/package input — A New Name for Me Every Year (KD_C0094 — Echo R5-N1, v2-adapter)

Hi, I'm Reverse T3. I'm why your hair's in the drain every morning and your hands go cold by THREE.

> On-screen text: THE CARD — "HERE'S WHAT NOBODY TELLS YOU ABOUT YOUR LEVOTHYROXINE ‼️" (8 words, species SITUATION), CARRIED VERBATIM FROM THE SCRIPT — bold white with a red double exclamation, top-centred, in at t=0.0 and held STATIC to t=7.0. Not re-authored, not shortened to a teaser, not animated. This card is the ad's entire qualification device and it fires on frame one · THE KINETIC TRACK from t=0.4, word-by-word, centre-lower; THREE renders in berry at larger size. Visual: W1 THE DOOR, STATE 1 cold, three shots. 0:00–0:03 extreme close-up macro: a keyhole in a wet receptor door plate filling frame, and seated IN the keyhole, warm and settled, the counterfeit — same silhouette and colour family as real T3, mirrored, slightly wrong in a way you only see this close. It turns to camera and waves. Locked, shallow. This is frame one of the ad → 0:03–0:05 hard cut to a tighter crop on its face as it completes the wave, pleased with itself, with one 2% push → 0:05–0:07 hard cut to the far side of the door: a real key ticking uselessly against the plate, not turning, macro, locked; returns to the shared seam state on the last six frames. Lighting: cold blue-grey key on the tissue and the plate, a single warm practical on the counterfeit only — he is the only warm-lit thing in the film while STATE 1 holds, and that is the tonal inversion staged in light rather than performed. SFX: low wet interior room tone; the small dry tick of a real key failing against a plate on the far side of the door. No squish, no splash, no chimes. Direction: male villain, quirky-animated-authoritative, FAST at 165 wpm, CHARMING throughout — warm and pleased with himself while telling her why her hair is in the drain. The aggression is in the CLAIM, never in the tone. THREE is the one lifted word. Mute test PASS, qualification at t=0.0 — the earliest possible frame. Strongest muted IMAGE of the three.

Your labs say you're treated. Your body says otherwise. I'm Reverse T3. I look EXACTLY like your medication.

> On-screen text: THE CARD, identical treatment, verbatim, t=0.0–7.0 STATIC · THE KINETIC TRACK from t=0.4; EXACTLY in berry. Visual: W1 THE DOOR, STATE 1 cold, three shots — the only beat in the film where the counterfeit is out of the lock. 0:00–0:02.5 the counterfeit standing beside the lock, to camera, holding a real T3 model up next to its own head; lateral medium, depth axis closed — still one door, still no corridor → 0:02.5–0:04.5 hard cut to an EXTREME CLOSE-UP of the two silhouettes side by side filling frame, identical, one mirrored, held long enough for the viewer to register that the villain is wearing the good guy's face. This is the only held frame in the first 1:20 and it is held on purpose → 0:04.5–0:07 it steps back into the lock it has been sitting in and settles, returning to the exact seam state; frame-match this, do not re-generate it, and hold the final frame to 7.3s so B seams frame-identically with A and C. Lighting: STATE 1 cold, with the same warm practical carried onto both objects in shot 2 — the mirroring only reads if the two are lit identically. HARD GATE. Direction: same male villain, same charm. EXACTLY is the one lifted word and it lands on the frame where both objects are on screen. Mute test PASS and this is the strongest muted ARGUMENT of the three — the card at t=0.0, and at t=2.5 two identical objects, one of which she has just been told is her medication.

You lose words mid-sentence. Your weight won't move. Five diagnoses in six years. I'm Reverse T3. Not ONE was real.

