# pistol.bubble-gum → THE LONG SECOND · STANDOFF · choreography doc v2 (KILLPAGES-A, 27 Oct)

v2 changes for the coordinator's OK:
- A point-blank MEXICAN STANDOFF, not a Leone western (flamer's PILOT LIGHT owns the gunslinger stare).
- The ankle is replaced by the ear and half the face.
- Faris's step-block is cut (no springboard casts).
- No slide down the gold: he pitches forward face-first and Faris rolls him with a boot.

Replaces the gum gag in the same key. LEGENDARY. Victim **AMJAD** (cap; a pistol, and a gold knife cast in the standoff). Faris
has the pistol.

Style: STANDOFF. Nose to nose with two guns on two foreheads, in silence: the sweat, the breath, the eyes. Then a few
explosive seconds that tear half his face off and take his gun arm, a one-armed last stand behind cover, and the long second
before he dies.

**Needs:** `{ kinds: ['FLOOR'], space: { w: 360 } }`, pointBlank–close, victims 1. Every prop is drawn or cast by the kill; no map
element is used. The Deep adapts: slowed motion, bubbles from the breath, the same beats.

**Look:**
- The standoff is a tight, hot, airless grade: skin sweating, a narrow key light between the two faces, black around them. Heavy
  grain and letterbox.
- The slow-mo beats go cold and desaturated.
- After the shots the grade opens up wide and cold.

**Length:** trigger to final about 21 s (scene about 18 s plus three slow-mo beats).

## BEAT SUMMARY (scene seconds; F = Faris, A = Amjad; they start nose to nose, the guns crossed, each muzzle on the other's forehead)

| t | AMJAD | FARIS | CAMERA / FX / SOUND |
|---|---|---|---|
| **0.0-6.6 NOSE TO NOSE** | His muzzle pressed into F's forehead, his arm shaking very slightly. Breathing hard through the nose, the nostrils flaring. At 2.6 **CAST (a)** 'blade': below frame, his off hand opens and a short gold knife inks into it (the camera sees it; F does not look down). A sweat bead runs from under the cap brim down the cheek to his chin. | His muzzle on A's forehead, rock still. Slow breaths; the exhale stirs A's sweat. His eyes never leave A's. Thumb rolls the hammer back (click), slowly. | 1 an extreme two-shot in profile: the two heads and the two crossed arms filling the frame, letterbox. 2 Inserts: the muzzles denting the skin, the two trigger fingers, A's eyes darting, F's eyes still, the knife inking low. 3 A slow orbit round the two heads (2.0-6.0), the guns staying locked in frame. Silence apart from the breathing and one heartbeat per second, rising. |
| **6.0-6.6 THE DROP** | The sweat drop falls from his chin. | — | **SLOW-MO 0.15**: an ECU follows the drop down past the crossed arms to the floor. The heartbeat alone. It hits: a tiny splash. Snap. |
| **6.6-8.4 THE SECOND** | The knife drives low at F's belly (the feint) and he jerks his head off F's muzzle while firing. | Twists off the knife (it slices his coat). Ducks his head off A's muzzle as A fires. Fires as A's head jerks. | **BULLET TIME 0.12:** A's round passes F's ear, the muzzle flash licking his temple. F's round meets A's jerking head side-on. **DISMEMBERMENT 1:** the ear and half his face are torn off: the cheek opens to the teeth and the jaw muscle, a flap of scalp and the ear spin away, and the cap goes with them. F's rounds 2-4 take A's gun arm at the elbow as it swings back on: **DISMEMBERMENT 2**, the forearm with the gun tumbles, the dead finger firing once into the floor. Snap back loud. |
| **8.4-10.4 THE DIVE** | Screams through the torn cheek. Throws himself sideways into a roll; mid-roll **CAST (b)** 'slam': his palm slaps the floor and a waist-high gold wall inks up. He lands behind it. | Walks after him, firing; the rounds chew the wall's edge (gold chips). | 4 a tracking dolly with the roll, cut on action. |
| **10.4-13.2 BEHIND THE WALL** | Back to the wall, gasping through half a face. Ties the elbow stump off with his belt, pulling it tight with his teeth on the side that still has a cheek (horror, d58Stare). Grips the gold knife. Listens to the boots. | Reloads walking: the magazine drops, the slap, the slide (close inserts in rhythm with his steps). | 5 handheld low behind the wall with A: the breathing, the face, the shadow of F's boots under the wall's bottom edge. |
| **13.2-15.4 OVER THE WALL** | Lunges up over the wall top with the knife. | Catches the knife wrist on the wall top and slams it down. Vaults the wall on his own: one hand on top, legs over (no cast). Lands facing A, still holding the wrist. | 6 a low angle past A's ruined face up to F coming over. **SLOW-MO 0.15:** F fires five rounds into A's chest, unevenly spaced, from arm's length. **THE OPENING:** the sternum splits, the ribs spring outward unevenly, the heart is hit, blood sheets down. Snap back, chromatic flash. |
| **15.4-17.6 THE LONG SECOND** | F lets go of the wrist. A stays up on his knees: the eyes on F, the mouth working, blood at the lips, the knife slipping from his fingers. A long beat. Then he pitches forward, face-first, onto the floor at F's feet. | Stands over him and watches. Then hooks a boot under his shoulder and rolls him onto his back. | 7 a slow push in on A's face through the long second, the wind back in. 8 a low side angle for the fall: the thud, dust. |
| **17.6-21.0 FINAL** | Face up, still. | Walks off. | 9 a crane down to him from the boot side, settling. At the exit the wall and the knife un-draw. |

