#Lucilla #ルシラー #루실라 #洛瑟菈 #Jingran #ジンラン #景燃 #경연 #WutheringWaves #鳴潮 #ラハイロイ #LahaiRoi Lucilla takes an excursion into the academy's dark side. She becomes our cum dumpster 5/5😑
52,149 次观看 • 2 个月前 •via X (Twitter)
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52,149 次观看 • 2 个月前 •via X (Twitter)
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![Some stories don't end with the rescue; they begin with the chase. The pendant is broken. The call has been made. Now Reyes has only one clue and everything to lose. Made with Seedream 5.0 and Seedance 2.0 on RoboNeo Prompt: PART 1 — 0–15s VIDEO PROMPT Continue directly from Episode Zero final frame. Create a realistic live-action football thriller scene with a cinematic Netflix-style sports drama atmosphere. Mateo Reyes: 28-year-old fictional elite football captain, athletic build, short dark wavy hair, brown eyes, light stubble. Wearing a navy-and-gold national-style football kit with captain armband. Jersey details: Back name: REYES Number: 10 Clean realistic sports lettering. No real team logo or brand visible. Emotional state: confused, protective, determined. Elena: 27-year-old woman, long dark wavy hair, cream blouse, tan trousers, silver pendant around her neck. Fearful expression. Looking directly toward Mateo. Stranger: Tall mysterious figure wearing a dark overcoat. Face completely hidden in shadow or outside the frame. Black leather glove gripping Elena’s shoulder. Never reveal identity. [0.0–1.5 SEC] RECALL — CLIFFHANGER CONTINUATION Camera: Static cinematic freeze-frame matching Episode Zero ending. Medium-wide over-the-shoulder shot from behind Mateo. Composition: Mateo stands in the right foreground. His arm is slightly extended toward Elena. The back of his jersey is partially visible with “REYES 10” readable. Elena stands on the left side near a railing. Stranger stands behind Elena with a gloved hand on her shoulder. Mateo is looking directly at Elena. He is not looking at the crowd. Visual: Natural stadium lighting. Realistic sweat and skin texture. Soft background blur. Crowd only as an indistinct background element. Audio: Low cinematic impact sound fading from previous episode. Text Overlay: Minimal elegant serif text: “PREVIOUSLY...” Bottom-left. [1.5–5 SEC] THE QUESTION Camera: Slow handheld push-in from Mateo’s side angle. Natural documentary-style movement. Action: The frozen moment resumes. Elena turns toward Mateo, fear visible in her eyes. The Stranger pulls her slightly backward while keeping his face hidden. Mateo takes one step forward. His eyes remain fixed only on Elena. Shot A — Mateo Close-Up 35mm cinematic lens. Mateo breathing heavily. Confusion and urgency on his face. He speaks directly to Elena: Mateo: “Elena — who is that?!” Shot B — Elena Reaction Medium close-up. Elena looks frightened. She appears unable to explain. Her pendant catches a small reflection of light. Shot C — Stranger Detail Close-up of the black glove tightening on Elena’s shoulder. Face remains hidden. No dialogue. [5–10 SEC] SECURITY INTERVENTION Camera: Handheld tracking shot behind Mateo. Maintain clear geography. Mateo remains focused on Elena. Elena and Stranger move toward the side exit. Do not show Mateo shouting toward random people. Action: Two fictional stadium security officers enter from the side corridor. One officer blocks Mateo. Security Officer: “Sir, stay back — we’ll handle this.” Mateo tries to move forward but is stopped. Cut to Elena. The Stranger pulls her toward the exit. Before disappearing, Elena looks back. Her eyes meet Mateo’s. Mateo freezes. The silver pendant reflects the stadium light. No exaggerated crying. Only shock and fear. [10–15 SEC] THE CHASE BEGINS — MOVING TO THE LOCATION Transition: Move naturally from the stadium exterior into the pursuit. No return to the stadium. Camera: Fast handheld tracking shot following Mateo as he leaves through a restricted side exit. Night environment. Realistic street lighting. Thriller atmosphere. Action: Mateo removes his match layer and throws a dark training jacket over his shoulders. As he walks away: The camera briefly captures the back of his shirt: REYES 10 Clearly visible. No logos. No real team branding. Mateo follows the last known direction where Elena was taken. Cut to: Exterior — Abandoned Industrial Location Dark warehouse entrance. Quiet street. Moody cinematic lighting. Mateo arrives alone. Camera follows from behind. His jacket moves naturally in the wind. He searches the area. Final Shot: Slow cinematic push-in. Mateo notices Elena’s silver pendant lying near the entrance. He picks it up. His expression changes from confusion to determination. Low suspense music rises. CUT TO BLACK. PART 2 — 15–30s VIDEO PROMPT 15.0–19.0 sec | PANEL 1 — THE WEIGHT OF THE PENDANT Camera Slow cinematic push-in. Natural handheld movement. Action Mateo slowly closes his fingers around the pendant. His breathing becomes uneven. He stares at it as memories of Elena flash across his mind (no flashback visuals, only conveyed through his expression). His shoulders slump. For a brief moment, he struggles to stay composed. He presses the pendant tightly against his forehead, closes his eyes, and exhales deeply as if blaming himself for not reaching her in time. A tear begins to form but never fully falls. He whispers almost silently: "I'm sorry..." Cold wind moves through the abandoned industrial yard. Everything else remains silent. 19.0–24.0 sec | PANEL 2 — THE PHONE CALL Camera Medium close-up from the front. Shallow depth of field. Slow handheld push toward Mateo. Action His phone suddenly vibrates. He opens his eyes immediately. His breathing stops for a split second. Without letting go of the pendant, he answers. Dialogue Unknown Voice (distorted, calm): "You should have stayed on the pitch, Reyes." Mateo's face changes instantly. The sadness disappears. Anger replaces it. His grip tightens around the pendant until his knuckles turn white. Mateo (furious): "Where is she?!" Silence. The call disconnects. Flat electronic tone. Mateo continues listening to the dead line for another second, refusing to lower the phone. 24.0–27.0 sec | PANEL 3 — DESPERATION Camera Handheld side tracking shot. Medium-wide framing. Natural movement. Action Mateo lowers the phone slowly. His breathing becomes heavier. Frustration overwhelms him. He punches a nearby concrete pillar with his free hand. The impact echoes through the empty warehouse. He immediately winces in pain. His knuckles become slightly bloodied. He doesn't care. Still clutching Elena's pendant tightly in the other hand, he leans against the pillar for a brief second, trying to regain control. He wipes the tears from his eyes with the back of his sleeve. Then straightens up. His expression changes completely. Fear is gone. Only determination remains. 27.0–30.0 sec | PANEL 4 — THE PROMISE Camera Wide cinematic shot. Very slow dolly forward. Long abandoned industrial road disappearing into darkness. Action Mateo steps forward into the empty roadway. His fist remains tightly closed around Elena's pendant. Far ahead— A single red taillight flickers once before disappearing behind an abandoned warehouse. Mateo never looks away. He quietly says: "I'm coming for you." No music for a beat. Only distant wind. Freeze exactly as the taillight disappears. Hold the frame for two full beats. Hard cut to black. END CARD Black background. Elegant gold serif typography. Slow two-second fade in. EPISODE 2 COMING SOON Hold for at least two seconds before fading out.](https://image.24vids.com/tw-2077989765753033115/amplify_video_thumb/2077989451738099712/img/I39PScv0pran4pBO.jpg)
![This prompt is seriously good, so I ran it through our agent and made a few tweaks. Agent: Shoutout to TechHalla for sharing the original prompt 🙌 Here’s the refined version: image prompt： DIRECTIVE: Produce one still that reads as a real smartphone frame filmed from inside a moving car approaching a strange highway incident. Optical consumer-phone capture through a real windshield — wide forward view, windshield glass, rain specks, A-pillar, a slice of dashboard / hood at the bottom. Lived-in phone JPEG, not cinema, not HDR, not advertising photography. FORMAT: Vertical 3:4 smartphone frame. BEAT / COMPOSITION: Looking forward through the windshield while approaching two trucks clustered close together on the LEFT side of the highway, either in the left lane or left shoulder. LEFT TRUCK — SPARKLING LEMONADE TANKER, CRITICAL: A full-size stainless-steel beverage tanker with bright yellow-and-white SPARKLING LEMONADE branding clearly readable on the tank. Large lemon graphics, yellow citrus branding, believable commercial beverage-truck design. The tanker has suffered a breakdown: a torn, jagged, ragged hole has opened in the side of the tank. A thick, pressurized jet of pale yellow carbonated lemonade is ALREADY blasting horizontally and downward through the hole onto the asphalt. Huge amount of liquid. Visible carbonation and bubbles. Pale-yellow transparent soda, NOT fuel, NOT paint. Foamy white-yellow splashes around the impact area. A wide lemonade lake is already spreading across the road. Wet asphalt reflections, spray suspended in the air, runoff flowing along the lane markings. The truck is stopped or crawling with hazard lights. RIGHT / BESIDE IT — BAKING SODA DELIVERY TRUCK, CRITICAL: Immediately beside the lemonade tanker, slightly ahead or alongside, is a closed white box delivery truck. Large unmistakable generic commercial branding on the side: “BAKING SODA” “FOOD GRADE” “SODIUM BICARBONATE” Simple blue-and-white industrial food-supply graphics, with illustrations of white baking-soda boxes and large paper sacks. Rear doors CLOSED. Side doors CLOSED. No powder spilling yet. The truck must clearly read as a baking-soda delivery vehicle, not flour, cement, salt, or detergent. CAMERA PACK: Handheld smartphone from inside the car, passenger or driver seat. Not a fixed professional dashcam. Wide smartphone lens with subtle barrel distortion. Windshield and left A-pillar visible. A small slice of dashboard / hood along the lower frame. Rain dots, minor grime and reflections on the windshield. Slight handheld breathing shake implied. Consumer smartphone sharpening and compression. Minor autofocus softness. Natural dynamic range. No cinematic depth of field. No dramatic movie lighting. ENVIRONMENT: Daylight, overcast highway. Realistic American interstate-style road. Other normal traffic farther ahead. Clear long highway vanishing point beyond the trucks. Wet asphalt. Muted cloudy sky. Road barriers, lane markings, signs and distant utility structures. PHOTOGRAPHIC CHARACTER: An accidental, unstaged smartphone capture of a bizarre roadside beverage accident. Physically grounded truck scale. Believable weight and liquid flow. The lemonade leak is the unmistakable event. The juxtaposition of a leaking SPARKLING LEMONADE tanker beside a BAKING SODA delivery truck should immediately suggest that something disastrous and absurd is about to happen. NO PERSON visible yet. NO open baking-soda doors. NO powder reaction yet. NO explosion. NO fire. NO fantasy lighting. Real phone footage aesthetic. video prompt： [STYLE + CAMERA + ATMOSPHERE] Vertical 3:4 smartphone video filmed FROM INSIDE a moving car, passenger or driver seat. CONTINUOUS SINGLE TAKE for the entire 30 seconds. The phone is handheld, NOT a bolted dashcam. Visible windshield glass, A-pillar, rain specks, faint reflections, a slice of dashboard / hood at the bottom, occasionally a tiny finger edge near the phone. Natural arm movement and slight breathing shake. Consumer smartphone footage: minor autofocus hunting, rolling shutter, digital sharpening, occasional exposure pumping, phone microphone clipping during the loudest moment, real compressed social-media-video texture. We are ARRIVING. The car is moving forward first. The trucks gradually grow larger through the windshield. Then the car brakes, slows, and stops just short of the spreading lemonade lake. NO CUTS. NO camera teleportation. ONLY digital pinch-zooms: zoom into the lemonade jet, zoom into the clear jug filling, zoom toward the baking-soda truck doors, zoom into the powder hitting the liquid, slam-zoom onto the launch, then zoom out as the woman disappears toward the highway horizon. Daylight. Overcast sky. Wet asphalt. Occasional rain droplets on the windshield. Everything should initially feel like an absurd event caught accidentally on a normal phone. Photoreal environment with coherent liquid, foam, gravity and vehicle scale. The final launch uses deliberately exaggerated slapstick physics, but remains visually photorealistic. No gore. No visible injury. No fire. No combustion explosion. [LOCKED SET / VEHICLES] LEFT ahead through the windshield: A full-size stainless-steel beverage tanker with bright yellow-and-white SPARKLING LEMONADE branding. Large lemon graphics. The words: “SPARKLING LEMONADE” and “CARBONATED LEMON DRINK” are clearly readable. A large ragged torn hole is already present in the tanker wall. A thick pale-yellow carbonated lemonade jet is ALREADY blasting from the hole when the video begins. The liquid is translucent yellow with heavy carbonation. It splashes violently onto the asphalt and has already created a large spreading lemonade lake. White-yellow foam forms where the jet strikes the pavement. The tanker remains stopped or crawling. BESIDE IT: A white commercial box truck clearly branded: “BAKING SODA” “FOOD GRADE” “SODIUM BICARBONATE” Blue-and-white industrial food-supply livery. Graphics of baking-soda cartons and large paper sacks. Rear doors are CLOSED when we arrive. No powder is leaking at the beginning. The baking-soda truck is slightly ahead of or directly alongside the lemonade tanker. The two vehicles form one obvious cluster on the LEFT side of the highway. HIGHWAY: The highway continues beyond the trucks toward a long, clear vanishing-point horizon. Normal distant traffic may exist farther ahead. No additional vehicle belongs