> On-screen text: THE CARD, identical, verbatim, t=0.0–7.0 STATIC · THE KINETIC TRACK from t=0.4; ONE in berry. The five file-tab labels carry no legible word — no unspoken word reaches the screen. Visual: W1 THE DOOR, STATE 1 cold, three shots. 0:00–0:03 the counterfeit seated in the lock, ticking the symptoms off on its fingers to camera as it says them; macro on hand and face together, two fingers, two signs, in time with the words → 0:03–0:05 on five diagnoses, a hand of five paper file-tabs fans open toward it from off-frame, each a different generic printed label, ILLEGIBLE BY DESIGN; macro → 0:05–0:07 it takes all five and tucks them under one arm, still seated, still cheerful, returning to the seam state. The tabs are a hand prop at cell scale, on screen under two seconds — no archive, no hall, no shelving, no filing system, no records room. Direction: same male villain; the two body facts delivered as observations of her, warm and conversational, never as accusations. ONE is the one lifted word. Mute test PASS at t=0.0, and strongest muted INVENTORY of the three — a thing inside her own body keeping score. Artifact risk: a rounded cartoon hand ticking two items is a known failure surface — board it as two distinct beats on two separate fingers, generate long, pick the readable arc; the fallback is two taps on the plate, which costs nothing in copy. Variant-conditional prop dependency, declared: Hook C plants the five file-tabs and beat 10's fourth door pays them off; under A and B that doorway reads as a general artifact. One insert, cut two ways from a single generation.

Every year they write a new name for me. IBS. Low mood. Prediabetes. Just your age. And every year, four o'clock still flattens you.

> On-screen text: THE KINETIC TRACK only — the four diagnosis names are spoken and therefore burned, one at a time, in time with the micro-cuts; the track IS the list. No card, no chip. Visual: W1 THE DOOR, STATE 1 at its coldest — the bottom of the palette arc and the coldest frame in the film, four shots. 0:07.3–0:09.5 macro: the counterfeit shifting its weight to get comfortable in the lock, a small and deeply irritating adjustment, locked → 0:09.5–0:12.5 four accelerating micro-cuts on the four labels, each a tighter crop of one generation: fingers hooking over the wardings, one at a time, one per name, the hand taking possession on each word. Re-frame, do not re-generate — four separate hands will not match → 0:12.5–0:14.5 cut through the gap under the door: behind the held door the room is dark and cold and full of people who never got the message — small rounded figures, still, waiting, faces never legible. Shown once, here, and never re-lit on camera; nothing in that room is a light source → 0:14.5–0:16 hard cut back to the counterfeit's face. Character staging: one rig plus background figures — non-speaking, no identity established, faces held under 0.5s. The "before" must stay SYMPATHETIC, never repulsive (donor parity, and the concept's explicit decline of body horror). SFX: a dry creak on the weight shift; four small metallic contacts on the warding hooks; dead room tone through the door gap. Direction: the boast delivered as pleasant small talk; the four labels listed the way somebody lists their own achievements. Transition out: hard cut to W2 THE FORK — the ad's first location change, and it lands on the mechanism.

Your pill floods your blood with T4. [pause] At the fork it comes out backwards, as me. I sit in the lock T3 needs. The medication is in your blood, but it's STARVING at your cells.

> On-screen text: THE KINETIC TRACK plus three OST CHIPS — `T4` · `FORK` · `T3`, each hard-in hard-out over the frame that shows the thing, each spoken in the same breath. STARVING renders in berry at larger size. Visual: W2 THE FORK (first appearance) → W1 return, STATE 1, five shots. 0:16–0:19.5 a surge of key-blank-shaped units arriving down a wet lumen toward camera — solid, spaced, countable objects, never a fluid, never a mass, never a substance → 0:19.5–0:20.3 the `[pause]` — a 0.8s HOLD, dead still, on the fork itself: the junction and the mechanical lever beside it, unattended. The board's air pocket, spent here → 0:20.3–0:23.5 the units hit the fork and come out the wrong way, and every backwards arrival wears the villain's face. TIGHT on the exit throat — the camera never pulls out to count (THE WITHHELD COUNT; this is the factory, and beat 9 reveals the installed base) → 0:23.5–0:26.5 hard cut back to W1's door, the counterfeit seated, unbothered → 0:26.5–0:29.5 macro on the far side of the door: real keys accumulating against the plate, several now, none turning. The blood is full and the door is shut, in one frame. Lighting: STATE 1. NO RESIDUE ANYWHERE IN FRAME — the lumen walls, the fork's throat and the plate are clean in every one of these five shots. The adjunct boundary is held in the picture: the pill is never attacked, never shown failing, never shown at all. SFX: dry mechanical arrivals; bed-only silence on the pause frame; a rising count of key-on-plate ticks under the last shot. Direction: this is the ad's most-quoted line and it is delivered FLAT and pleased — no relish, no menace. STARVING is lifted. The pause is a real 0.8s stop, not a breath. Legibility gate: the key-blank versus cut-key distinction must read at phone size — blanks have no teeth, keys do, and the whole mechanism argument rests on the viewer seeing the difference.

