Hello when I'm trying to generate videos using Kling 4.0 I'm getting an error like "please try again later". I waited so long and its still like that

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Create a 15-second vertical 9:16 photorealistic cinematic film using the uploaded Rahul and Priya character references. Seven precisely timed shots with intentional hard cuts. Contemporary Hyderabad, India. ARRI Alexa 35 aesthetic, 35mm anamorphic lens, natural Indian skin tones, realistic textures, subtle film grain, cold desaturated teal-grey grade, flat fluorescent and screen lighting, muted colours, slightly underexposed lonely mood. Preserve exact character identity, wardrobe, glasses and accessories across all shots.

SHOT 1 — 0:00–0:03 | CRASH ZOOM IN
Saturday night inside a polished mall restaurant. Rahul and Priya sit ACROSS from each other at a dining table, both absorbed in their phones. Blue phone light illuminates their faces, food untouched, blurred diners behind them. Rahul slowly raises his eyes toward Priya, blank and tired. Camera performs a controlled fast crash zoom toward Rahul's face. Rahul never looks into the lens.

SHOT 2 — 0:03–0:05 | MACRO DOLLY IN
Extreme close-up of Rahul's LEFT wrist resting on a laptop keyboard. Plain steel analog wristwatch with a black dial and naturally ticking second hand. Cold blue screen glow, dark office at night. Camera performs a smooth macro dolly in toward the watch.

SHOT 3 — 0:05–0:07 | STATIC, SLIGHT PUSH IN
Inside a glass-walled Hyderabad IT office meeting room. Rahul sits at a conference table facing a large WALL-MOUNTED video-conference screen positioned DIRECTLY IN FRONT OF HIM. The camera is behind his left shoulder in a natural over-the-shoulder three-quarter rear angle, looking past Rahul toward the screen. Rahul's head and shoulder occupy the foreground, the video-call screen is clearly visible ahead, containing blurred participant tiles. His face is partially visible in side profile as he nods mechanically at the screen. A paper coffee cup sits on the conference table. Flat fluorescent office lighting. Camera remains mostly static with a very subtle push-in toward Rahul and the screen. Correct natural sightlines: Rahul faces the meeting screen throughout. The screen is NEVER behind Rahul. No front-facing portrait, no eye contact with camera, no reversed room layout.

SHOT 4 — 0:07–0:09 | DUTCH ANGLE PUSH IN
Late at night in an almost empty open-plan office. Rahul is hunched over his laptop, staring at the display. Red alert light reflects across his glasses and face, with rows of dark empty desks behind him. The camera uses a slight Dutch angle and pushes slowly toward his stressed face from his side. He focuses exclusively on the laptop, never on the camera.

SHOT 5 — 0:09–0:11 | WHIP PAN IN
Over-the-shoulder view of Rahul seated at his workstation late at night. Green code scrolls quickly across his dark monitor. City lights shine through the window. Rahul rubs his tired eyes beneath his glasses. The camera performs a quick controlled whip pan into the over-the-shoulder composition, settling on Rahul and the monitor. Realistic screen illumination and movement.

SHOT 6 — 0:11–0:13 | OVERHEAD STATIC
Perfectly top-down overhead camera view of a modern high-rise apartment living room. Rahul and Priya slump at opposite ends of a grey sofa. Both scroll silently on their phones. Takeaway boxes sit on the coffee table, and blue television light flickers over them. Camera remains locked in a static overhead position with no tilt, orbit or zoom.

SHOT 7 — 0:13–0:15 | SLOW DOLLY OUT
Rahul folds laundry alone beside a large apartment window at dusk. The illuminated glass office towers of Hyderabad's IT corridor are visible outside. He pauses while folding, then turns naturally toward the window and stares at the distant buildings, showing quiet exhaustion. Camera performs a smooth, slow dolly out, gradually making Rahul appear smaller in the room. End on a lonely, contemplative wide composition.

GLOBAL RULES: Seven distinct shots, exact sequence, logical spatial composition and realistic sightlines. Never reposition a screen behind a character who is supposed to be watching it. Never have characters turn to the camera unless explicitly requested. Natural Indian faces, consistent wardrobe, believable anatomy, realistic human actions, smooth cinematic camera motion. No face morphing, warped hands, extra fingers, exaggerated acting, CGI appearance or plastic skin. No dialogue, no voiceover, no music, no subtitles, no on-screen text, no titles, no logos, no watermarks. Subtle realistic environmental sound effects only.”