to the woman. [LOCKED CAST] THE WOMAN: ONE woman only. Clearly adult, approximately 25–30 years old. Attractive adult woman with a naturally voluptuous figure and a noticeably full bust, realistic adult proportions. No exaggerated cartoon anatomy. Long dark hair, slightly messy from humid roadside weather. Natural makeup. Real skin texture. She wears: a fitted white ribbed spaghetti-strap camisole / tank top, secure opaque fabric, natural neckline, denim shorts, casual sneakers. Clothing remains identical for the entire clip. No wardrobe malfunction. No transparent fabric. No nudity. She has confident, reckless, chaotic roadside energy, behaving as if this absurd situation is completely normal. She is alone. No second person. She does NOT exit any vehicle. She ENTERS FRAME FROM THE RIGHT SIDE of the windshield view, already walking on foot from the roadside / shoulder. [HERO OBJECT] One giant transparent gas-station plastic drink jug / oversized Big-Gulp-scale clear cup. She carries it in her RIGHT hand. At first it is completely EMPTY. Daylight can clearly be seen through the empty transparent plastic. It stays in her right hand through the filling and drinking sequence. The jug is only lost during the final foam blast. [DIEGETIC AUDIO] Beginning: normal road hum, tires on wet pavement, wind, engine noise. Approaching the trucks: increasing loud pressurized lemonade hiss and splashing. Jug filling: liquid hammering plastic, violent fizzy splashes. Drinking: large gulps, brief coughing / breath. Truck: metal latch clunk, rear doors creaking. Reaction: rapid fizzing grows from thousands of tiny bubbles into a deep roaring foam eruption. Launch: phone microphone clips, wind rush, short Doppler scream as she rapidly travels away. No soundtrack. No cinematic score. [IMAGE REFERENCE] [ref_image] = locked opening smartphone still from inside the moving car looking through the windshield at: the SPARKLING LEMONADE tanker, the exact ragged hole, the pale-yellow lemonade jet, the BAKING SODA delivery truck, the wet highway, and the in-car windshield foreground. These visual elements are LAW. The clip begins while the car is still rolling toward that exact truck cluster. [TIMELINE — SECOND BY SECOND] 0–3s: [HOOK — ARRIVING + FIRST ZOOM] Phone is already recording. The car is moving toward the incident. Through the windshield, both trucks are clearly visible on the LEFT. The sparkling-lemonade tanker is ALREADY leaking. A powerful pale-yellow carbonated stream blasts through the ragged hole and crashes onto the highway. The lemonade lake is already widening. The vehicles visibly grow larger as we approach. Around 1s: digital pinch-zoom quickly punches toward the torn metal and lemonade jet. Bubbles and yellow-white spray are visible. Autofocus briefly hunts. Around 2.5s: the driver brakes. The phone and camera body dip slightly with the deceleration. 3–5s: [STOP + WOMAN ENTERS FROM RIGHT] The car finishes stopping before reaching the liquid. Engine idles. Natural handheld phone shake continues. Digital zoom pulls back slightly. THE WOMAN enters frame FROM THE RIGHT. She is already walking on foot. She never exits any car or truck. Her appearance stays consistent: adult woman, long dark hair, white fitted ribbed spaghetti-strap tank top, denim shorts, sneakers, naturally voluptuous figure. In her RIGHT hand is the giant completely EMPTY transparent jug. Light passes visibly through the jug. She raises it casually while staring at the lemonade tanker. Then she steps directly into the shallow spreading lemonade lake. 5–9s: [FILL — HOLD THE SHOT] She approaches the tanker leak. ONE CLEAR CONTACT: She forcefully pushes the mouth of the empty jug directly INTO the high-pressure sparkling-lemonade jet. The phone immediately slam-zooms toward the jug. HOLD THIS ACTION. Do not skip it. The jug remains underneath the stream for approximately TWO FULL SECONDS. Show the liquid level visibly rising through the transparent plastic: empty, one-quarter, half-full, almost full. Pale-yellow carbonated lemonade churns violently inside. Millions of bubbles. White foam builds around the rim. The pressurized stream continuously hammers the jug opening. Overflow splashes across her hand, forearm and tank top. The jug becomes visibly heavy. Only after this clear multi-second fill does she pull it away from the stream. She raises the now-full jug. 9–12s: [CHUG] She immediately tilts the giant jug and starts drinking. Huge exaggerated gulps. Carbonated lemonade pours toward her mouth. Some spills naturally down the front of the white tank top. She keeps drinking until most of the jug is empty. She lowers it. Gasps for air. Makes a quick surprised face from the intense carbonation. Still holding the jug. Then she notices the BAKING SODA delivery truck. She turns toward it. Phone zooms back enough to simultaneously frame: the woman, the lemonade jet, the spreading yellow puddle, and the rear of the baking-soda truck. 12–16s: [OPEN + BAKING SODA AVALANCHE] She reaches the rear of the baking-soda truck. ONE CLEAR CONTACT: She grabs the metal latch. YANKS it open. Both rear doors swing outward. Inside: large stacks of FOOD-GRADE BAKING SODA. White cardboard cartons. Huge brown-and-white paper sacks. “SODIUM BICARBONATE” labels visible. She grabs one oversized sack near the edge. Pulls it. The heavy sack tears open. A huge avalanche of white baking-soda powder pours out of the truck. Additional cartons tumble and split. A dense waterfall of white powder falls directly toward the lemonade lake. Phone digital-zooms onto the falling powder. Show individual white powder clouds and clumps striking the yellow liquid. She remains standing inside the shallow lemonade puddle with the mostly empty clear jug still in her hand. 16–18s: [REACTION STARTS] For a fraction of a second, nothing huge happens. Then: tiny bubbles begin appearing everywhere around the baking soda. Fizz races rapidly outward across the pale-yellow puddle. The entire lemonade lake starts bubbling. Yellow liquid rapidly turns cloudy and pale. Thousands of CO2 bubbles expand across the road surface. The sound changes from small fizzing into an increasingly loud rolling hiss. Foam races around the woman's shoes. She looks down. Confused. The reaction accelerates dramatically. 18–20s: [IT GOES] The carbonation and acid-base fizz become absurdly intense. The entire center of the puddle suddenly swells upward. A huge WHITE-AND-PALE-YELLOW FOAM COLUMN erupts vertically between the two trucks. No fire. No flame. No smoke explosion. Only violently expanding wet beverage foam. ONE CLEAR CONTACT: The rising foam column strikes the woman from BELOW. Her feet abruptly leave the asphalt. The giant clear jug flies from her hand. Her hair shoots upward. She is propelled vertically and then forward along the highway axis. The phone operator reacts late. A violent handheld jerk. Then a slam digital zoom catches her leaving the ground. 20–24s: [HUMAN LEMONADE ROCKET] The woman is now airborne. She becomes a dark human figure riding the huge white-yellow foam column. Her body rotates once naturally in the air. Hair and clothing react to wind. One sneaker nearly comes loose but remains on. No injury. No gore. The foam geyser tilts toward the open highway horizon. The sparkling-lemonade tanker continues feeding liquid into the reaction. Baking soda continues pouring from torn sacks. Foam hits the windshield. Wet white-yellow streaks temporarily obscure parts of the view. The phone jerks backward inside the car but NEVER leaves the car. Autofocus struggles through the wet windshield. Digital zoom hunts for the woman's airborne silhouette. 24–26s: [SHRINKS] Camera zooms back out through foam streaks on the windshield. Farther down the highway: the woman is still airborne. Now much smaller. A tiny spinning adult figure carried along a long white spray trail. The baking-soda truck remains visible behind her with both rear doors open. The sparkling-lemonade tanker continues spraying from the original hole. The reaction is still producing a huge foamy fountain. Phone digital-zooms aggressively toward the shrinking airborne figure. Pixelation and smartphone digital zoom artifacts become visible. Then zooms back out again. 26–29s: [DISAPPEARS INTO HORIZON] The woman becomes smaller and smaller. First human-sized. Then tiny. Then only a dark moving speck above the highway vanishing point. The camera desperately tracks her. Slight rolling shutter. Autofocus pumping. She finally disappears into the bright gray horizon haze. Her short distant Doppler scream fades away. 29–30s: [PAYOFF — EMPTY HORIZON] The camera holds on the exact spot where she vanished. Nothing there now. Only an empty highway horizon. Foreground remains chaotic: towering white-yellow foam between the trucks, sparkling lemonade still blasting from the tanker, baking-soda doors open, wet windshield, yellow liquid and white foam covering the highway. Final tiny digital pinch-zoom into the completely empty vanishing point. Hold. The roaring fizz continues. CUT / LOOP. [STYLE & QUALITY BOOSTERS] Photoreal handheld smartphone footage from inside a real car. Vertical 3:4. Continuous uninterrupted single take. Approaching movement first, then braking and stopping. No cinematic camera movement. No drone shot. No third-person cutaway. No external camera. Digital pinch-zooms only. Authentic consumer-phone autofocus and exposure behavior. Windshield remains part of the visual language throughout. One adult woman only. Woman enters from the RIGHT already on foot. She never exits a vehicle. Consistent face, body, hair and clothing throughout. Naturally voluptuous adult proportions. Secure opaque white spaghetti-strap tank top. Denim shorts. No nudity. Empty transparent jug visibly fills on camera for multiple seconds. Sparkling lemonade must remain pale yellow and visibly carbonated. Baking soda must remain white powder. Reaction begins where the powder physically contacts the lemonade. Reaction progresses visibly: small bubbles → rapid fizz → spreading foam → swelling foam → giant white-yellow geyser. No flame. No fireball. No black smoke. No electrical explosion. Exaggerated slapstick launch physics presented with photoreal visual rendering. The woman is launched toward the highway VANISHING POINT and visibly shrinks until she completely disappears. Identity lock to [ref_image] for: both trucks, truck positions, lemonade tanker graphics, ragged tank hole, lemonade stream, highway geometry, weather, windshield framing, A-pillar, dashboard foreground.](https://image.24vids.com/tw-2100591996427714836/amplify_video_thumb/2100591779699658753/img/pzyrATjCQ5pIWwnV.jpg)
![prompt：[STYLE / CINEMATIC SETUP] 30 seconds, 16:9 landscape, high definition and fine detail. A photorealistic AAA third-person urban action game. Bright weekday morning, realistic city surroundings, escalating absurd comedy, serious and natural character reactions. One continuous shot from 0–27 seconds. Exactly one hard cut at 27 seconds, followed by a locked two-person medium shot. Real-time motion, no slow motion. A compact, physically connected route: Stopped train carriage at a ground-level metro station → open exit passage at the end of the platform → bicycle parking outside → small wedding setup outside an office building → open company entrance → reception attendance terminal. The station exit is directly beside the office building. No underground platforms, long staircases or travel across multiple city blocks. The bicycle is approximately 25 meters from the office entrance. The wedding setup includes a low platform with broad, shallow ramps on both ends and a central arch made from thin paper flowers and balloons. At reception, a broad, thick, securely attached loading ramp connects the floor to a low, wide countertop. An attendance terminal is mounted on the wall at its far end. Establish these structures before they are used. Begin beside and slightly in front of the woman, then continuously move behind her right shoulder as she exits the train. Follow at approximately 1.5 meters, normally with a 47-degree field of view, widening smoothly to 63 degrees for obstacles. During cycling, primarily frame her upper body, handlebars and forward route. The rear passenger stays near the frame edge or behind her, with his face clearly revealed only after the final cut. No sexualized body framing. Vehicle: one dark-green vintage city bicycle with a metal front basket, black saddle, extended rear passenger seat, conventional pedals and chain, and no motor. Owner: adult man wearing a white shirt, black trousers, crooked tie and black-framed glasses, holding a steamed bun. At his first appearance, he is already sitting sideways on the rear seat, both feet supporting the bicycle, looking at his phone. The front saddle is empty. The woman does not know he is her boss. Chinese dialogue, no dialogue subtitles. Quiet, urgent electronic game music. Clear train chimes, running footsteps, bicycle chain and bell, tires hitting ramps, bursting balloons and attendance confirmation. Classic GTA-style flat HUD, thick black outlines, bold Simplified Chinese, translucent black backing and three-percent margins. Upper left: 【L 移动】【R 视角】【□ 互动】【○ 冲刺】, changing the final line to 【○ 猛蹬】 during cycling. Upper right: white fist icon, green health bar, thin stamina bar, currency 【$000000028】. Lower left: square grayscale neighborhood map, white player arrow and yellow office route. Top center: gold-brown notification banner, yellow main line and white secondary line, one notification at a time. Opening bottom mission: 【赶在九点前打卡】. An additional upper-right countdown starts at 【00:24】 and stops at successful clock-in at 24 seconds. [IMAGE REFERENCES] Use the newly uploaded subway photograph as the sole identity and wardrobe reference, replacing all previous character references. Preserve the same adult woman's facial structure, features, skin tone, dark eyes, dark brown-black hair, wispy bangs, hair tied behind her head, loose facial strands and body proportions. Preserve her ivory fine-ribbed fitted sleeveless tank top; dark-blue denim miniskirt with its waistband, button and pocket construction; white sneakers; delicate silver necklace and small pendant; black shoulder bag hanging from her left shoulder at her left side. The bag swings naturally. She may secure it against her side with her left upper arm. It never disappears or changes sides. Clothing retains normal coverage throughout movement. Extract identity and appearance only. Do not reproduce the raised-arm pose, high camera angle, image text or watermark. [TIMELINE SECOND BY SECOND] 0–4s: [Front-side medium shot continuously moving to rear-right tracking, real-time speed] She stands beside the doors of the stopped train when her phone announces: “还有二十四秒，你就迟到了。” The doors open; her eyes widen, she stuffs the phone into her bag and bolts onto the platform as the camera exits with her and moves behind her right shoulder, revealing the nearby exit passage. HUD: 【主线任务：保住全勤】 4–8s: [Full-body third-person tracking with light running movement, real-time speed] She rushes through the open exit passage, passing a station attendant who has just raised a hand to ask her to slow down; she shouts: “上班！