Giant Stone Snake Woman Horror Short

part A: [Reference Image and Global Visual Lock] Use the reference image swaglisa_a_group_of_full_body_portrait_of_Chinese_celestial_s_706ffaf8-e10a-4ea9-ad24-6149483cf289_2 as the primary visual basis for the giant female face, the snake swarm, and the old street environment: a blue-gray, damp, peeling giant woman's side profile, eyes closed, brows, eyes, and lips kept calm; thick snake bodies coil around the hairline and the ridges of old houses, snake heads hanging down toward the alley. Old tile roofs, wooden windows, and low walls establish a realistic scale. The giant face initially appears like a massive mural and bas-relief attached to the gable of an old building, about six meters tall. The snake swarm initially appears as gray-black stone with moss marks and cracks. It is not a phantom floating in the sky. The location is an abandoned old street after rain, with evening daylight still sufficient to see details clearly. The alley is about four meters wide, the giant face is on the gable at the end, with low tile-roofed houses on both sides. Wet flagstone road reflects the cold-colored sky. The girl stands about two meters in front of the giant face, the boy about three meters in front of her, with a straight retreat path behind them. [Character Lock] The girl about 28 years old wearing decorative glasses wearing and stockings purple high heels, is the boy's adult companion. She initially enjoys being filmed, unaware of the ghost story rules. After danger occurs, she shows genuine fear, will turn to the boy for help, and does not suddenly become a ghost or wear a smile that foresees everything. The boy holds the phone in his right hand throughout, using his left hand for help-seeking contact. Only one filming phone; no second phone appears in frame. [Realistic Filming and Monster Texture] iPhone rear camera handheld recording, auto exposure, white balance, and focus. Slight breathing shake, walking bounce, close-range focus delay, natural motion blur, and realistic shadow grain. Preserve the on-site feel of ordinary phone video; no slow motion, drone, orbiting camera, or continuous digital push-in. The monster has clear physical weight. After the stone shell breaks off, wet scales are revealed; the snake belly pushes along the ground, the snake body presses down tiles, knocks wooden components, drags fabric. The monster cannot pass through buildings like smoke. Only one main snake at the upper right of the giant face fully activates and carries out the pursuit; the remaining snake-shaped reliefs stay in the background. The main snake is about half a meter in diameter, with a head about one meter long, gray-black scales, dark gold eyes, and always maintains the same appearance. No background music, narration, or explanatory subtitles. Use wind, eaves dripping, footsteps, fabric friction, tiles falling, stone shell cracking, and scales dragging on the ground. Segment One | "When I open my eyes, you move in close to shoot." | 0–15 seconds 0–4 seconds: First see her, and also clearly see the giant face behind her. The shot begins with a medium-long full-body view of the girl. She stands on the wet flagstone road, the giant face emerging from between the roofs behind her, the closed-eyed side profile and coiling snake swarm clearly visible. She glances at the giant face, finds the background special, then turns to the boy. Her body turns slightly to form a natural S-curve, shoulders relaxed and lowered, neck elongated, legs staggered front and back. Her right fingertips brush stray hair from the side of her neck, half-lidded eyes looking at the camera, a slightly intimate smile at the corners of her mouth: "Put me and her in the shot together." The boy slightly adjusts the phone angle so the real girl and the giant face's side profile behind her form a front-back echo. 4–8 seconds: She allows the camera to come closer. She mimics the tilt direction of the giant face, lightly lifts her chin, slowly closes her eyes. Her right fingertips stop at the side of her neck, left hand hangs naturally, body does not keep swaying. With eyes closed she says softly: "When I open my eyes, you move in close." The boy takes a small step forward, the camera sinks with the footstep, then naturally returns level. The composition gradually changes from full body to above-the-knee framing, the giant face's eye area always remaining at the top of the frame. She waits quietly for half a second. Raindrops fall on distant tiles, on-site sound is clear. 8–11 seconds: She opens her eyes, and the eyes on the wall also open. The girl slowly opens her eyes, first looking at the camera half-lidded, then revealing a slight smile waiting for a response. **The upper eyelid of the giant face in the background slowly lifts at the same moment.