Morwen and Brant fight in Morwen's Shanty at dusk, shot by shot, showing what each of them is doing

Morwen and Brant fight in Morwen's Shanty at dusk, shot by shot, showing what each of them is doing all the way through: 0:00–0:01.5 — Full shot, both bodies head to toe, eye level, handheld; episode opener, cutting straight into his lunge already underway. Brant in image3 is mid-lunge from the torn sacking door, body low and pitched forward, shoulder leading, axe trailing past his hip; at the same time Morwen in image2, back to the hearth with the bubbling pot gripped by its rag-wrapped handles, is already stepping sideways toward the timber post, the pot swinging up with her step, and his shoulder skims past her by a finger's width. 0:01.5–0:02.5 — Same shot, slight push as she swings; striker, pot and collarbone in one frame. Riding that sidestep she brings the pot up to her shoulder and swings it two-handed down onto his near collarbone, while he, driving on forward, twists his head away and throws up his left arm too late; the pot lands solid first, then splits along its crack. 0:02.5–0:03 — Medium shot, handheld. One half drops into the mud at the foot of the hearth, its curve full of bubbling black paste; black paste slops across his chest and the scald tears a howl out of him as he lurches on; she is already springing back a step toward the post, flinging the shard in her hands aside. 0:03–0:04 — Full shot, short pan with his skid, hearth along frame left. Howling, he is carried on by the force of his charge, boots skidding through the mud the whole length of the hearth to the stove end, where his front foot digs into the mud; meanwhile she sidles along the post end of the hearth, eyes tracking him, feet shifting, hands up in front of her. 0:04–0:05 — Full shot from waist height, the action crossing frame. That foot wheels his hips round and he whips the axe out flat, hips first, shoulders following, right arm last, a level arc at the height of her head, faster than a man that size should move; as soon as she sees him turn she is already dropping, slamming her hip against the stones at the hearth's right end and sinking, knees deeply bent, upper body upright, until her head is level with the stove's mouth; she is crouched, not lying down, not falling. 0:05–0:05.5 — Same full shot. The blade passes above her hair, lifting a few strands, and bites into the timber post behind her exactly where her head was, chips bursting out; under it she ducks her head lower and twists her shoulders away toward the hearth, one hand pressing into the mud. 0:05.5–0:06.5 — Same full shot, handheld. He rips the axe straight back out of the post, trailing chips and shaking snow down from the canvas roof, leaving a fresh gash; as it comes free she shoves off the mud with that hand and starts to spring up out of the crouch to slip away along the hearth, and the rip swings his whole weight down toward her as she rises. 0:06.5–0:07.5 — Full shot, handheld; hitter and hit in one frame from contact. He turns the rip into a charge: shoulder low, rear leg driving like a wolf's pounce, he rams her from half a step and catches her halfway up; her hands slam against his shoulders, his shoulder hits her chest and belly, her feet leave the ground about a forearm high, her body folded over his shoulder. 0:07.5–0:08 — Handheld tilt down with the fall, eye level dropping to near the ground. The two of them come down together at a slant, she flinging one arm out to catch herself, her back hitting the mud floor first at the foot of the hearth's right end, head toward the post, the half pot beside her head; mud splashes as high as the hearth's stone lip. 0:08–0:09 — Low angle near the ground, full shot of both. His full weight lands on her chest as he heaves himself up onto her; she cries out as her ribs give and twists under him at once, kicking, both hands shoving at his chest. 0:09–0:10 — Close shot near the ground, both faces and his left hand in frame. Growling, he bears down, axe hand swinging back toward the hearth stones, his left hand driving down onto her shoulder; she grabs his wrist with both hands and wrenches at it, her head twisting aside; he is on top, she underneath, never merged. VISUAL STYLE: Character looks and surface texture follow the reference images; art style, palette, sky and lighting follow the words on this line, and the words win where the two disagree; motion and camera movement carry natural motion blur. Art style: Realistic live-action footage: real camera optics, natural light and real skin texture; not animation rendering. Series palette: Cold desaturated slate-grey, snow-white and black-pine green dominate with low saturation and firm contrast; warm accents come only from fire, gilded mail, blood and the orange glow of coals. Time of day and light: dusk. Cold blue-grey dusk seeping through canvas seams and gaps, against the low orange glow of