救命！” Outside, she spots the dark-green bicycle a few meters away: its front saddle is empty, while its owner sits sideways on the rear seat, eating a bun and looking at his phone with both feet on the ground. HUD: 【发现载具】 / 【道德暂时下线】 8–13s: [Rear-side medium-full tracking shot, real-time speed] She grabs the handlebars, mounts the empty front saddle and immediately pedals away, shouting: “借一下！要迟到了！” The owner rocks backward as he is carried away, quickly lifts his feet and secures himself to the rear seat; he holds the bun between his teeth, hurriedly pockets his phone and grips the seat firmly, while she pedals hard without looking back. HUD: 【载具获取成功】 / 【附赠原车主一名】 13–18s: [Rear-right tracking, widening to establish the platform and bystanders, real-time speed] The wedding setup blocks the direct route, so she pedals up its broad ramp and breaks through the arch's thin central paper flowers; paper tears and two balloons burst. A bride arranging her bouquet beside the route releases it in surprise, dropping it into the front basket; the bicycle descends the opposite ramp, making the rear passenger bounce and settle as he grips tightly, his bun still secure. HUD: 【穿越婚礼副本】 / 【获得道具：捧花】 18–23s: [Continuous medium-full tracking, rising along the loading ramp, real-time speed] She rides through the open office entrance and takes the already established loading ramp onto the low, wide reception counter; the front and rear wheels strike the countertop in succession with two dull thumps. The receptionist steps aside clutching documents as the woman applies the brakes; the bouquet sways in the basket, a torn paper flower hangs from the handlebars, and the woman's body still obscures the passenger's face. HUD: 【已进入公司】 / 【请勿在前台骑行】 23–24s: [Front-right medium close-up, small continuous lateral movement, real-time speed] The bicycle stops; she plants her left foot on the broad countertop and holds the handlebars with her left hand, pressing her right index finger against the wall-mounted attendance reader. The countdown reaches zero as the terminal announces: “打卡成功。” HUD: 【极限打卡】 / 【全勤奖保住了】 24–27s: [Front-side medium close-up, camera settles, real-time speed] She folds over the handlebars, panting, then raises her head with a relieved smile; the receptionist looks behind her toward the offscreen passenger, suddenly stands straight and respectfully says: “老板早。” Her smile freezes, her eyes slowly glance backward and her shoulders tense; hold the framing without revealing the owner's face. HUD: 【触发隐藏事件】 / 【后座身份正在确认】 27–30s: [The only hard cut, locked side-on two-person medium shot, real-time speed] Show her still astride the front saddle with her left foot braced on the counter, and the boss still sitting sideways on the same rear seat, tie crooked, glasses slipping down his nose, holding half a steamed bun. He looks at her and calmly says: “下班也按这个速度。” She gives one stiff nod, and he casually takes another bite; retain the bouquet, torn paper flower and shoulder bag. HUD: 【老板已送达】 / 【解锁岗位：专属司机】 [STYLE & QUALITY BOOSTERS] Maintain facial identity, hair, clothing and bag placement. Realistic skin, hair, ribbed fabric, denim, metal frame and rubber tires. The central joke is taking the bicycle together with its owner, followed by increasingly absurd commuting shortcuts. Her pedaling drives the bicycle; wheels contact surfaces, chain movement matches the pedals, and steering and braking convey weight and inertia. The owner occupies the rear seat from his first appearance, lifts his feet at departure and remains on the same bicycle. His body responds naturally to ramps and bumps. The final cut changes only the viewing angle, never their positions. Retain the bouquet in the basket after the wedding sequence and the torn paper flower after the collision. Wedding participants and the receptionist remain outside the travel path and are unharmed. Primary negative constraints: 1. No face changes, costume changes, duplicate protagonist or return to the previous blonde hospital-gown character. 2. No cuts, teleportation, time jumps or concealed edits during 0–27 seconds. One hard cut at 27 seconds; lock the final three seconds. 3. No self-driving bicycle, motorcycle transformation, levitation or body/frame clipping. The owner never suddenly appears or disappears. 4. No upskirt framing, wardrobe exposure, injuries or additional chase subplots. 5. No dialogue subtitles, English HUD, photographic watermark, playback controls or slow motion. Maintain HUD placement and scale across the cut.](https://image.24vids.com/tw-2099800722225393727/amplify_video_thumb/2099800142052499456/img/DFMJCygyTvnoPj1m.jpg)
 young Southeast Asian woman in her early 20s, long wavy blonde hair, graphic-print crop T-shirt, hoop earrings, casual bag, playful and expressive. Faz — @[Image 2](image_2) young Southeast Asian woman in her early 20s, soft beige hijab, cream button-up shirt, elegant and calm, quietly witty. 0–4s — Golden-hour car Inside a moving car during golden hour. sharon @[Image 1](image_1) sits in the passenger seat filming herself handheld, fixing her hair and making playful pouty faces at the lens. Faz drives and glances over with a soft smile. Faz: “You’re recording again?” sharon @[Image 1](image_1): “Documenting our youth.” Sun flares through the windows as trees and houses blur outside. 4–5s — Transition POV Quick driver-seat POV of busy city traffic beneath a concrete overpass. Natural motion blur and cloudy daylight. 5–9s — Café entrance sharon @[Image 1](image_1) and Faz walk side-by-side along a sunny sidewalk lined with shophouses. sharon @[Image 1](image_1) “You’re paying, right?” Faz: “Why me?” They laugh and enter a cozy wooden-door café. 9–13s — Café Warm brick walls, hanging lights, plants, intimate atmosphere. They look around admiringly. sharon @[Image 1](image_1) “This place is cute.” Faz: “The prices are cute too.” They laugh. 13–14s — Drink insert Macro close-up of clear ice cubes dropping into a tall glass. Crisp realistic sound. 14–20s — Friendship moment They sit at a small round table beside large windows with string lights outside. Yui takes a bite of her burger while Faz stirs her iced drink. sharon @[Image 1](image_1) “What do you think we’ll be in five years?” Faz: “Fat.” They both burst into genuine laughter. Faz covers her mouth. 20–23s — Lipstick moment Close-up of the two applying lip gloss and lipstick together, checking each other’s shades in the warm café light. They smile and casually chat. 23–25s — Night exterior They leave the café and walk toward a quiet parking area, backs to camera, relaxed and comfortable together. 25–29s — Night car Inside the dark car. Soft dashboard and interior lighting. Yui applies lipstick while checking herself in the rearview mirror. Faz: “Where are we going tomorrow?” sharon @[Image 1](image_1) turns toward the camera with a playful pout. sharon @[Image 1](image_1) “Tomorrow we talk.” 29–30s — Ending Fade to black. Simple white text: “DOMO AI…” Then: “by Sharon” Overall direction: Preserve the feeling of an authentic friendship memory rather than a polished commercial. Natural imperfections, spontaneous expressions, subtle handheld movement, realistic dialogue timing, soft ambient city and café sounds, gentle laughter, warm youthful atmosphere. No exaggerated acting, no dramatic music, no text except the final ending card. Maintain strict character consistency across every shot. #DomoAi #DomoAiCPP](https://image.24vids.com/tw-2087773587201536414/amplify_video_thumb/2087771576695463936/img/DAYMaf5_NRcElzz7.jpg)
![Law firms are putting AI in the wrong place. Sullivan & Cromwell, Latham, Allen & Overy - every major firm is racing AI into legal research, drafting, and memos. That's exactly where hallucinations become malpractice. A single fabricated case citation has already sanctioned real lawyers (Mata v. Avianca, 2023 - the ChatGPT lawyers). A hallucinated statute in client advice is worse. Meanwhile the one place AI is genuinely safe - intake, qualification, and scheduling still runs on PDF questionnaires and paralegal phone tag at almost every firm in the country. So last night I built what lawyers should actually be building. A demo website for a fictional U.S. immigration firm - Sterling & Reed, lead partner Ann Sterling (all names are fictional). An AI intake concierge named Evelyn qualifies every prospect through 17 consultative questions, books the consultation on Ann's Calendly, and emails a two-page matter brief straight to her Gmail before she joins the call. No briefs. No citations. No advice. No hallucination surface. Any immigration lawyer on this app can replicate it. Here are the 12 exact prompts I used - copy-paste into Claude Code: ━━━━━━━━━━━━━━━━━━━━ 1/ BRAND FOUNDATION "Design a boutique U.S. immigration firm website. Fictional founding partner, two offices (NY + Miami). Palette: deep navy + bronze + warm paper. Fonts: Instrument Serif for display, Inter for body. Luxury + editorial - no generic templates, no blue-chip blue." 2/ HERO "Full-screen dark cinematic hero. Centered serif headline: 'Your immigration lawyer, already [prepared].' The last word cycles every 3.5s, character-by-character morph - rotating through prepared / briefed / engaged / on your side. Background: 6 US city night-skyline photos crossfading every 5s with Ken Burns drift. Horizon glow + starfield overlay." 3/ AI INTAKE CONCIERGE "Build Evelyn, an AI intake concierge. 17-turn immigration intake: greeting → visa pathway → citizenship + status + expiration → professional background → timeline → visa-specific qualifier (EB-5 capital, O-1 evidence, E-2 treaty, etc.) → source of funds / sponsor → prior visa history + derivatives → red flag on prior denials → red flag on arrests / overstays → biggest concern → referral source → name → email → WhatsApp → present 3 slots → booking confirmation. Voice: warm, consultative, never rushed. Frame red flags as 'no wrong answers - Ann prefers to know upfront.'" 4/ THINKING STATE "Before each Evelyn reply, show a thinking state. Spinning bronze ring + context-aware label per turn ('Identifying visa pathway...' / 'Cross-referencing denials database...' / 'Preparing brief to Ann...'). Then typing dots. Then the reply. Feels deliberate, not robotic." 5/ AGENT AVATAR "Evelyn's avatar: real photo of a professional woman in a circle. Bronze conic-gradient ring rotating around her, sonar pulse rings expanding outward, green live-status dot bottom-right. Three states synced to chat activity: idle (gentle breathing), thinking (faster pulse + bronze glow halo), speaking (bronze waveform bars below photo)." 6/ BOOKING - CALENDLY INTEGRATION "After intake completes, embed the firm's Calendly inline in the chat for slot selection. On confirmation, show an animated card: 30-particle bronze burst + 4 cascading checkmarks 300ms apart - Brief delivered to Ann's Gmail → Calendar dispatched via Calendly → WhatsApp queued → Prep checklist attached." 7/ HOW IT WORKS - SCROLL-PINNED "4-step section pinned with GSAP ScrollTrigger: 01 Intake, 02 Routing, 03 Consultation, 04 Engagement. Each step: custom animated SVG (chat dots pulsing / checkmarks drawing / calendar slot pulsing / signature stroke drawing itself). As you scroll, active step scales up + glows, inactive steps dim + blur. Bronze progress bar fills the bottom of the active step." 8/ LIVE STAT BAND "One horizontal line: '1,247 Matters filed | 38 Countries of origin | 97% Approval rate.' White italic Instrument Serif numbers, bronze vertical rules between. On scroll-in: scramble-resolve animation over 1.5s. First stat then becomes a live ticker - every 10-24s increments by 1 with champagne flash + floating '+1 EB-5' / '+1 O-1' / '+1 Family' badge (weighted random matter type)." 9/ BEFORE vs AFTER "Editorial band showing '21 days → 6 minutes.' Left: huge italic serif '21 days' with diagonal strike-through that draws in on scroll + five struck-through bullets (12-page PDF, five emails, paralegal screening, conflicts memo, partner hand-off). Arrow. Right: italic bronze '6 minutes' + five clean bullets. Below: live session clock + three real-time counters (briefs filed, conflict checks cleared, calendar holds reserved) ticking up while the visitor reads." 10/ EDITORIAL TESTIMONIAL "Pull quote block. 200px italic bronze opening mark (❝) fades in at 18% opacity. Two-line quote with 300ms staggered reveal. Bronze underline draws under emphasized phrases. Below: bronze divider + initials circle + name + verified green pill ('● Verified client · 2025'). Bronze corner brackets top-left and bottom-right." 11/ REPRESENTATIVE WORK "3 recent matters as a vertical bronze timeline. On scroll, the line draws top-to-bottom and marker dots pop in with staggered sonar rings. Per matter: visa tag (EB-5 / O-1 / E-2), matter number ('No. 1,247'), italicized key figures, green outcome pill (I-526E Approved / Premium Processing Approved / First-Interview Approved)." 12/ BLOG + CONTACT + FLOATING BUTTONS "3 blog cards (Instrument Serif italic titles, bronze gradient placeholders): EB-5, O-1, Family-based. Simple contact form: name + email + country of citizenship + visa type + note. Dark footer with both offices. Two floating FABs: WhatsApp bottom-right (green sonar pulse, pre-filled message) + music toggle bottom-left." ━━━━━━━━━━━━━━━━━━━━ Built entirely in Claude Code. No Cursor, no React boilerplate, no design team. The intake bot runs as a deterministic server flow - no AI inference during the conversation itself, which is why it can't hallucinate. Briefs pipe to Gmail. Consultations book through Calendly. Deployed on Vercel in 15 minutes. Every tool a lawyer needs for this is either free or already in the firm. Swap the fictional firm for your name, your practice areas, your matters - customize and you're live by the weekend. The AI sits in intake, not in your brief. No hallucination, no malpractice, no sanction risk. Just a qualified lead, a warmed prospect, and a partner who walks into the consultation already prepared.](https://image.24vids.com/tw-2047338974063308835/amplify_video_thumb/2047336388333592576/img/UbpnUseszw1EGxtD.jpg)
