HELL MINER — SPATIAL CONTRACT v03

A. ROOM AND ACTOR
Use WEST/EAST as planning directions, not literal compass canon.
Old mine/quarry tunnel extends WEST behind the hero.
Working wall and newly exposed doorway are EAST in front of him.
Hero keeps facing EAST throughout strike, front reveal and camera retreat.
The full-body master is R03; boots are derived from it, not the rejected old boots.
Near forward boot appears side-on toward screen-right. Far rear boot is turned outward, giving visibly different silhouettes.
Two arms, two hands, one thumb per hand, separated grips on one compact intact pick. Both grips remain in front of his chest; no behind-the-neck wrist contortion.
The pick strike precedes the falling stone. R05 is a follow-through/collapse endpoint, NOT an exact contact-frame reference.

B. SIDE CAMERA → BOOTS → BODY → STRIKE
Camera is on the hero's right/near side.
Old tunnel is screen-left; working wall is screen-right.
Boots close view and full body share this side of the axis. Tilt up, do not mirror or orbit.
Keep side camera locked during the actual strike. Both soles remain planted.
After steel contact, wall facing fractures and falls, exposing an existing door. No conjured portal, upward stairs or instant vanished wall.

C. ARC TO THE FACE
Only after impact settles, camera arcs around his right side into the space between his face and the new doorway.
It looks BACK toward him, roughly WEST. Hero keeps facing EAST; the camera moves, not his body.
This makes the OLD TUNNEL the background behind his head.
The NEW DOORWAY is BEHIND THE CAMERA, so it cannot appear behind his head.
At this stage, no close rock vignette or doorway jambs frame the view.
Face is three-quarter front, gaze just off lens toward the opening; a faint CLOSED-LIP confident grin forms.
R06→R07 is a short push along that same axis, not another orbit.

D. RETREAT THROUGH THE OPENING
Camera backs away from his face toward EAST, physically crossing the actual opening.
It continues looking BACK at the hero, who stays in his working chamber.
Only after crossing the threshold do the actual jambs/lintel pass into near foreground. This explains where the framing rocks came from.
Old timber tunnel stays behind him. No new door behind his head; no forced walk/teleport.
R08 is a separate camera station inside the new passage, not an unexplained crop of R06.

E. TURN FORWARD
R08 looks backward/WEST; R09 looks forward into the passage/cavern.
Those views require a real change of viewing direction. They are NOT one unchanged-camera continuous shot.
Plan a brisk 180-degree turn concealed by near rock/darkness, with a deliberate hidden edit.
Do NOT submit R08→R09 alone as a guaranteed seamless AI interpolation. Prepare occlusion boundaries or join reviewed sources under the rock wipe.
This is a practical film-making choice, not a claim that Runway has understood a persistent 3D set.

F. BIRD DIVE AND DEVIL APPROACH
R09 is the FORWARD PASSAGE EXIT view. Its legacy filename overstates the downward angle; R10 supplies the visibly steep downward destination.
Travel into open air, pitch down until top surfaces of bridges/terraces dominate. Lava kingdom lies below; the surface/cabin are never visible.
Bank gently clockwise (about 10–15 degrees), not a full corkscrew.
Turn toward the right-hand terrace through OPEN AIR, then level gradually to Devil's front three-quarter medium view. Never pass through parapets, walls or bridge decks.
Keep the same human-scale Devil, curled ram horns, long black hair, gold eyes, black/gold armor, red cape.
Eyes react first, slight head follow, jaw sets. Lips stay pressed shut; no dialogue or speech-like jaw cycling.

G. CONTINUITY AND TIMING GATES
These drawings are art-directed 2D candidates, not a reconstructed 3D model. Repeated architecture, hands and pick proportions still need director review and actual motion tests.
15 displayed links are a boundary library, not 15 required paid clips. Select/group compatible beats before spending.
Kling 3 Std source duration verified in UI: 3–15 seconds in whole seconds.
Final edit lengths may be fractions of a second, but trimming useful action can lose an endpoint. Only remove real unused holds; evaluate deliberate fast-travel retiming separately.
The selected music is 58.950 seconds. Opening target is the user's approximate 8–9 seconds through the first two lines. No exact lyric cue sheet was verified this turn.
Do not silently lengthen the song, compress faces/impacts, or claim the expanded camera route already fits.
Use an actual generated terminal frame as the next source when continuity is needed, then compare it against the approved destination art. If it drifts, stop and revise before another spend.

