is the location; keep its layout and furnishings, surfaces clear of small objects. is — this exact person; keep the same face and hair. is 's clothing sheet. is 's underwear sheet. is the woman with dark brown long wavy hair. She is lying on her back on the bed, her legs spread open, her body one length away from the viewer and facing him straight on, taking him slowly inside her, wearing a black sheer chiffon maid dress zipped up at the back, a white frilly half apron tied at the waist with the ribbon knotted at the back, a white lace maid headband set on her head, black sheer thigh-high stockings pulled up from the toes over the calves, and black patent mary jane heels. The viewer, a man, is the one whose eyes this whole shot is seen through — his face, head, torso and hips are never in frame, the camera is where he is. He is lying over her, one length away, facing her straight on, and he is the only one who speaks in this shot; his mouth is never in frame, only his voice is heard, off-screen. The viewer says, off-screen, his mouth never in frame: [Korean] 이건 카메라 안 돌려. 우리 둘만. The camera is the viewer's own point of view, held at his two eyes, looking straight down and forward at from one body's length away as she lies facing him. The camera moves only as much as his head actually moves — a slow tilt down with his breath, a slight lean in as he settles over her — and never pushes in on her face on its own, never cuts to a close-up, and never ends on one. Subtle early reflections from nearby walls. The dialogue is naturally embedded in the environment rather than sounding close-miked or studio-recorded. Soft environmental ambience continuously fills the space. Very subtle natural reverberation. No artificial narration quality. His tone is low and quiet, close to her ear, certain rather than asking. No text overlays, no subtitles, no watermark, no extra people in the background, no camera shake, no jump cuts, no third-person angle, no over-the-shoulder view, no mirror.