![🚨What is she carrying? Part 2⁉️ Depending on your AI platform preference … we get either a $40,000 handheld X-ray device or a $40 thermos-and-lunch-bag cooler combo? What was your conclusion, and which was right? When we first came across this video months ago, I immediately said it looked like she was “carrying a lunch bag,” or some kind of cooler. But for whatever reason, and what we were more focused on at the time, we didn’t spend the hours and hours and hours required to drill down on those few seconds of video. Not until this week. Tons of social media critics say I should “just release everything we know, and let the truth fall where it may.” But that’s how we get in trouble. And we HAVE gotten things wrong in this five-year-long investigation. EVERYONE has made mistakes. Left and right media, major legacy media, alternative media, and even the best of the independent journalists have made mistakes or misreported details of the January 6, 2021 event. Whether on purpose, by accident, or careless disregard of the truth … you can be the judge of each incident. I’ve explained on numerous occasions that we’ve spent more than a year researching, investigating, and preparing some stories before going public. In this case, when we finally started looking hard at it, the Brave New World of AI took us on a wild goose chase. We now have good reason to finally drill down on the timelines and available video leading up to the sequence of events on the night of January 5, 2021 … the night before the discovery of the two “devices” at the RNC and DNC headquarters. When inputting into AI that first video — which I posted last night — It began spitting out some shocking alternatives to my original “lunch bag” assumption. Unprompted, the AI drew its own conclusion about what Ms. Kerkhoff was carrying, probably because they were “cops” in the video. To be clear, UNPROMPTED, AI was initially adamant that the item in her hand was a portable X-ray device for sniffing out narcotics, weapons, and explosives. Even some The U.S. Capitol Police sources we shared the video with said the same thing. Other Capitol Police sources were more skeptical. Then, suddenly AI wasn’t so sure. As I mentioned last night, in my second post, X’s Grok and Google’s Gemini were arguing with each other. Gemini was shockingly specific: “The item being carried by the officer in that CCTV footage matches the exact structural form factor, top-handle position, and multi-point shoulder strap design of a Viken Detection HBI-120 Handheld Backscatter X-Ray Imager … Rather than being transported bare, it is housed in its specialized tactical, weather-resistant soft deployment carry case.” Wow. You can imagine how that hit like a bolt of lightning, considering whom we were looking at. Grok was less committed, offering varying possibilities ranging from a “paper takeout bag” to all manner of sophisticated law enforcement-used electronic devices. When I pitted Grok against Gemini — and vice versa — Gemini dug in its heels, saying: “Based on the visual evidence in the video and the analysis circulating in response to Steve Baker's query, the device carried by Officer Kerkhoff is almost certainly a Viken Detection (formerly Heuresis) HBI-120 in its tactical soft-carry case. While officially unconfirmed, the visual and structural match is highly specific.” Grok countered: “The competitor [Gemini] write-up describes that pouch as if it were a catalog item with a unique layout, then maps the CCTV blob onto it and calls it an ‘exact’ match. The citations in that text are HBI-120 product pages, not photos of a factory soft case that looks like this bag. That is overfit. Size class + top handle + ‘looks tactical’ is not an identification of an 8-pound 120 keV imager. Could an agency have put an HBI-120 in some aftermarket or unit-made padded bag? Yes. Does this video prove that? No.” But Grok was also an absolute mess in describing the basic video scene itself: “A gray-haired person in dark clothing walks in from the left carrying a dark bag by a single top handle. Papers or a light object in the other hand. Two uniformed officers come down the ramp. They meet. Later two officers walk the sidewalk; one has a light-colored item (bag or papers), and a dark bag is still in the scene. Someone else walks away across the lot with a bag.” Huh? Anyway… Gemini didn’t like what it called “The Thermos Theory”: “Soft Lunch Coolers typically use flexible nylon webbing straps or soft padded handles that pinch or deform when lifted. The handle in the video does not appear to ‘pinch’ like a soft strap; it remains an open loop. This structural rigidity strongly favors the Viken device (or a hard-shelled case) over a soft lunch bag.” Grok’s conclusion: “On evidence quality, the Viken ID is the weaker of the two. It is possible in the abstract and unsupported as a positive ID here. The honest read is: dark soft top-handle bag, lunch-cooler to small-kit size, contents unknown. Anything more specific needs a better frame, a still of the bag on the ground, or provenance outside this clip.” Gemini’s conclusion: “This single frame is ambiguous due to the blur and lighting (reflection). However, the rigid, non-deforming handle visible in the officer's grip is a mechanical characteristic of the Viken HBI-120 (or similar heavy equipment) and is inconsistent with the flexible straps of a standard soft lunch cooler. While the "silver" glint is a point for the thermos theory, it is plausibly explained by the Viken's glass screen or case window. Verdict: The structural analysis (rigid handle) still favors the heavier equipment (Viken) over a standard soft lunch bag.” So, depending on your AI preference … we get either a $40,000 handheld X-ray device or a $40 thermos-and-lunch-bag cooler combo? But there is more evidence in the alternate video angles available. (That I now present below.) They seem to confirm with the ‘human eye’ that Ms. Kerkhoff is carrying a metal cylinder (possibly a thermos) in the same hand as a soft-sided lunch bag cooler. Though the design conflicts with the common thermos handle configurations of most known cylinder thermoses. (Photos below.) And we've not been able to get an accurate hit on the so-called "lunch bag" with that specific handle and strap configuration. And THAT is why you don’t just “release what you know” without seeking every possible video angle and expert opinion. That is why we didn’t run to print with our original November 8 story on the OG topic without first taking it to a government intelligence agency and professional investigators for review. That is why so many bad theories about January 6 still abound — five and a half years later — because they were based on a single camera angle, when years later, the same scene was revealed to have been captured from multiple angles that change reality 180 degrees. This is exactly why all CCTV footage — not just from January 6, but also January 5 and 7 — still needs to be released to the public. When Speaker Mike Johnson authorized Rep. Barry Loudermilk's old investigative subcommittee to begin uploading CCTV footage to a Congressional Rumble channel, we were elated. I had already spent many weeks in the Capitol CCTV viewing room in D.C. The travel, the expense, and the scheduling hassles with the committee made it nearly impossible to spend the amount of time required to prepare any story correctly. Not only to view and harvest what you were looking for, but also to sift through far more than the infamous “41,000 hours” of footage. Congress made more than 1,800 cameras' worth of footage available, and ten total days of footage. That’s hundreds of thousands of hours of potentially useful footage to review. An impossible task for any one person or media organization to review if Congress didn’t make that footage directly available to the public. But they didn’t finish the project. Tens of thousands of vitally important hours from both January 5 and 6 were never uploaded to the Rumble page. Additionally, my team has made specific requests for curiously missing gaps in footage throughout that two-day timeline. In an arrangement made with the Committee, they had originally been very good about getting us the footage from the specific cameras and timestamps we requested. That suddenly stopped when the new Congress and Loudermilk’s new J6 investigative subcommittee took over in January of 2025. Joe Hanneman and I have made innumerable requests — REPEATEDLY — for missing and/or unreleased cameras and timestamps specifically related to the pipe bomb investigation. Despite being told — REPEATEDLY — that they would provide the requested footage, they never did. Something happened. As I’ve reported several times in the last few months, the Capitol Police were finally and successfully able to shut down Loudermilk’s subcommittee investigation into ALL THINGS related to the Capitol Police. They did this only with the complicity and surrender of Speaker Johnson and Judiciary Chairman Rep. Jim Jordan to Capitol Police leadership’s demands. On that note, and in conclusion … there are eight full hours of missing footage from January 5, right in the middle of the day. ALL CAMERAS are missing. These are important hours for what we are tracking. We can see Ms. Kerkhoff arrive at Capitol Police HQ early in the morning to clock in for her shift, but she is not carrying her “lunch bag and thermos” when she arrives. Her car is parked two blocks away, and is in the same parking spot at the end of her day. We can see her leave HQ late in the day (as I’ve documented in the last several posts on this page) with other officers and go to the Fairchild Building. Only to return some half hour later carrying that … thing(?) … and only to spend 45 seconds in the HQ to “clock out” from her overtime shift. We’re still missing vital video footage that both Speakers McCarthy and Johnson promised the American people. Including certain cameras deliberately withheld at the RNC bomb drop location, and other cameras with mysterious gaps at the most important of moments. Do the other video angles here prove that either Grok or Gemini was right, or does the X hive mind have better theories on what Kerkhoff is carrying? How about that high-definition CCTV camera that is right inside that west side door at Capitol Police HQ, with good lighting? They should release that video to us. A $40,000 bomb detection device or a Walmart thermos and lunch bag? I’m good with either. The truth is what we seek. But we should be able to see ALL the footage. Including all Capitol CCTV cameras and footage from January 6, and the days immediately preceding and following. Including the 39,000 video files the FBI claims to have in the entire J5/J6 pipe bomb investigation. Conspiracy theories are born and fester precisely because the government isn’t transparent and purposefully keeps the People in the dark. Then the lawyers who control government make billions from the legal aftermath. (More Photos in the thread below.)](https://image.24vids.com/tw-2094421342586044718/amplify_video_thumb/2094419261796077568/img/wP9SAk3OAQ58oFvt.jpg)