** The old wall skin at the corner of the eye is pulled, a bit of fine dust falls, revealing a huge eyeball with wet reflection. The real girl remains normal, still looking at the boy, unaware of the change behind her. The boy stops approaching, the camera lifts slightly, keeping both her face and the giant face's opened eyes in frame. It is not a cut, nor a separate insert of a monster face close-up. The girl notices the boy no longer responds, her smile begins to fade. 11–15 seconds: It is not looking at the camera, it is looking at her. The giant face's eyeball slowly turns downward, gaze landing on top of the girl's head. The lower jaw of the main snake at the upper right gently leaves the stone base, the snake head turns toward her. A few gray-black fragments fall along the wall surface, then a roof tile slides from the eaves, landing one meter behind her with a sharp crack. She first wipes away her smile, then turns her head to find the source of the sound. The camera pulls back slightly, reestablishing the spatial relationship between her and the snake head. A clear crack appears in the stone shell on the main snake's neck, inside which wet, bright scales move slowly. End of Segment One: She has just turned her head and sees the snake head hanging down toward her from above; the giant face has opened its eyes, and the main snake has not yet fully left the wall. part B: [Reference Image and Global Visual Lock] Use the reference image swaglisa_a_group_of_full_body_portrait_of_Chinese_celestial_s_706ffaf8-e10a-4ea9-ad24-6149483cf289_2 as the primary visual basis for the giant female face, the snake swarm, and the old street environment: a blue-gray, damp, peeling giant woman's side profile, eyes closed, brows, eyes, and lips kept calm; thick snake bodies coil around the hairline and the ridges of old houses, snake heads hanging down toward the alley. Old tile roofs, wooden windows, and low walls establish a realistic scale. The giant face initially appears like a massive mural and bas-relief attached to the gable of an old building, about six meters tall. The snake swarm initially appears as gray-black stone with moss marks and cracks. It is not a phantom floating in the sky. The location is an abandoned old street after rain, with evening daylight still sufficient to see details clearly. The alley is about four meters wide, the giant face is on the gable at the end, with low tile-roofed houses on both sides. Wet flagstone road reflects the cold-colored sky. The girl stands about two meters in front of the giant face, the boy about three meters in front of her, with a straight retreat path behind them. [Character Lock] The girl about 28 years old wearing decorative glasses wearing and stockings purple high heels, is the boy's adult companion. She initially enjoys being filmed, unaware of the ghost story rules. After danger occurs, she shows genuine fear, will turn to the boy for help, and does not suddenly become a ghost or wear a smile that foresees everything. The boy holds the phone in his right hand throughout, using his left hand for help-seeking contact. Only one filming phone; no second phone appears in frame. [Realistic Filming and Monster Texture] iPhone rear camera handheld recording, auto exposure, white balance, and focus. Slight breathing shake, walking bounce, close-range focus delay, natural motion blur, and realistic shadow grain. Preserve the on-site feel of ordinary phone video; no slow motion, drone, orbiting camera, or continuous digital push-in. The monster has clear physical weight. After the stone shell breaks off, wet scales are revealed; the snake belly pushes along the ground, the snake body presses down tiles, knocks wooden components, drags fabric. The monster cannot pass through buildings like smoke. Only one main snake at the upper right of the giant face fully activates and carries out the pursuit; the remaining snake-shaped reliefs stay in the background. The main snake is about half a meter in diameter, with a head about one meter long, gray-black scales, dark gold eyes, and always maintains the same appearance. No background music, narration, or explanatory subtitles. Use wind, eaves dripping, footsteps, fabric friction, tiles falling, stone shell cracking, and scales dragging on the ground. [Continuation Start Point] Continue from the last frame of Segment One September 25 (1)(4) . The girl has already turned her head to look above the gable; the boy is about two and a half meters from her, phone in right hand pointed toward her and the giant face. The giant face has opened its eyes, the stone shell on the main snake's neck is cracked. The tile that just fell is still on the ground behind the girl. Lighting, characters, clothing, giant face orientation, and street structure remain consistent. Do not reenact the eye closing, eye opening, or first tile drop. 0–4 seconds: The relief becomes a real snake. The main snake's neck bends outward, the stone shell falling off in chunks along the scale seams. The snake head droops down past the eaves, belly pressing over the eaves, bringing down a small row of old tiles. The thick snake body behind peels away along the wall, revealing dark marks previously covered by the body. The snake head drops to about half a meter above the ground, its shadow sweeping past the girl's feet. Scales and flagstones produce continuous friction, weight clearly palpable. The girl suddenly turns and runs quickly toward the camera, shouting briefly: "Run!" The boy backs away while filming, camera shake increases, but the snake behind her remains clearly visible. 