Hi, I'm iodine. I hand your thyroid raw material. You can't cut a key out of NOTHING. Selenium decides which way it goes.

> On-screen text: THE KINETIC TRACK plus OST CHIP `IODINE`, lower third, hard in at his first word, 2s. NOTHING renders in berry. Visual: W2 THE FORK, STATE 1 still holding — the palette has not turned yet, and that matters: help has arrived and nothing has changed, three shots. 0:29.5–0:32.5 Iodine walks into frame carrying a crate of uncut key blanks — squat, deliberate, unhurried; lateral medium along the fork, depth axis closed, no second receptor door in frame, to camera → 0:32.5–0:35.5 he sets the crate down at the fork; macro on the blanks as they settle, uncut, no teeth, so the viewer can see they are raw material and not the answer → 0:35.5–0:37.9 his eyeline flicks to the lever — a POINT, not a conversation. His address stays to camera. The lever is in frame, unattended, waiting. Character staging: rig 2, male voice (the copy genders him — his metal). One prop, one verb: DELIVER. He never speaks to another character. `§10` honoured — iodine is never named without selenium, so the beat hands off in its last clause. SFX: dry footfalls; a wooden crate set down; blanks settling. No chimes. Direction: male, plain, unhurried, matter-of-fact — he is a supplier, not a hero. NOTHING is lifted. The character metronome's first switch: 8.4s delivered. Production gate: four distinct active silhouettes are needed and silhouette separation is the gate — build all four sheets together, side by side, in silhouette, before any of them is animated.

Hi, I'm selenium. I'm the switch at that fork. His metal's worth NOTHING until I throw it forward, into real T3.

> On-screen text: THE KINETIC TRACK plus OST CHIP `SELENIUM GLYCINATE`, 2s. The second NOTHING in berry. Visual: W2 THE FORK. THE PALETTE TURN FIRES HERE — the continuous grade lift starts on the lever throw and runs unbroken to beat 8, three shots. 0:37.9–0:40.5 Selenium at the lever, to camera, lateral medium, hand already on it → 0:40.5–0:42.5 she throws it — macro on the lever's full travel and the mechanism engaging underneath; mechanical, weighty, no sparkle, no glow, no bloom → 0:42.5–0:45.5 the traffic that was coming out backwards starts coming out forward, and the forward ones are shaped like real keys — cut teeth, berry-toned, still tight on the exit throat. The first berry in the film. Character staging: rig 3, female voice (the copy genders her — her key). She refers to iodine in the third person, to the viewer — she never addresses him. One prop, one verb: THROW THE SWITCH, acting on DIRECTION, never on a substance. SFX: a heavy mechanical lever throw with a solid detent; linkage engaging; the arrivals change pitch as they come out forward. No chimes, no shimmer. Direction: female, precise, a little dry. NOTHING is lifted. Production gate: the grade lift is a colour-pipeline dependency, not a per-shot look — author it as ONE continuous curve across beats 5 to 8 and grade it in post. Four independently generated colour temperatures produce a stepped arc, and a step at beat 9 breaks the sibling guard that says beat 9 receives no grade event.

Hi, I'm zinc. Her key is useless at a door that won't answer. I make it ANSWER. And the counterfeit's got nothing left to hold.