!["We loved our daughter and we wanted to help her." ~Tim Gallaudet This is way too long but I hope you enjoy it. As far as Steven Greenstreet 🐷's posts about the Gallaudets, hauntings and psychics? First off, Tim Gallaudet's wife, "was also a Naval Academy graduate and a master’s recipient from Scripps, having earned her degree in 2001." Source: We know the resume of retired Rear Admiral and oceanographer, Tim Gallaudet, but what about his wife, Caren? She's a big part of this story, so any journalist covering it would want you to know a little something about her. But not Greenstreet, who is, as I said, not a journalist. He leaves out any detail that doesn't fit his debunker, mocking narrative. And he just blocked me. Good. Trash. More... “(My wife Caren) is an inspiration to me, first because she was a Navy diver, and you don’t need to say more. And second, she was a Navy diver as a female during a time when it was not easy. In the late 1980s/early 1990s there was a lot of sexual harassment in the Navy.” ~RDML Tim Gallaudet ~~~ This episode of "The Dead Files," S6E8 ("You Will Be Mine") aired May 20th, 2016. Caren: "People think I'm crazy but it's hard to do battle with an enemy you don't understand. There are things moving around the house. We're hearing voices. We've all had nightmares. We've seen full apparitions. Now things are getting physical." (I would liked to have heard more about full apparitions and exactly who saw them. Having multiple witnesses to alleged phenomena is important. And yes, people will think you're crazy but screw 'em. People have been experiencing this type of phenomena all over the world. At the time this was shot (2015 or 2016), their oldest of three daughters, Laurel, was 14, Aspen was 8, and the youngest, Cedar, was 6.) Caren: "My husband works for the Department of Defense and he travels a lot, so he's rarely here." (They bought the property in 2007 but the odd activity in the house didn't start until Cedar turned 3.) Caren: "Cedar has drawn pictures. This is the man with the brown arms. He lives in her room in her closet. This one she saw in my bathroom, it was a man covered with blood. And I have a book with over 40 drawings. She has become anxious and depressed." (Why didn't the family bring her to a psychiatrist or psychologist first before immediately seeking out a medium? What? They did? Why didn't hack Greenstreet tell us that? Because his goal is to make anybody connected to UFO disclosure look bad.) Caren: "We've seen psychiatrists, psychologists. They all say she's a normal little girl. But she says things that 5 and 6 year old children should not be saying. I love her with all my heart but, at times, I don't know who she is." How is Caren handling it? Caren: "Not very well. When I'm alone, I do a lot of crying. I feel isolated, I feel exhausted." (The kids fight and the older sisters blame Cedar for what's going on. That fighting may be related to the phenomena. Watch the video clip I included below for context. ~~~ Caren: "We're wiling to do whatever it takes. We're ready." (My take: It's obvious they were desperate for help in a situation where nobody else was offering up anything to fix the problem. So they turned to an alleged medium, Amy Allan, and former NYPD homicide investigator, Steve DiSchiavi, who were part of a TV show, "The Dead Files." I am NOT a fan of those types of shows and I would tell people to avoid them if they had a problem like what the Gallaudet's described. But I wasn't in their shoes so who knows what I might have done to get help for the people I love? Luckily, I've never had to deal with a situation like that.) Caren: "I was in the kitchen, and I opened the cupboard. And before doing anything, all the dishes and the bowls fell on top of me." (Sounds like poltergeist activity. And when I say poltergeist, I don't necessarily mean a ghost, spirit, etc. If you read Dr. Barry Taff's book, "Aliens Above, Ghosts Below," he talks about something called Recurrent Spontaneous Psychokinesis, or RSPK. The term was coined by parapsychologist, the late Dr. William Roll. The theory is that the paranormal activity taking place is originating from one of the people in the house. Usually, a young, adolescent boy or girl. "After receiving a report of poltergeist-like activities, two investigators from the Rhine visited a site and observed disturbances that were classified as Recurrent Spontaneous Psychokinesis or RSPK. RSPK is the modern interpretation of what was previously called poltergeist activity. It occurs when an individual – in this case an adolescent boy – is present in every case where a poltergeist-like effect is observed. The activity is interpreted as the result of unconscious psychokinesis activities coming from the individual who is called the PK-Agent." Source: ~ Here's a transcription of the video clip I included below: Parapsychologist Dr. Barry Taff: "The original belief, regarding poltergeist, was that they were, basically, mischievous, prank-playing ghosts. That's what the German word means. The modern theorist in parapsychology consider a quite different type of belief system is operating here, or phenomena is operating. They believe that there are young children present, pubescent, adolescent children, and the research tends to support this belief. These young children are present with a lot of emotional animosities, belligerence, a lot of very intense interactions. And this emotional interaction will produce an emission of unconscious energy from these children, which will affect matter, objects around them. Make them move, affect electrical appliances, make them turn on and off. Make things speed up and slow down, affect televisions, affect radios. Dishes may explode, furniture may move across the room, cameras may go off by themselves, light bulbs may explode suddenly." ~ "A person-focused poltergeist tends to (but not always) involve a female adolescent who is suffering from emotional turmoil when the activity begins. That said however, not all so called 'focal agents' are teenagers. Indeed, William G. Roll, a pioneer in poltergeist research, found the age of people reporting experiences of poltergeist activity ranged from eight to 78 years." Source: ~~~ (That may explain what went on in the Gallaudet home but it's still not accepted by mainstream science as a valid theory. Unfortunately, Allan (the alleged medium) didn't offer up any alternative explanations for the paranormal activity in the home and focused solely on the alleged spirts of dead people as the answer. She thought Cedar was a physical medium who could cause that type of activity to occur, but again, 100% related it to the spirits of dead people, without offering any other explanation. IMO, it's possible one of the girls (or Caren) is a PK-Agent and this had nothing to do with spirits. Then again, maybe it IS connected to non-physical entities? Spirits of the dead? Keel's ultraterrestrials, who he believed impersonated the dead? A mix? Something different? Impossible to prove, either way. So, I don't know. But I DO believe SOMETHING anomalous was going on. If you want an example of how an alleged haunting, ghost or poltergeist case should be investigated, watch this. The clip I attached at the end is from this video. If these folks were still doing investigations, I'd refer anybody who was dealing with this type of situation to them.) "We don't consider our pictures proof of anything, we consider them part of the struggle to gather evidence to try to understand this phenomena." ~Kerry Gaynor Watch it... 👆🏼👆🏼👆🏼 ~~~ Caren: Also, "my daughter, Laurel, and I were right here having a conversation. And all of a sudden she screamed. She said, 'Someone just touched me on my back.' And there was no one else in the room." The bedroom... Caren: "I was woken by a noise. Immediately, I looked to the door and saw a giant, black shadow coming at me from the door. It came over the bed and came straight over top of me. I was scared to death. I've never been that scared in my life." (This is very similar to what happened to people who visited Skinwalker Ranch (and other locations) and reported taking "something" home with them. Also known as the hitchhiker effect. ) Caren: "I was asleep and I felt a hand grab my hair and yank me up. It was a very aggressive pull. I screamed, and I did not go back to sleep after that. There was no one around. Tim wasn't here. It was not a nightmare. I don't sleep most nights, but I'm glad that I had the experience because I understand what Cedar's going through. If I saw that every night, I think I'd act like her, too." Caren's mother, Jan: "Something's going on with Cedar. She's changed dramatically in the last year, year and a half. To do this to my grandchildren makes me angry. My husband and I were babysitting here and we heard Cedar cry out, yelling and screaming, 'Stop it, stop it. Leave me alone!' So I rubbed her back and she went back into her sleep. And then I heard a low voice (that sounded male) say, 'It's gonna be alright. It's alright.'" (From the investigation, Jan wants, "peace among the girls. They don't tend to get along. It's more than just sibling rivalry. It's something else." She thinks the girls are in physical danger. As Taff noted, intense interactions among people in the house could be the cause of all of this. Why did it take a few years for the activity in the house to start? Did anything change in the family dynamic? Cedar is interviewed and she tells the investigator what she's experienced, which includes a scary dream with blood on the floor and dead people. She says she sees the man with brown arms and brown skin who yells at her, "Get out of here, this is not your room. This is my room." Later on, the medium says that this man was there to protect Cedar. Based on what he allegedly said, that makes zero sense. I'm not a fan of this medium (Allan), to put it mildly. Aspen, eight years old, says she sees a shadow man in her room who sits near her dresser. She also saw a little girl who was wet. "I felt a thumb press on my neck really hard." During the nighttime walkthrough of the house, the medium says that one of the spirits looks wet. Is this confirmation or was the medium fed information about what the children experienced? Impossible to know as it's an edited TV show.) Caren says Cedar has seen over a hundred spirits. "It's every night." Medium Allan says this one spirit is tormenting the kids because she's jealous of them and wants Caren to be her mother.) Amy Allan: "The only way (this spirit) could be with you is if you were to kill yourself, then you guys would spend entirety together, and you would forever be her mother, alone." (I'm sorry but without any evidence to back that up, it's an irresponsible thing to say and, IMO, a bunch of sensational bs.) You can watch the entire episode if you log in with your cable subscription. Or watch it at Greensteet's post... ~~~ Tim Gallaudet was on with “Jay Anderson” a few years ago and spoke about the phenomenon and what his family has experienced. Tim Gallaudet (TG): "You see a sort of grouping of UAP and paranormal and how does it intersect. And the answer is: I don't know." TG: "We were all grown up in traditional, kind of, religion. But at some point in our lives, my youngest daughter had real serious behavior issues. And to sum it all up, she is like many of these mediums that you see. She could see spirits, she saw them all the time. A lot of listeners might just think this is just a joke or made up." (I definitely don't think it's a joke, but if she still has these abilities when she gets older, try to take her to get tested at Windbridge Research. Some people (who call themselves mediums) claim they can acquire information via something other than their five senses and have shown the ability to do so under controlled conditions. Are they speaking to the dead or is it something else? I don't know. And FYI, a medium claims they can speak to the dead and also provides alleged psychic readings to people about their lives and sometimes the future. Nine times out of ten, a psychic does not claim to speak with the dead.) TG: "There are people that have this ability to tap into whatever we wanna call it. The Other Side, where people go when they die, whatever that is. The energy that people leave behind. There's a lot of ways to explain it. It was real and...real to us." (They're allegedly able to see the spirits of the dead and can acquire information they have no way of knowing via their five senses. To me, the part about them acquiring information they have no way of knowing through means other than their five senses has been proven. Maybe there's some storehouse of information that they're accessing, like an Akashic Records type of thing? Or, maybe they're really communicating with the dead or some other entities? Again, I don't know where the information is coming from. As TG said, there are lots of ways to explain it.) TG: "She had real experiences, it was affecting her. And through a lot of therapy, we were able to basically have her - now she's thirteen - she became adjusted and has kind of dealt with that. She's sort of suppressed it, actually, which is okay. I mean, she's only thirteen. We can take a pause and help her develop as a person and human before coming to groups with that incredible ability." (TG and his wife did everything they could to help their daughter. When traditional methods failed, they sought help in other ways. Why anybody would have a problem with that is beyond me.) TG: "My wife and I, through this experience, to just be able to help her, we came to meet several mediums who are incredibly gifted." One of them was the Long Island medium, Theresa Caputo. (I like to see Caputo tested in a lab. If you'd like to see what that looks like, watch this HBO documentary on Life After Death and mediums. You'll have to search for the other parts. Part 1 of Life Afterlife ) ~~~ TG said he and his wife had a camera in Cedar's room when this activity was taking place and, "there was orbs flying all around this video. It was so active." (I'd like to see this video and see if those were orbs or particles of dust.) TG: "We loved our daughter and we wanted to help her. And so, through just meeting people, doing a lot of reading about people, these experiences, it became real to us and it opened our minds. I don't have all the answers but I know what we experienced, I know what she saw. We contacted [the show] because we thought she could help her and she ultimately did help my daughter." (That's really all that matters! TG says he has some family history with this type of thing but doesn't have any details as people were less willing to talk about it back then.) TG "She was not the Devil, she was seeing real things (laughs), and that's it. We were not gonna brand her or blame her. And I ultimately know, it was that love that we shared - my wife and I - for her, that opened our minds and create the right outcome. For being well-adjusted, having that in our history, and not being afraid of it or ashamed of it. And being aware and open now to a lot of other things that happen in life and maybe seeing their meaning." (Well said. After learning about this, my respect for Tim and his family has only increased.) ~~~ Last and definitely least...Greenstreet's comments. SG: "In an interview with TheProjectUnity, former Navy Admiral Tim Gallaudet claims his young daughter is a 'medium' who sees spirits and can communicate with them." (He said that but also added this...) TG: "There are people that have this ability to tap into whatever we wanna call it. The Other Side, where people go when they die, whatever that is. The energy that people leave behind. There's a lot of ways to explain it." SG: "Gallaudet's wife claims their house is haunted by violent poltergeists." (His wife explained what the family was experiencing. I don't recall anyone involved mentioning poltergeists or that the house was haunted. This are buzzwords SG uses to disparage people. Just like his "monsters" garbage. ) SG: "Their youngest daughter, 6, thinks ghost monsters are hiding in her room and both the TV show stars and her parents validate her fantasies as real." (His wife and daughters were having experiences they couldn't explain. They took the youngest to a psychiatrist and psychologist and they couldn't help. So they sought out the show. You left out the part about them seeking professional help first. Why? Because you're a piece of trash who will do anything to disparage anybody involved in this. I think YOU should seek help.) SG: "Gallaudet says he's taken his young daughter to multiple psychics to try to 'help her.'" (Nope. Mediums. For a so-called journalist, you should know the difference. And again, this was AFTER they sought out traditional help.) SG: "It should be noted that Gallaudet is "close friends" with Jay Stratton, another retired Navy official who claims his house was/is also haunted by violent poltergeists who attacked his children." (Talk to Stratton and you'll see he doesn't define what happened to his family. Oh, that's right, he won't talk to you because you're an azzhole. And it makes sense that those two would bond since their families experienced similar things. I hope Tim shares more details about what's currently going on with his family and what he experienced himself.)](https://image.24vids.com/tw-1797112304313717240/ext_tw_video_thumb/1796974769256165377/pu/img/oZCZv2Y6XPpcVPwJ.jpg)