4–8 seconds: It first blocks the direction, then catches up. The girl approaches the boy, the main snake's body pushing along the ground in an S-shape, the snake head rapidly sliding closer along her left side. The boy continues backing away about two meters, the girl and the main snake always kept in frame, proving the distance between them is shrinking. The snake head swings to her front-left, lifting to block the gap through which she could sidestep. She instinctively dodges right, her sole slips on the wet flagstone, she reaches out her right hand toward the boy for help. The boy's left hand extends from the lower part of the frame, grabbing her right hand. The snake body then loops around her waist from behind, forming a clearly visible coil. The coil has not yet tightened, and she has already begun using her other hand to push against the scales. 8–12 seconds: The reaching hand slips away from the palm. The snake body tenses, retracts toward the gable, dragging her along the ground backward. Her feet are still trying to find support, soles continuously scraping the flagstones, purple sleeve pulled taut forward by the drag. The boy grips her hand and backs away in resistance, the phone image briefly tilting from bodily effort. Their fingers gradually slide apart, contact going from whole palm to fingertips, finally separating. The boy loses balance, the phone slips from his hand and falls. After one rotation, the camera wedges beside a raised paving stone, maintaining a low-angle oblique view toward the giant face. The girl is dragged back to her opening standing position, one purple sandal coming off along the way, stopping in front of the camera. 12–15 seconds: She is posed back into the opening posture. The fallen phone remains fixed, the sandal in the foreground, the girl, snake body, and giant face in the distance. The snake body presses her against a long, narrow old plaster wall surface below the gable, keeping both feet on the ground, not penetrating the wall. The snake coil fixes her waist, forcing her body into the slightly turned posture from the opening. The snake head slowly extends from behind her shoulder, close to her side face. She does not dare turn her head again, raises her right hand to the side of her neck, blocking between the snake head and herself—exactly recreating the opening gesture. Above, the giant face slowly closes its eyes. But the girl widens her eyes, looking at the phone on the ground, lips trembling. In the last half second, the snake head tilts slightly toward the camera from behind her, as if also waiting for the shoot to finish. Only the girl's rapid breathing, nearby dripping water, and the slow tightening friction of scales remain in the sound. The image ends directly. [Key Constraints] - The girl's eye opening and the giant face's eye opening occur in the same frame, preserving a clear synchronized trigger. - The giant face always remains attached to the gable, expressing activation mainly through eyelid and eyeball movement, without the entire building additionally standing up. - Only one main snake completes the stone shell shedding, crossing the eaves, landing, blocking the path, and capture; it does not suddenly duplicate into a snake swarm. - The main snake first undergoes local movement, then gains full physicality; it cannot turn from a stone carving into a floating giant snake in one frame. - The girl is a genuinely frightened companion, always trying to escape toward the boy, and does not suddenly reveal an evil smile at the end. - The capture sequence is snake body around the waist, tightening, feet sliding, dragged back. Flying away without contact is prohibited. - The monster and characters maintain fixed scale; the narrow alley, eaves, and windows continuously provide reference. - After the phone falls, it no longer moves automatically; the final composition is formed by support from the paving stone, and cutting to a drone or external frontal camera position is prohibited. - The ending recycles the "group photo" through the same position, same side-turned posture, and neck-side gesture, without adding explanatory subtitles, blood, or a new monster.