> On-screen text: THE KINETIC TRACK plus OST CHIP `ZINC GLYCINATE`, 2s. ANSWER renders in berry. Visual: W1 THE DOOR (return), grade lifting through the middle of the arc — four shots in 9.1s, the tightest cutting in the ad. 0:45.5–0:47.5 Zinc at the door plate, to camera, lateral medium → 0:47.5–0:49.5 he presses a palm flat to the plate and the plate WAKES — tumblers turn over and the keyhole geometry resolves. Macro. NO GLOW. NO LIGHT. NO BLOOM. It is a mechanical recognition event and nothing else → 0:49.5–0:51.5 a real key turns, macro, all the way round — the first turn in the film → 0:51.5–0:54.6 the counterfeit is prised out of the lock, still wearing the good hormone's face, and walks off camera on its own legs. It is not damaged. Nothing is deposited. Nothing is removed. The lock behind it is clean, exactly as clean as it was at 0:00. Character staging: rig 4, male voice; plus the counterfeit's exit — he does not speak here and does not look back. He leaves the way somebody leaves a chair. One prop, one verb: MAKE THE DOOR ANSWER, acting on RECOGNITION. The verb is `answer`, never `clear`. SFX: a solid palm contact; tumblers turning over; a full key turn with a clean throw; dry footsteps walking out of frame. No squish, no splash, no chimes, no whoosh. Direction: male, grounded, steady. ANSWER is lifted. The counterfeit is said plainly — the edit pass named him here on purpose and the picture puts him on screen on that exact clause, so ear and eye resolve the same referent at the same instant. ⚑ THIS BEAT CARRIES THE BOARD'S #1 FIREWALL RISK FRAME. Every animation reflex and every reference in the comp pool wants the last shot to be a dissolve with particles. QC it before anything else in the film and reject any generation in which anything melts, shrinks, falls, sparkles or is left behind.

Hi, I'm ashwagandha. Cortisol is what throws that fork backwards. I keep it down. Everything the other three just did stays done. And he doesn't come back.

> On-screen text: THE KINETIC TRACK plus OST CHIP `ASHWAGANDHA KSM-66`, 2s. Visual: W2 THE FORK, grade near the top of the arc, three shots. 0:54.6–0:57.5 the oldest of the four, unhurried, to camera, lateral medium — her age reads in posture and mass, not in wrinkles → 0:57.5–1:00.5 she plants herself at the re-issue door — the door on the far side of the fork the counterfeits were being issued through — and stands. She does not brace, does not strain, does not fight. Standing is the entire performance → 1:00.5–1:04.4 THE CHAIN WIDE: behind her, iodine's crate, selenium's lever and zinc's woken door plate all holding their positions in one frame — the relay's whole chain visible at once. Composed LATERALLY: the chain runs left to right and the frame ENDS at the door plate. HARD STAGING GATE — if a second receptor door appears anywhere in this frame the shot is wrong and the beat-9 payoff is spent early. The three props must be frame-matched to their own earlier generations; re-generating them "similar" makes the chain read as a different place. Character staging: rig 5, female voice, distinctly the oldest. The other three are not in frame as characters — only their props, holding their positions, which is exactly `product_facts §3.2`'s standing for a blend constituent earned structurally in the picture rather than hedged in the copy: she holds their work, she does not re-do it. One prop, one verb: GUARD THE RE-ENTRY, acting on RE-ENTRY. SFX: quiet — the least noisy beat in the film; one set of unhurried footfalls and then a settle, the bed carries it. Direction: female, older, unhurried, entirely unbothered — the only one of the four with nothing to prove. The last clause is delivered as a fact about the future, flat. Note: the donor's own fourth-link line references the prior links collectively, not by name, and this beat matches that move in kind — which is also why the closing pronoun is unambiguous, the only other referent in the sentence being a plural. The metronome ends here.

Together, the four of us are Kindled. We're berry thyroid drops, two droppers under your tongue, because your thyroid slowed your gut and a pill has to survive it. Women don't expect a few drops to do what YEARS of raising the dose couldn't.