![Leaving work at five shouldn’t require stealth mode, but her boss made it a mission. Seedance 2.5 0n SJinn Agent Prompt SCENE CONTEXT A 30-second realistic AAA third-person stealth-action game sequence set in a Japanese corporate office at exactly 5:00 PM on a bright weekday afternoon. The player character, NAGI, has finished her work and must reach the elevator without being stopped by her boss and given another assignment. ACTIVE REFERENCES [Image] = NAGI’s facial identity, if a character reference is supplied. Use only her facial appearance as the identity reference; replace any school clothing and background with the adult office character and environment specified below. NAGI: Japanese woman, 25, long straight black hair with blunt bangs, white short-sleeve office blouse, charcoal tailored trousers, black leather belt, white minimalist sneakers, employee ID clipped to her waistband, small black work tote held close to her body. Voice: light, breathy adult female voice, speaking Japanese in a hushed whisper. Keep her face, hairstyle, outfit, proportions, and accessories identical throughout. CAST SEPARATION Four distinct adult office characters appear, each with a different silhouette, age, and hairstyle so they read as separate people: TEAM LEADER: man in his 40s, 170 cm, average build, full head of short black hair parted at the side, thin metal-framed glasses, white dress shirt with a loosened navy tie. Appears only beside the first desk cluster, checking his watch. PAPERWORK COWORKER: woman in her 20s, 160 cm, slim, brown hair in a high ponytail, beige cardigan over a white blouse, carrying a thick stack of printouts. Appears only in the printer aisle. BOSS: man in his 60s, 160 cm, stout and round-shouldered, completely bald with a shiny scalp and a fringe of white hair above the ears, round gold-rimmed glasses, charcoal three-piece suit with a company lapel badge, carrying a blue assignment folder. Appears at the corridor T-junction and remains in that connected corridor during the whiteboard sequence. OFFICE ASSISTANT: man in his early 30s, 182 cm, lean and broad-shouldered, thick full black hair swept back, short beard, navy shirt with rolled sleeves, dark trousers, no glasses. Pushes the mobile whiteboard from the meeting-room alcove toward the elevator lobby. The BOSS is the only bald character in the entire video. The OFFICE ASSISTANT keeps a full head of thick black hair and a beard, stands more than 20 cm taller than the BOSS, and is clearly a different, much younger man. LOCATION MAP One unbroken spatial route the camera travels with her: Her workstation → low desk partition → printer aisle → corridor T-junction → meeting-room alcove with mobile whiteboard → elevator lobby → elevator interior. Keep the route compact and physically traversable within the 27-second continuous section. Foreground: polished linoleum floor, office desks, steel filing cabinets, rolling chairs, and reflective glass meeting-room partitions. Background: window wall on camera-right overlooking neighboring office buildings, dust suspended in the sunbeams. Light enters from camera-right along the office route. ELEVATOR GEOMETRY The elevator entrance is at the end of the office corridor. The call button is on the wall beside the entrance. The elevator is empty when NAGI enters. Inside the elevator: brushed-metal rear wall, side handrails, softly illuminated ceiling, control panel beside the doorway. No rear exit and no mirror creating a second NAGI. NAGI enters facing the rear wall, then turns to face the open elevator doors. For the final reverse shot, the camera is positioned INSIDE the elevator, immediately beside the doorway, looking inward at NAGI. The brushed-metal rear wall is behind her. The elevator doors close behind the camera, allowing her face to remain visible throughout the final shot. FIRST FRAME / BLOCKING First frame is already in motion: NAGI darts in from lower-left toward camera-right, work tote clutched to her chest, and drops into a crouch-slide behind a low desk partition beside her workstation. Camera behind her right shoulder. Game HUD fully visible from frame one. A small desk clock reads 17:00. FORMAT MODE One continuous unbroken take from 0.0s to 27.0s with no cuts of any kind, then a single HARD CUT at 27.0s to one final locked reverse shot that runs to 30.0s. Exactly one cut exists in the whole video, at 27.0s. The camera does not cut anywhere else. OPTICS One lens for the continuous section: 47° third-person over-the-shoulder framing as the baseline, breathing in to 29° on reaction beats and out to 63° for the boss encounter and moving-whiteboard concealment. All FOV changes in that section happen as smooth continuous zoom breathing, never as a jump. The final shot after the cut is a fixed 29° frontal framing of NAGI, no drift. CAMERA For the continuous section, the camera is a physical object flying with her. Chest-height, 1.5 meters behind NAGI, slightly camera-right of her spine, swinging with a soft spring delay half a beat behind her turns like an analog-stick gameplay camera. It dips to knee height when she crouches, rises when she stands, slides sideways along the filing cabinets with her, swings wide to corridor-left to reveal the boss encounter, drifts behind her for the moving whiteboard, and follows her through the open elevator doorway. The camera travels through open space around desks and partitions. It never clips through furniture, walls, the whiteboard, or elevator doors. After the cut, the camera is repositioned inside the elevator beside the doorway, looking inward at NAGI — locked off, eye level, completely static, no movement. ACTION [Beat 1 — 0.0s to 6.0s] NAGI crouch-slides behind the low desk partition, back flat against it, chest heaving. She leans out 20 cm to peek at the TEAM LEADER checking his watch beside the adjacent desk cluster, then pulls back. She whispers in Japanese: {定時だ…捕まったら終わり。} HUD flashes 【5:00 PM — SHIFT OVER】 and the mission banner 【OBJECTIVE: REACH THE ELEVATOR UNDETECTED】. The TEAM LEADER turns toward a ringing desk phone. NAGI slips behind his back, staying below the desk-partition line, and moves into the printer aisle. The camera follows without stopping. [Beat 2 — 6.0s to 12.0s] The camera stays with her beside the steel filing cabinets. NAGI presses her spine flat against the cabinets and shuffles sideways at 2 km/h, sneakers rolling heel-to-toe in silence. The camera tracks sideways with her at the same speed. The PAPERWORK COWORKER walks past the end of the row carrying a thick stack of printouts, scanning the office for someone available to help. NAGI holds her breath, pupils tracking the coworker without moving her head, and whispers: {来ないで…こっち見ないで。} The minimap vision cone sweeps past NAGI’s marker and turns away. HUD shows 【SNEAKING MODE】. The PAPERWORK COWORKER exits frame-left. NAGI exhales, crouches beneath the edge of the last desk, and slips into the corridor with the camera still on her shoulder. [Beat 3 — 12.0s to 18.0s] The BOSS steps around the T-junction two meters in front of her, blue assignment folder in hand. He catches a brief glimpse of movement. A red exclamation marker snaps above his bald head with a sharp alert sting. The HUD edge pulses red: 【ALERT】. He starts saying in Japanese: {なぎさん、追加の仕事が…} The camera swings wide to corridor-left as NAGI reacts in one motion: hugs her tote tightly against her ribs, drops below his eye line, pivots around the corner of a tall filing cabinet, and slips into the adjacent meeting-room alcove. The cabinet fully blocks his view before he can finish approaching her. She whispers: {今だけは無理…！} HUD prints 【EVASIVE MANEUVER】 and 【BREAK LINE OF SIGHT】. The BOSS takes a step toward the place where he last saw her, looking around the cabinet. NAGI has already moved to the far side of a mobile whiteboard in the alcove. The camera falls in behind her again. [Beat 4 — 18.0s to 24.0s] The OFFICE ASSISTANT starts pushing the mobile whiteboard out of the meeting-room alcove toward the elevator lobby. The whiteboard is a tall, opaque rectangular board on a metal frame with four caster wheels. Its panel extends low enough to conceal NAGI’s crouched torso and head; only her white sneakers occasionally show below the frame. NAGI crouches on the side opposite the BOSS and shuffles with the board, matching its rolling speed exactly. She keeps her tote tucked close so it never protrudes beyond the board’s edge. The camera tracks low on her concealed side, showing her careful steps and the BOSS intermittently visible beyond the board’s far edge. The BOSS pauses, looks toward the moving whiteboard for a full beat, then turns back toward the office with his assignment folder. From behind the board, NAGI whispers: {ホワイトボード…最強。} HUD prints 【MOBILE COVER EQUIPPED】, then 【ENEMY LOST CONTACT】. The alert bar drains to green. The OFFICE ASSISTANT steers the board into a wall recess beside the elevator lobby. NAGI slips away from its concealed side as it stops. [Beat 5 — 24.0s to 27.0s] NAGI reaches the elevator call button and taps it once. A soft arrival chime sounds. The elevator is already waiting on this floor; its doors slide fully open. She slips through the clear doorway. The camera follows her inside, staying behind her shoulder. She turns to face the entrance and presses the door-close button once. Her shoulders remain tense, tote held tightly in both hands. The doors remain open until the cut. 27.0s HARD CUT [Beat 6 — 27.0s to 30.0s] Locked static reverse shot from inside the elevator beside the doorway, looking inward: NAGI stands facing camera, shoulders squared, work tote held in front of her, chest still rising fast. Behind her are the brushed-metal rear wall and a horizontal handrail. Off camera behind the lens, from the distant office corridor, the BOSS calls in Japanese: {なぎさん、ちょっといい？} The elevator doors slide closed behind the camera. Their narrowing opening is registered by the shrinking patch of corridor light across NAGI’s face and the sliding-door sound. NAGI answers brightly, looking straight down the lens: {お先に失礼します！