참교육

Controlled multi-shot sequence, 30 seconds, eighteen timed shots, hard cuts. Night, a Seoul riverside expressway. Live-action Korean film, Korean cast, handheld cinema camera, natural motion blur, real streetlight and deep shadow. Graphic gore shown plainly and physically real.

REFERENCES
@ {{Mixed 1}} is HER in human form: face, hair and outfit.
@ {{Mixed 2}} is HER machine form: steel lower legs from the knees with claw feet, both arms steel with a long blade over each hand, her own LEFT half-face steel with a red lens eye. Torso, thighs and hair stay human.
@ {{Mixed 3}} is the location.
@ {{Mixed 4}} is HER CAR: the white boxy electric city car with sunroof, sky-blue plate 157가 3842.
@ {{Mixed 5}} is THE CONVERTIBLE: the red tuned 2+2 convertible, roof folded, lime-green plate 318나 7777.

PEOPLE
Three Korean men in their early twenties, East Asian faces, dark brown eyes (the ash-blond and red hair are dye), ride in THE CONVERTIBLE:
DRIVER — bleached ash-blond hair, grey T-shirt, black jogger pants, at the wheel.
RED — dyed red hair, white T-shirt, blue jeans, in the front passenger seat, the side facing HER CAR.
BEANIE — black beanie, black hoodie, grey sweatpants, in the rear seat behind RED, smoking.
Each man is one person with one set of hair and clothes; when he is cut, every part of his body exists exactly once: upper half on the top piece, hips and legs on the lower car.
THE CONVERTIBLE runs in the lane on HER CAR's left.
HER: calm and cool, acts suddenly, light sweet voice.
Spoken lines are only the three quoted lines, each spoken on screen by the named character with the mouth in frame.

0.0–2.5s — Inside HER CAR from the passenger seat, past HER profile through her half-open window: THE CONVERTIBLE alongside, RED half-stands grinning at her, BEANIE smoking behind him. RED, loud and teasing: {이쁜데? 같이 놀까?}
2.5–3.5s — RED's view across the gap, handheld medium: she keeps her eyes on the road, raises her left hand at the window and gives him the middle finger, a plain real-life gesture, then her eyes cut to him.
3.5–5.0s — Close on RED in his seat, facing HER CAR, HER window rising in the background; his Korean face crumples as he glares at her. RED, offended, every syllable clear: {와, 개싸가지없네.}
5.0–6.0s — Side medium on RED: he leans out over his door toward HER CAR, cheeks bulging, hawks loudly and spits a thick white foamy glob, clearly visible leaving his lips and crossing the gap as a bright white streak in the streetlight toward her driver window.
6.0–7.0s — Close from outside on HER closed driver window, her face behind the glass: the white glob splats on the glass right at her eye level and slowly slides down in a wet streak. She keeps looking ahead.
7.0–9.0s — Medium close from the passenger seat on her profile: through the windshield THE CONVERTIBLE roars away with exhaust pops to about 100 metres ahead; her pupils contract with a small mechanical whir.
9.0–10.0s — Close insert on the overhead console: her index finger presses the sunroof switch; it clicks and a small light turns on.
10.0–11.5s — Low-angle medium from the back seat looking up: the sunroof slides open and she springs up through it; the denim below her knees shreds away as her legs turn to steel claws as in @ {{Mixed 2}}.
11.5–14.0s — Tracking medium beside HER CAR at roof height: she lands crouched on the roof; her arms turn to steel and the blades lock, then her own left half-face turns to steel with the red lens eye, as in @ {{Mixed 2}}.
14.0–15.0s — Low tracking shot on the road behind her: she leaps down to the asphalt and streaks forward as a blur, closing the 100 metres in one second.

THE CUT — screen geography locked from 15.0s to 19.0s: THE CONVERTIBLE drives from screen-left to screen-right, its right side toward the camera, RED and BEANIE in clear view on the near side, DRIVER's head and shoulders just ahead of RED; SHE runs along its right side, the camera held slightly high so she stays at the lower frame edge and the men's waists stay in view.
15.0–16.0s — Wide side view, the camera tracking alongside at the same speed, the whole car and all three men in frame: her LEFT blade extends to twice its length and she sweeps it in one flat horizontal stroke at the men's waist height. One thin straight glowing line is left running level along the doors and across the waists of DRIVER, RED and BEANIE. Everything still holds together.
16.0–16.8s — Detail close-up from the side at RED's waist height: the blade passes clean through the door and through RED's stomach from screen-left to screen-right, leaving a thin red line straight across his white T-shirt and the red door.
16.8–19.0s — The same wide side view as 15.0s, the camera held, time slowed to one fifth: one beat of stillness, then everything above the line slides off as one piece — the windshield frame, the door tops and each man's body above the waist: head, chest and both arms. That top piece slides backward toward screen-left. Below the line the car keeps rolling toward screen-right with the hood, headlights, wheels, seat cushions and each man's hips and legs resting on his seat cushion and ending at the waist in a flat charred cut. The cut is one flat horizontal plane at waist height, parallel to the road: the top piece slides three metres back along the car's length while the lower car rolls forward beneath it, its flat charred cut surface exposed, blood spraying from both cut surfaces. The hood, headlights, grille, front bumper and all four wheels belong to the lower car.
19.0–20.5s — Still at one fifth speed, a low camera on the asphalt ahead of the car looking back: SHE lands in the foreground past the front bumper, blade out; behind and above her the top piece tumbles through the air with the three upper bodies falling off it. At 20.5s full speed returns and everything crashes onto the road.
20.5–22.0s — Insert at seat height in the stopped lower car, on the front passenger seat: only RED's hips and legs in blue jeans sit there. His body ends at the waist in a charred, bloody cut surface; the seatback above it is bare red leather. Blood runs down the seat, thin smoke rises.
22.0–25.0s — Full-body medium on HER standing on the road, the wreck behind her: with her steel half-face she glances back at it once; then the blades fold into her forearms and the steel arms smooth into skin; then the steel half-face closes into her human face, both eyes human, and the steel legs turn into bare human feet. She stands fully human in the same black cargo jeans, torn off raggedly below the knees, barefoot. Her phone buzzes in her back pocket.
25.0–28.5s — Close-up on HER fully human face, front on, both eyes human: she lifts the buzzing phone to her ear and answers with a small smile, lips and teeth clearly moving. HER, into the phone, light and sweet, speaking aloud in the scene with her lips shaping every syllable: {어, 자기야. 지금 가고 있어.}
28.5–30.0s — Wide on the road: HER CAR rolls up beside her; she gets in, shuts the door and drives off.

STATE THROUGH THE FILM
From 20.5s on, the top piece and the three upper bodies lie on the road behind her; the lower car with the three men's hips and legs on the seats stays stopped behind her.
Her lower legs are steel from 10.0s, her arms and left half-face from 11.5s; the change back completes inside 22.0–25.0s; from 25.0s she is fully human.

SOUND
Engines, wind, a loud hawk and spit, a wet splat, exhaust pops, sunroof motor, switch click, steel screech, a stretched metal groan in the slow motion, tearing metal, crackling embers, phone buzz, a door thud.

GUARDS
No subtitles, no on-screen text, no watermark; car emblems and plates are allowed. No background music. No narration or voice-over. No slow motion outside 16.8–20.5s. No other vehicles or people. No glass cracks. No duplicate men. No torso left on the lower car. No front-to-back split of the car. No Western faces. No skirt. Nobody speaks any words other than the three quoted lines. Nobody looks into the lens except HER during 25.0–28.5s.