> On-screen text: THE KINETIC TRACK only. YEARS renders in berry at larger size. No chip, no price, no discount, no star rating, no review count — the bottle is the visual and nothing competes with it. Visual: W4 THE PRODUCT FRAME. STATE 2 completes here and does not change again, five shots. 1:04.4–1:07.5 the four gather — the only frame in the film where all four share screen; lateral medium, no corridor → 1:07.5–1:10.5 the bottle claims them: the Kindled bottle enters frame and the four resolve into and behind it. The music bed swells here — donor-exact, and the only swell in the film → 1:10.5–1:13 rendered product macro — the bottle, the glass dropper, berry liquid; LABEL LEGIBILITY GATE: the named actives must read at phone size. Build the label texture at 2× and crop tight; no composited typeset fallback for the actives list → 1:13–1:16.5 the rendered sublingual macro: TWO FULL DROPPER SQUEEZES under the tongue, cropped to lips and dropper only — no face, no eyes, no identity, no rig. It is a macro asset, not a character, and it is RENDERED, NOT FILMED. ⚑ A render showing two beads re-opens a 40× dose error in the layer the viewer actually believes — this is a HARD staging gate, not a preference → 1:16.5–1:20.4 back to the four with the bottle for the dose-escalation line, which lands on the group, not the product. One 2% push on the product macro — the film's second and last push. Character staging: rigs 2–5 gathered, plus rig 6, the Chorus — warm female, first-person plural, the product speaking as itself. The chorus is the four; there is no separate bottle mascot and no narrator. Direction: warm female, first-person plural. Nearest register reference: 1.2 The Compassionate Educator with the credential stripped (`product_facts §5` — no fake-doctor personas). YEARS is lifted. Never "customers love us" — the chorus is the product, not a narrator talking about it. The sequencing subtlety the donor is built on: the mechanism is fully sold before the brand is ever named. The actives earn the credit; then the bottle claims them. Declared over-rule, carried honestly: the locked script offers a live-action proof cutaway inside this beat and the donor genuinely carries one, but the run-5 animation directive is stricter — no live-action plate anywhere, no on-camera human — so the board renders the insert instead. The cost is that the donor's real-world grounding function is lost. Zied's to reverse; one asset, dropping into an existing cut.

You were never under-dosed. [pause] You were OUT-NUMBERED. Look down the corridor. Every lock on it wears his face.

> On-screen text: THE KINETIC TRACK only. OUT-NUMBERED renders in berry at the largest size in the film. No card, no chip — nothing may compete with the pull-back. Visual: W1 THE DOOR → W3 THE CORRIDOR, which is W1 at a wider lens and geometrically the same door. STATE 2, already complete. NO GRADE EVENT LANDS HERE. 1:20.4–1:22.5 hard cut back to the one door, now open and empty, framed as tight as anything in the film → 1:22.5–1:23.3 the `[pause]` — a 0.8s HOLD, dead still, on that frame → 1:23.3–1:27.8 THE PULL-BACK — the film's ONE camera move. The camera pulls back off that door and the corridor is revealed: the same door repeated down a hall, hundreds of them, and the same face in every lock, all the way down and out of frame. ONE VILLAIN DESIGN, INSTANCED — not a seventh rig. The move completes on the last clause — the widest frame in the ad — and then the doors begin to open, IN ORDER, down the corridor and out of frame. Camera: a single continuous pull-back, constant rate, no easing, no rack focus, no whip. It must feel like the camera stepping back to show you something, not like a reveal effect. Instancing is the QC gate: a corridor of similar villains reads as a crowd; a corridor of identical villains reads as a COUNT, and that distinction is the beat. Lighting: unchanged from beat 8. Nothing brightens here. No light source turns on. No corridor lights up. The doors opening are the entire event. SFX: the hold is bed-only; then a receding sequence of door latches releasing in order, rhythmic, dry, mechanical, running out of frame. No swell, no chime, no whoosh. Direction: the chorus, and this is where they stop being charming — flat, level and factual. The count is stated, not sold. OUT-NUMBERED is lifted. PRESENT TENSE on the last clause — the camera is performing the reveal on that line, so the horror is happening, not remembered. Production: this is the only shot on the board that cannot be re-framed from another generation and the most expensive on it. Generate it long (8 to 10s) at maximum resolution and generate it twice — once ending on the doors closed, once with the door-opening sequence — so the move and the open can be timed independently against the VO. And the depth axis must not have leaked into any earlier frame: if it did, this shot is a confirmation rather than a reveal, and 1:20 of withholding was spent for nothing.