} The doors finish closing. Her shoulders drop with relief. HUD prints 【MISSION COMPLETE】, 【STEALTH RANK: S】, 【ADRENALINE +150】, and the final notification: 【AFTER-HOURS TASK EVADED】 Final frame: NAGI facing camera, a tiny triumphant smile pulling at one corner of her mouth. PERFORMANCE Photographic human realism indistinguishable from live-action footage: skin with visible pores, fine vellus hair catching the light, subsurface scattering in the earlobes and fingertips, capillary flush across her cheeks and ears from running, individual flyaway strands lifting off her hair, wet living eyes with true window catchlights and a faint red inner rim, clean matte skin. Visible fast breathing at the collarbone, eyes darting a half-second before her head turns. Tension shown by muscle: shoulders drawn up to her ears, fingers clamped white on the tote handles, jaw set, then a full-body shoulder drop on each escape. All adults have equally real skin, real hair follicles, and natural asymmetric faces. PHYSICS Her blouse and tailored trousers crease naturally during crouches and turns. Hair lags and sweeps across her face on fast direction changes. The work tote has real weight: its handles pull taut in her hands, and its body swings with inertia before settling against her torso. The mobile whiteboard has real mass. Its caster wheels rotate against the floor, swivel when steered, and rattle lightly over a flooring seam. The board wobbles subtly when the OFFICE ASSISTANT starts and stops it. NAGI moves with her own visible footsteps; the board does not drag or transport her. The coworker’s printouts flex slightly while walking. The BOSS’s folder stays in his hand. Elevator doors slide smoothly on fixed tracks and close only after NAGI and the camera are fully inside. Contact shadows stay glued under every foot, every knee, every furniture leg, and every caster wheel. LIGHTING One continuous light logic across the office route: bright late-afternoon sun at 5600K entering from the window wall on camera-right, throwing long window-frame stripes across the floor. NAGI passes through light and shadow as she travels. Soft bounce fill off the pale linoleum lifts her face. Fine dust hangs suspended in the sunbeams. The elevator lobby receives the same window light. Inside the elevator, neutral overhead illumination provides continuous soft fill. In the final reverse shot, the same corridor daylight enters from camera-left through the open doorway, raking across her cheek. As the doors close behind the lens, this daylight narrows and disappears naturally, leaving the elevator’s established overhead light. Exposure rolls smoothly as she moves between bright and shadowed stretches, and the color temperature matches exactly across the cut. HUD GTA-style real-time game HUD locked to fixed screen positions for the whole 30 seconds, with every on-screen word written in English: Circular minimap bottom-left with the player arrow and yellow vision cones for the office characters; health and stamina bars top-left; alert-state bar shifting green to amber to red; controller button prompts bottom-right; English mission objective text top-center; floating red exclamation markers over alerted characters; notification cards sliding in from screen-right. The HUD stays in the same screen positions across the cut. No subtitles or caption bars anywhere on screen. The HUD is a clean flat graphic overlay composited on top of fully photographic live-action-grade footage. AUDIO Tense minimalist stealth synth loop with a pulsing heartbeat underneath, running unbroken across the cut and resolving to a short bright victory fanfare at the end. Ambience carries continuously through the cut. Office sounds become naturally muffled as the elevator doors close. All dialogue is spoken in Japanese. STYLE Photoreal live-action realism, real human beings and real fabric, natural skin tones with true-to-life color science, physically correct materials, realistic human proportions and anatomy, real optical depth of field, real floor reflections, subtle handheld gameplay motion blur, fine film grain at 5%, sharp detail intent. OUTPUT SETTINGS 16:9, real-time speed throughout, one continuous 27-second take plus one 3-second locked shot after a single hard cut. POSITIVE LOCKS Exactly one cut in the entire video, at 27.0s — everything before it is a single unbroken take with the camera connected to NAGI. NAGI is consistently an adult office employee, 25, with the same face, long black hair with blunt bangs, white office blouse, charcoal tailored trousers, black belt, white sneakers, clipped employee ID, and black work tote throughout, with dry clean skin. The work tote stays with her throughout. The mobile whiteboard appears only from the meeting-room alcove onward and is physically pushed by the OFFICE ASSISTANT. It remains between NAGI and the BOSS during the concealment beat. The bald BOSS in the charcoal suit and the tall bearded OFFICE ASSISTANT with thick black hair are unmistakably different men. The office route remains spatially continuous. Characters do not teleport between locations. NAGI enters the elevator before turning toward its doors. In the final shot, the camera is inside the elevator beside the doorway, with NAGI facing the lens and the brushed-metal rear wall behind her. The doors close behind the camera; they never pass between the lens and her face. All on-screen text is English. The last 3 seconds hold a locked frontal eye-level shot of NAGI facing camera. HUD elements stay in the same screen corners throughout. One single NAGI on screen at all times. All spoken lines are in Japanese. Sunlight direction stays consistent across the office route, with a physically motivated transition to elevator lighting as the doors close. Final notification: 【AFTER-HOURS TASK EVADED】.](https://image.24vids.com/tw-2099440985872933199/amplify_video_thumb/2099439622300262404/img/ApTPKT_DRHsOPaZ1.jpg)
!["We had people around us that started having things happen. And not all of it was rosy. We didn't know that...it's gonna stay with you for maybe...years and years or the rest of your life." ~Mr. B. A Whole Lot of Not Rosy Robert Bigelow: "And so, it (survival of consciousness research) does have this aspect of things to be concerned about. And you know, I've told you that since we formed this institute (Bigelow Institute for Consciousness Studies (BICS)) in June (of 2020), all of a sudden, we had people around us that started having things happen. And not all of it was rosy, okay?” (I really hope he give details in a future interview because I think it's important to know what happened. Just the formation of an institute that planned on studying consciousness caused phenomena to start taking place and some of it was negative in nature. To me, that's problematic. Did anybody get injured or sick, or were they just scared?) Bigelow: "So, I mean, this is family members, myself, my staff. And none of this we expected, we hadn't asked for anything, positioned anything, decided to do anything in this kind of research. Our whole intention to begin with was simply trying to get ourselves up to speed in the literature, after being away from this for so many years, focusing on [the] space world, right? That's been mainly what I've been doing - except for the Skinwalker Ranch thing for 20 years - is the space world...has been huge in my life to pursue. The legitimate, parochial kind of, you know, using fire engines, rockets to get you there (smiles). "So we didn't expect anything like this to happen." (Again, this is various phenomena that allegedly started happening once they formed BICS with the intention of studying consciousness (including life after death), and apparently, some of it was not good. Again, did anybody get hurt? Exactly how bad was it? Details are sorely needed.) Bigelow: "And so, this Holy Grail is different than the second Holy Grail. If the second one being the ET, is a little bit lower. And this first one: Is there any part of your consciousness that survives your bodily death? That's a big deal, that's a huge story, that's gigantic." (I'd push back and suggest that both Holy Grails may be connected or related and the 2nd one may not be ET at all. This other intelligence (which John Keel labelled, "Ultraterrestrials") may reside in, or be able to enter, the same realms we enter when we die. There’s strong evidence that psychic mediums can acquire information they had no way of knowing about via their five senses. But are they talking to the dead, or is something else going on?) ~~~Excerpt from Operation Trojan Horse by John Keel~~~ In 1866, a New Englander named William Denton declared himself to be the first modern contactee. He claimed to be in telepathic contact with beings from another planet, and he and his whole family later purportedly visited Venus and Mars. Denton wrote a series of books describing saucer-shaped vehicles in detail, which he thought were made of aluminum. (A commercial process for manufacturing aluminum was not invented until 1886.) He also told his audiences (he lectured widely) that the folks who rode around in aluminum airships looked very much like us. His narratives were, in many respects, identical to those of the modern contactees. Trance Mediums and Possession Trance mediums were nothing new in 1850. In the Bible’s First Book of Samuel, Chapter 28 describes how Saul consulted a medium (“… a woman that hath-a familiar spirit”). Mediums acted as oracles in ancient times, and people with this peculiar gift appeared in each new generation. Such persons seem to serve as instruments through which the ultraterrestrials can speak to us directly, and they often come up with amazingly accurate prophecies of the future and precise details of events that could seemingly be known only to the dead relatives of the people who consulted them. Of course, when spiritualism became a national fad, a goodly number of charlatans and hucksters moved in. But most of the genuine mediums exercised their talents carefully and for free. They did not indulge in fancy hocus-pocus and did not need paraphernalia, such as spirit cabinets. They were—and are—people who can apparently summon up unseen entities or alien intelligences and extract information from them. I am not a spiritualist myself, although I have attended a few séances over the years, usually in the role of a scoffer and disbeliever. As a longtime amateur magician, I have been able to see through the frauds, but I have also been genuinely perplexed by some of the manifestations I have personally witnessed. (I recommend everybody read about The Scole Experiment or watch the documentary on YT about it. And...read the book, "Ghost Hunters" by Deborah Blum. Related links here: ) ~ Back to OTH... Essentially, a trance medium lapses into an unconscious state, and while in this condition, his or her body is taken over by some outside influence. This influence is usually a self-styled “Indian guide” from “the other side.” Many mediums have been simple, uneducated people, but when in a trance state they have been able to talk foreign languages fluently. Scientists and clergymen have put countless mediums through severe tests over the years. At one group of séances in the 1920s, sitters, who were all versed in different languages, grilled mediums in everything from ancient Chinese to Swahili, and the controlling entities not only conversed in those languages but corrected the sitters’ grammar! The daughter of Judge Edmunds, president of the Senate in the 1850s, gave incredible performances while in a trance, speaking fluently in Greek, Spanish, Polish, Latin, Portuguese, Hungarian, and several Indian languages. Because the sitters—and the mediums—assume that they are dealing with residents of heaven, they ask mostly spiritual questions. Customarily, the “control” will announce that Mr. Blank is standing next to him and wishes to speak to Mrs. Blank, who is attending the séance. Mrs. Blank excitedly begins to question her dead husband, Mr. Blank. How is life on the other side? Just fine, the control replies, a little bored, everyone lives in vine-covered cottages, and all is sweetness and light. Where did Mr. Blank hide his valuable gold watch before he died? It’s wrapped in an old sock and buried under some papers in the bottom drawer of the old rolltop desk, the control answers. Sure enough, when Mrs. Blank gets home, she finds the watch exactly where the medium’s alter ego said it would be. Try to convince Mrs. Blank that she didn’t talk with her dead husband! In many cases, the medium even begins to talk in a voice that sounds exactly like the dead Mr. Blank, uses his pet expressions, and even refers to things known only to Mrs. Blank, indulges in their private jokes, and so on. Occasionally, a deceased celebrity will “break through.” Recently the late George Bernard Shaw made a tape recording in England that is now circulating in occult circles. Those who knew Shaw claim that it sounds exactly like him, uses his phraseology and vocal mannerisms, and displays his brilliant and distinctive wit. The trance phenomenon deserves extensive study because so many aspects of it are directly related to the contactee phenomenon. The contactees have been told a hundred different stories of what life is like on other planets. If you review the descriptions of heaven produced at the thousands of possibly genuine séances, you will find the same contradictions. The entities will lie transparently at one point in the séance, and a few moments later will come up with astounding information that could not be based upon simple trickery. The mediums themselves have always been aware of their controls’ mischievous sense of humor. They speak of false shades and malevolent spirits who perform outrageous hoaxes. So the mediums and the professional investigators are always wary. The fact that a control can imitate George Bernard Shaw does not necessarily mean that GBS is doing the speaking from the spirit world. The fact that a control knows where Mr. Blank hid his gold watch does not necessarily prove that Mr. Blank is standing at his side “on the other plane.” The medium generally remains completely inert while in the trance or “occupied” state but in some instances can become quite animated and make gestures appropriate to whatever is being said. In a very real sense, the medium’s mind has been blanked out, and his or her body has been completely taken over by the control. The medium has become a zombie of sorts, possessed by an alien entity, an entity who lacks a physical form of his own. Contactees often find themselves suddenly miles from home without knowing how they got there. They either have induced amnesia, wiping out all memory of the trip, or they were taken over by some means and made the trip in a blacked-out state. Should they encounter a friend on the way, the friend would probably note that their eyes seemed glassy and their behavior seemed peculiar. But if the friend spoke to them, he might receive a curt reply. In the language of the silent contactees this process is called being used. A used person can suddenly lose a day or a week out of his life. I have known silent contactees to disappear from their homes for long periods, and when they returned, they had little or no recollection of where they had been. One girl sent me a postcard from the Bahama Islands—which surprised me because I knew she was very poor. When she returned, she told me that she had only one memory of the trip. She said she remembered getting off a jet at an airport—she couldn’t recall getting on the jet or making the trip—and there “Indians” met her and took her baggage. She remembered nothing further after that. The next thing she knew she was back home again. It seems likely the same methods are applied to both mediums and contactees. In the case of the mediums, the mind control serves a useful purpose. It enables the entities to establish direct vocal communication with us and, in many instances, pass along worthwhile information. This process can also be destructive. A young man