peat coals from the stove; deep shadows in the corners, smoke and steam in the air. ENVIRONMENT LOCK: Morwen's Shanty in image1. Fixed landmarks for the whole scene: the stone hearth with the squat clay stove at frame left against the back wall, peat glowing red in its belly; the timber post standing right at the hearth's right end; the torn sacking door centre back with snow beyond. Line of action runs door to hearth; the camera stays on the open room side facing the back wall for the whole scene. Brant comes from the door end; Morwen begins with her back to the hearth front, between stove and post. Light: grey dusk through the canvas, red stove glow from the hearth at frame left. Props: cracked clay pot in image4, A round-bellied clay cooking pot with a visible crack down one side and rag-wrapped handles. Cooking pot about the width of two hands. Full of thick black bubbling tar, popping and steaming, until it splits; from then on its broken half lies in the mud, black paste bubbling in its curve. Where the shot text calls this prop by a shorter name, it means this one. Brant's battleaxe in image5, A heavy single-bitted battleaxe with a chipped, notched iron blade and a long dark ash haft wrapped in leather at the grip. Hand weapon, haft about arm's length. Where the shot text calls this prop by a shorter name, it means this one. Locks: only these two people in the shanty; one chipped battleaxe always in Brant's right fist, same length and shape, never duplicated or changing hands; one cracked clay pot, and once split its half stays in the mud at the hearth foot, paste black and bubbling, never whole again; the paste on his chest stays. The axe stays in his right fist the whole time, same length; his fist never lets go of it as it bites into the post and rips back out; the blade goes above her head, never touching her; the gash in the post stays. CHARACTER LOCK: Morwen, whose look follows Morwen in image2: Young woman in her early twenties, slight build, a little thinner; pale wind-chapped face with fine cheekbones and obsidian-grey eyes; long dark-brown hair roughly tied back; herb-stained fingers reddened by cold; costume: The old bridal linen gown worn greyed and mud-hemmed with faded brown stains, tied at the waist with cord, under the frayed wool cloak; scuffed, mud-caked leather boots. Brant, whose look follows Brant in image3: Huge man in his early thirties, very tall and heavily muscled; thick white bone spurs punched through the skin of both wrists and jutting along his jawline, dragging his lower face toward a wolf's muzzle; long yellow wolf fangs; eyes bloodshot crimson with the whites drowned; thick dark-brown beard rimed with frost; shaggy dark-brown hair; costume: Battered leather mail over wool, split open at both cuffs and at the collar where bone has pushed through; heavy belt, fur-wrapped boots. Morwen in image2 and Brant in image3 have clearly distinct looks; never draw them with the same face. Performance: [Brant] Charges blind with animal weight, every movement heavy and driving; sinks a little under the blow but keeps going; [Morwen] Moves only when he is almost on her, face set and pale; the swing comes from her whole back. At the axe: [Brant] Whole-body swing, the fastest move in the scene, the power climbing from waist to shoulder to the axe head; hair and cloak lag behind; [Morwen] Drops in a crouch with her torso upright, eyes squeezed half shut as the blade passes. Stakes: she has nothing but the pot and one chance to use it; the axe is the closest she comes to dying. CAMERA AND SOUND: Real 28mm lens throughout, one camera set-up per timed line above, cutting on the action. Sound: No one speaks anywhere in this segment. The sounds follow the action in order: his roar, the dull thud of clay landing on bone, the sharp crack of the pot splitting, the hiss of black paste against cold air; then his howl, boots skidding through slush, paste hissing on his chest; then the whoosh of the axe, the heavy thunk of the blade biting wood, the loudest sound in the scene, chips and falling snow; then the axe ripping free, the heavy thud of two bodies in mud, her cry, his growl. A low pulse runs underneath throughout and deepens at the axe; as they hit the mud a pounding drum like a racing heart kicks in, fast and heavy. Full dialogue: this segment has no dialogue; no character says anything. No speech, voice-over or humming is generated in this segment; the sounds written in the sound line (including wordless vocal sounds) do occur. No subtitles, spoken-line text, name tags, titles, watermarks, captions or explanatory text appear anywhere in the frame. Avoid: extra fingers or claws, faces drifting, the axe bending, lengthening or multiplying, bodies merging or clipping, teleporting, pointless slow motion, text or watermark, the pot breaking before it touches him. Seamless action continuity and consistent character designs throughout.