They love us because the shedding stopped, the afternoons came back, the words arrived on time, and nobody added a new diagnosis that year.

> On-screen text: THE KINETIC TRACK only. No testimonial name, no star rating, no review count, no quote card, no UI of any kind — the proof stays in the characters' mouths and nothing on screen may say it a second way. Visual: W3 THE CORRIDOR, STATE 2 at full resolution, five shots, one per clause plus the establishing. 1:27.8–1:29.5 the corridor with the doors now open, and the rooms behind them are ALREADY warm and occupied — they were warm the whole time and the door was what stood between. No room is ever seen changing state and no light turns on (beat 2's dark room is a different door and the two states never share a cut) → 1:29.5–1:31.5 through door one, at human scale: hair, whole, unshedding → 1:31.5–1:33 through door two: a room bright and busy at four o'clock, a figure upright and moving → 1:33–1:34.7 through door three: two figures at a table, one mid-sentence and continuing, the other listening — a state, not a device: no word rendered as an object, no travelling light, no corridor event → 1:34.7–1:36.5 through door four: a paper file-tab, and nothing added to it — closes Hook C's prop loop where C is running, reads as a general artifact under A and B. Character staging: the chorus speaks; the figures behind the doors are non-speaking background, faces never held past 0.5s, no identity established, no protagonist created. There is no human protagonist in this ad by design. Camera: locked on all five — the doorways frame the glimpses and the camera never enters a room. SFX: the corridor's room tone opens up and warms; ordinary domestic sound at low level behind each doorway. No swell. Direction: the chorus, first-person plural, warm. "They love US" — a narrator would have said customers love Kindled because. THERE IS NO NARRATOR ANYWHERE IN THIS AD. Risk, declared: the scale collision is this beat's whole risk — human-scale fragments seen through a cell-scale doorway is donor-native (the body as a walkable set) but it is one generation away from reading as a cut to a different ad. Guard rails: the doorway is ALWAYS in shot, the camera never enters, the figures are never established or held. Fallback: stay at cell scale and let the warm rooms carry the four clauses generically, at the cost of the four specific payoffs — the more expensive loss. QC the first cut for genre continuity before committing.

Your thyroid doesn't need a higher dose. It needs the fork switched back. Thirty days, and if four o'clock still wins, your money comes back. Go see if we're in stock.

> On-screen text: THE KINETIC TRACK plus THE END BADGE — `30-DAY MONEY-BACK GUARANTEE`, native-simple type, no seal, no ribbon, no laurel, no shield, no percentage, no price, no discount, no countdown, no stock counter. An offer-term render, NOT a qualifier — it carries no proposition to self-select on and lands at 1:44 of 1:48, well past the point where qualification could matter. Visual: W2 THE FORK → W3 behind it → W4 end card, STATE 2 full, four shots. 1:36.5–1:39 macro: the lever, held forward → 1:39–1:42.5 wider — the switch held forward with the corridor of open doors behind it, the ad's second-widest frame and its last live frame; a HARD CUT, not a move (the film's one move was beat 9) → 1:42.5–1:45.5 the end card: the rendered Kindled bottle and the badge → 1:45.5–1:47.8 hold the end card. Character staging: the chorus speaks over the lever and the corridor; no character is on screen for the guarantee or the CTA. The end card is product and badge only. SFX: a solid mechanical detent as the lever holds; the door-latch rhythm continuing faintly behind; the bed resolves out under the end card. Direction: the chorus, LEVEL and UNHURRIED. Pure sell and reveal at full parity — no anti-sell, no hedge, no slogan stack, no company-"we", no link language. A reveal, then a plain guarantee sentence, then the stock-check line. No lift on the CTA, no urgency push, no smile in the voice on the payout — it is a term, said plainly. ⚑ ABSOLUTE: nothing in any frame of this beat is a button, an arrow, a swipe-up, a pointing hand or a cursor. The copy never says link or tap; the picture must not say it either. The film returns to its own mechanism: it opened on a lock with something in it and closes on a switch held forward with a corridor of open doors behind it — the same set, the opposite state, and no shot of the change in between.