from Ithaca, New York, called me some time ago at the urging of William Donovan, president of Aerial Investigation and Research (AIR), to tell me of his close brush with death. One evening in the fall of 1967, he said, he left his home to drive to a meeting. For some reason he couldn’t explain, he got out of his car, went back into his house, and carried out several aimless actions such as picking up a book from a table and putting it on the shelf. “Finally, I said to myself, Okay, it’s time,” he told me. He remembers leaving the house and again heading for his parked car. The next thing he knew he was in a hospital bed. He had apparently driven about four miles to a railroad crossing just in time to meet an oncoming train. His car was demolished, but he escaped rather miraculously with only a few minor injuries. If he had not gone back into the house and carried out those meaningless, time-killing chores, he would have avoided the train altogether. It is possible, of course, that the shock of the accident blotted out his memory of that four-mile drive—but he couldn’t even remember putting the key in the ignition. This man had been active in investigating the UFO flap that took place around the radio telescope installations near Ithaca in 1967-68. In his book Passport to Magonia, Dr. Jacques Vallee, a NASA astronomer and computer expert, touches on all this. “In the Soviet Union, not so long ago, a leading plasma physicist died in strange circumstances,” Dr. Vallee states. “He was thrown under a Moscow subway train by a mentally deranged woman. It is noteworthy that she claimed a ‘voice from space’ had given her orders to kill that particular man—orders she could not resist. Soviet criminologists, I have been reliably informed, are worried by the increase of such cases in recent years. Madmen rushing through the streets because they think the Martians are after them have always been commonplace. But the current wave of mental imbalance that can be specifically tied to the rise and development of the contactee myth is an aspect of the UFO problem that must be considered with special care.” So there seem to be both good and evil forces at work in this type of phenomenon. The good guys latch onto people with particularly receptive minds and turn them into trance mediums. The bad guys use the same methods to tamper with the minds of contactees and even to commit murders indirectly. Because incidents of these types can be traced throughout history, it seems probable that these forces have always been extant on this planet. When the good guys worked through mediums, they needed some excuse that we would accept. The answer seemed to be “communication with the dead.” These communicative efforts led to the foundation of spiritualism, and the entities played the role to the hilt, using their complete knowledge of us and our individual lives to provide us with “proof” of the existence of a spirit world. This is the same precise methodology being employed with the UFOs to build up support for the extraterrestrial thesis. We humans need acceptable explanations for unnatural phenomena, so “they” happily—and often humorously—supply us with all the explanations we can handle. At the same time, they give us tiny fragments of the real truth, hoping no doubt that we will be able to digest them slowly. Ever so slowly. In earlier times it seems as if they made a complicated attempt to convey the truth to us through mediums and psychics, but we chose to misinterpret these efforts and placed them within the context of our primitive religious beliefs. We are still doing this, and they are going along with it because even misinterpreted communication is better than no communication at all. Religion may not be truth but may merely be a step on the long path of the real truth. Do the ultraterrestrials really care about us? There is much disturbing evidence that they don’t. They care only to the extent that we can fulfill our enigmatic use to them. The Reverend Arthur Ford is one of America’s best-known trance mediums. For most of his life he has served as an instrument for an entity who calls himself Fletcher. In 1928, Fletcher announced that Harry Houdini (who had died in 1926) was on hand and had a message which he wanted conveyed to his widow, Beatrice. The message was in a code once used by the Houdinis in a mind-reading act. This code was known only to the couple and had never been published or revealed to anyone. Fletcher, through Ford, was able to give precise details of this secret code, and Mrs. Houdini later confirmed that the message had to come from her husband. This was only one of Ford’s many coups. In the fall of 1967, Ford went into a trance on Canadian television and produced a message for Bishop James Pike from his deceased son. Bishop Pike, who was present at this televised séance, avowed that the message seemed authentic and seemed to come from the familiar personality of his son. This well-publicized séance launched a major revival of spiritualism in the United States. Reverend Ford travels in high circles but has never made any material gain from his peculiar gift. He gives freely of his time—and Fletcher’s advice from the other side—at séances all over the country. Mrs. Ruth Montgomery, the well-known author and Washington reporter, tells of the time that Reverend Ford visited her in Washington and lapsed into a trance so she could ask Fletcher for some advice on his behalf. Reverend Ford was then in the process of moving and wanted to know what he should do with some of his things. Fletcher seemed totally disinterested in Ford’s problems, Mrs. Montgomery reported, and when she asked if Ford should visit a clinic for a checkup, Fletcher snapped, “He’d better do something. If he doesn’t, I can’t work through him much longer.” Although Reverend Ford had voluntarily submitted his person to Fletcher’s use for nearly half a century, the entity was apparently completely disinterested in his problems and welfare. This is, alas, rather typical. Even the most helpful entities seem more dedicated to the job of communicating than to any kind of involvement with those to whom (or through whom) they are communicating. The bizarre history of psychic phenomena is filled with Fletchers. Mrs. Montgomery, incidentally, indulges in automatic writing herself and has received constant messages for the past few years, many of which have been valid prophecies and stern advice meant to govern her future actions. There have been innumerable psychic hoaxes for the past 150 years, and many of these parallel the UFO hoaxes. In 1855, the Fox sisters confessed that their spirit rappings were a hoax. They said they produced the sounds by “snapping their toes.” Think about that for a moment. Snapping your toes so that it sounded like a rap on a wall or table would be a most remarkable talent—perhaps even more remarkable than the ability to communicate with the spirit world. I don’t believe I would pay ten cents to hear someone talk to a rapping spirit—but I would happily pay five dollars to examine someone who could duplicate the rapping sound by snapping his toes. Later the two sisters said the confession was false, and they had been bribed to make it. "Mrs. Houdini was genuinely astonished and impressed by Reverend Ford’s messages from her husband, and she made numerous public statements to that effect, as well as signing various affidavits. But later, in the 1930s, she chose to deny it all for a time. Then, shortly before her death, she reversed her denials. In ufology we have to contend with teenagers’ hot-air balloons, and in psychic phenomena we have to worry about youngsters firing rocks at houses with slingshots and phony mediums levitating “spirit trumpets” with black thread. But there are many more UFO sightings than there are plastic balloons, and there are more poltergeists dumping rocks in living rooms than there are wild-eyed youngsters with slingshots. There are also more ultraterrestrial entities than either the occultists or the UFO enthusiasts dream of." ~~~Edit of the Bigelow Interview~~~ Bigelow: "I also, I was...I got very disturbed toward the end (of AAWSAP) about something that happened to some of the government people, and I realized uhh...holy crap." (Read, "Skinwalkers at the Pentagon." I think it's one of the most important UFO books in recent memory.) George Knapp: "Hitchhikers." Bigelow: "Umm... Well, yeah. You know. So, hitchhikers being that you take things home with you. Everybody took things home with them. I took things to my house. Things happened to my wife, and to me. Different things. So, everybody took things home. We all, you know, we did. But we didn't know that, gee, it was like, gonna be kind of permanent. You know, we didn't know that, you know? That it's gonna stay with you for maybe...for years and years or the rest of your life, who knows? "But the ones that bothered me a lot where anybody got hurt or really disturbed... Not that it happened on the ranch, it was when they left the ranch. As you say, hitchhikers. And these were government people and it affected them." Knapp: "In very dramatic ways, though." Bigelow: "Very dramatic ways. Very dramatic ways. You know, and there's a cousin to that that we're facing, but it's abated, at least for now. And this other survival topic, right? The very dramatic kind of things that we wanted to have reduced or stopped." (The "cousin" to the hitchhiker phenomenon features the not-so-rosy things he referred to early on in this clip. But at least it had abated at the time of this interview. Has it started up again?) Bigelow: "But going back to the government people, the buyer (Brandon Fugal) came along at the right time, I had decided I wanted to tone down..." Knapp: "Take this off your plate." Bigelow: "Yeah, take it off my plate, tone it down, and if necessary, just lock it up and forget about it. And next thing I know, you know, [Fugal] comes along and, you know, the rest is history." Knapp: "Before we leave this, though, the incidents that happened to you, to your wife, to Colm (Kelleher), to me, the, you know, you bring it home. How does everybody handle that? I mean, is it spooky at the time, and do you draw the connection that it's ranch related?" Bigelow: "Yes and no. If the events hadn't happened very often prior to the ranch, then it's not ranch connected. But they did happen." (I think he meant to say, if the events hadn't happened prior to him buying the ranch in 1996 and did happen once he made the purchase, then it would seem to be connected just to the ranch. But he says these anomalous events did happen before he bought it. Maybe some events were connected to the ranch and others were not? Or, this precognitive sentient phenomenon, as John Alexander labelled it, was able to know that Bigelow was going to purchase the ranch in the future and began interacting with him and his wife before he bought it?) Bigelow: "And [these anomalous events] did [happen], where we lived with my wife and I. We had a poltergeist event one time that was really fun and very different, and that was before I ever acquired the ranch. My wife was a very strong - and probably still is, in spirit - person. And so she took them in stride. She had a full manifestation of an apparition, a human-form apparition in the bedroom, and looking at her. "And this was a holy cow. And she happened to tell me, kind of like, 'Oh, well, while you were gone, this is what happened here, a manifestation of this.' I've heard this kind of thing many times through other people, and recently. And she felt the bed depress as there was a curiosity going on because the facial features were distinctive enough to be able to...as though, 'Who are you and what are you doing here?' Coming from the manifestation from the apparition, looking at her, right? "And torso up was kind of what was manifested. And being able to see and feel the mattress being depressed as it's looking at you, wondering, 'Who are you?' That kind of look on the face. 'What are you doing here?' You know, usually you think it would be the opposite direction. 'Who the hell are you?'" (Fully-formed apparitions have been reported over the last 150 years or so but many times only partial bodies are seen. In this case, Mrs. Bigelow only saw the apparition from the torso up. When Leslie Kean sat with physical medium, Stewart Alexander, she said she only saw a hand form. The alleged spirits will say that, many times, it takes too much energy to form a full body. Learn more about the Kean encounter here: ) ~ Knapp: "Was [Mrs. Bigelow] freaked out?" Bigelow: "No. No, she wasn't. There was a bar of light - so this was not normal in the survival research, but maybe in the ET - that was between her pillows. A bar of light. It wasn't coming in from shutters or blinds or anything from the room or any kind of other light source. You could cover, put the pillows down, and the bar would not be reflected on the surface of the object above it, on the second pillow. It only happened when you did this. And she did that and said, 'Oh, well.' I said, 'Well, what did you do?' "'Well, I went to sleep.' Went to sleep, so..." ~~~ (In January of 2012, NYT journalist, Ralph Blumenthal wrote an article about Bigelow Institute for Consciousness Studies (BICS). He ended it with this: ) "One personal footnote. Don’t ask me what happened on Jan. 4 at 5:45 a.m. as I lay sleepless, wrestling with this story. A tremendous bang jolted me and my wife and the dog upright. We found the glass door to our 12th-floor terrace completely spiderwebbed with cracks as if struck with tremendous force, but there was no sign of any projectile. Invisible moisture between the double panes? Or something else? There are things I don’t mind talking about and things I do mind talking about." (Was this prosaic or just more of the not-so-rosy phenomena Bigelow referenced? We need to know!)](https://image.24vids.com/tw-1902142299288838169/ext_tw_video_thumb/1902092701014855681/pu/img/uet_Rn_7fhU0pn3Q.jpg)