seat and banks clear of the tower. One continuous camera. Her movement always committed but non-acrobatic — real weight, grim calm, impossible strength; the whole hook is an ordinary grandmother doing this without ever losing her composure. Frozen bullets miss her in bullet time; ejected opponents fall off-screen with no impact, no blood, no gore. NO dialogue, no voices, no talking, no music.