## XT
- On his back where the boot rolled him. The dead face is upright to the frame (the camera rolls to it): half-lidded, bloodshot,
  a small drifted pupil.
- **Half the face is gone on the near side:** the ear torn away; the cheek open to the molars and the jaw muscle; a ragged skin
  edge with a scalp flap; blood from the mouth and through the cheek.
- The chest is opened: ragged skin edges, the sternum split, the ribs sprung unevenly (no pattern), the heart torn, blood
  pooling under him.
- The elbow stump belted off: a torn section with the humerus end, never a disc.
- On the floor:
  - the forearm with the gun still in the dead hand, a stride off;
  - the ear and the cap together where they landed;
  - the gold knife beside his hand.

**Dismemberment / opening / end pose (ANTI-TEMPLATE):**
- Dismemberment: the ear and half the face, then the gun arm at the elbow. Both come from the point-blank crossed guns: the
  graze is the standoff's own geometry.
- Opening: the chest, from arm's length over his own cover.
- End pose: the long second on his knees, then face-first, rolled face-up by a boot. Never propped against a cast.

## LADDER (after the XT pass)
- **VH:** no opening: the face and the elbow, then he bleeds out behind the wall, the belt in his teeth, and slumps onto his side.
- **H:** the bullet time kills him: F's round through the forehead side-on; he drops at F's feet (d58Dn, dark).
- **M:** the elbow shot only; he sits down hard behind the wall, X eyes.
- **L:** F's round shoots the gun out of his hand at the drop; he stares at his empty hand and faints.
- **VL:** the drop lands, neither fires; F lowers his gun and taps A's cap off with the muzzle; A sits down, shaking.

## CHECKS
- LESSONS 1-3:
  - The stump is a torn section.
  - The face is upright; the cap goes with the ear.
  - Nothing floats at frame f: the forearm, ear, cap and knife rest on the floor.
  - The ribs are uneven.
  - The wounds out-read the gold wall.
- Uniqueness:
  - Not PILOT LIGHT: no gunslinger stare at distance; this one is a point-blank Mexican standoff.
  - Not HIGH NOON, not DEAD MAN'S HAND.
  - No springboard: F vaults the wall on his own.
  - The sweat-drop trigger between two crossed guns, half a face torn off by a point-blank graze, and the belt tied with the
    teeth through a torn cheek are new.