STORYBOARD — S2 "I Called Her Sweetheart Because I Couldn't Find Her Name" — 100% ANIMATED · D07 Pixar-Style Animated Story × D99 sung layer

• s1 (0.0–3.0) TIGHT-MEDIUM on REF-PROTAG-50, glass raised, mouth open, nothing coming out. Locked, eye-level. The table beyond in shallow focus; two faces already beginning to turn. CARDS-0 visible in her free hand at her side, frame one.
• s2 (3.0–5.2) WIDE, slightly high, locked — the full table, eight faces turned, glasses stalled halfway up.
• s3 (5.2–7.6) EXTREME CLOSE on her eyes searching; one micro-flick down to the tablecloth and back.
• s4 (7.6–10.2) SINGLE on REF-EMILY-28, smiling, waiting — the smile holding a half-second too long.
• s5 (10.2–13.0) MACRO, low, under the table line: CARDS-0, the elastic band taut. The animation-only metaphor, planted.
• s6 (13.0–16.0) HER POV — the ring of faces and raised glasses, REF-SONINLAW's chair in the lower right of frame. This is the SEAM FRAME.

STAGE 1 - IDENTITY (build once, reuse across all 180 shots)
MODEL: nano_banana_2_pro
REFERENCE_SET: REF-PROTAG-50
PROMPT: "Character sheet, high-fidelity 3D CG feature animation in the Pixar/DreamWorks
  register. Woman, 50, exaggerated highly expressive stylised features, big readable face
  built for one-glance emotion. Skin greyed and slightly puffy, eyes tired - STYLISED and
  SYMPATHETIC, never clinical, never repulsive. Hair up. Good dress, engagement dinner.
  Soft global illumination, subsurface scattering, rounded volumes, no cel shading, no 2D.
  Front / three-quarter / profile / raised-glass pose."
NEGATIVE_PROMPT: "photoreal human, live action, 2D, cel shading, motion graphics, flat vector,
  grotesque, gaunt, body horror, text, watermark, extra fingers"
ASPECT_RATIO: 9:16

STAGE 2 - KEYFRAMES (one per shot)
MODEL: nano_banana_2_pro   REFERENCE: REF-PROTAG-50, REF-EMILY-28, SET-DINING/TOAST-NIGHT
s1 PROMPT: "Tight-medium, eye-level, locked. She stands mid-toast, glass raised, MOUTH OPEN
  AND NOTHING COMING OUT - the exact face of a word that will not arrive. Small stack of
  index cards bound with an elastic band in her free hand at her side. Golden-hour dining
  room behind, candles, eight seated guests soft in shallow focus, two faces already turning."
s2 PROMPT: "Wide, slightly high, locked. Full dinner table, eight guests, every face turned
  to her, glasses stalled halfway up. Golden-hour, candles, cinematic feature staging."
s3 PROMPT: "Extreme close-up on her eyes, searching. Catchlights. Shallow depth."
s4 PROMPT: "Single on the daughter, 28, radiant, waiting, smile held a half-second too long."
s5 PROMPT: "Macro, low angle, under the table line. A thick stack of hand-written index cards
  held by a taut elastic band, in a woman's hand. Warm candlelight rim."
s6 PROMPT: "First-person POV from her eyeline - a ring of faces and raised glasses around a
  dinner table, one young man's chair in the lower right of frame. Golden hour."

STAGE 3 - MOTION
MODEL: seedance_2.0 (image-to-video from each keyframe)
s1 MOTION: "Hold. Micro-tremor in the raised glass. Her mouth stays open. No dialogue."
s2 MOTION: "Locked. Heads finish turning. Glasses do not move."
s3 MOTION: "Eyes search left, flick down, come back. No blink until the last beat."
s4 MOTION: "The smile holds, then falters one frame."
s5 MOTION: "Slow drift in on the card stack."
s6 MOTION: "Locked POV. Ambient table movement only."
CUTTING: 6 cuts, 2.2-3.0s, PULLED ONTO THE SUNG PHRASE BOUNDARIES (+/-0.4s)
ON_SCREEN_TEXT (post): card at t=0.4 SOLO to 5.0, upper-third to 8.0. Karaoke layer from 5.0.
[pause] after "I called her sweetheart" = a 0.8s picture HOLD inside s1. Not a cut.

• s1 (0.0–3.2) NEAR-BLACK. Only the phone's rectangle and the underside of her face. Locked. CARDS-0 on the passenger seat, half-lit.
• s2 (3.2–6.0) OVER-SHOULDER MACRO on the phone: the search field, letters appearing one at a time.
• s3 (6.0–8.4) CLOSE on REF-PROTAG-53, full phone glow. Not crying. Still.
• s4 (8.4–10.8) WIDE through the windscreen — one car in an empty car park, one lit window in the building beyond.
• s5 (10.8–13.2) MACRO — her thumb hovering over the search key, not pressing.
• s6 (13.2–16.0) HARD CUT on "My daughter's engagement dinner" to the SEAM FRAME — her POV of the golden-hour table.

MODEL: nano_banana_2_pro   REFERENCE: REF-PROTAG-53, SET-CAR/2AM
s1 PROMPT: "Near-black car interior at night. Single light source: a phone screen held low.
  Only the underside of a 53-year-old woman's face is lit - stylised 3D feature animation,
  expressive, tired, sympathetic. A small stack of index cards bound with an elastic band
  half-lit on the passenger seat. Deep blacks, one practical source."
s2 PROMPT: "Over-shoulder macro of a phone search field, letters resolving one at a time.
  Screen glow is the only light. Shallow depth."
s3 PROMPT: "Close-up, her face in full phone glow, composed, not crying."
s4 PROMPT: "Wide through a windscreen: one car alone in an empty night car park, one lit
  window in a building beyond. Sodium and blue."
s5 PROMPT: "Macro: a thumb hovering above a phone's search key, not touching it."
MODEL: seedance_2.0
s2 MOTION: "Letters appear one at a time, unhurried. No cursor blink acceleration."
s5 MOTION: "The thumb hovers. It does not press. Hold to the cut."
NEGATIVE_PROMPT (all): "photoreal, live action, 2D, motion graphics, grotesque, text overlay,
  watermark, extra fingers, lens flare"
CUTTING: 6 cuts, 2.4-3.2s, pulled onto sung phrase boundaries

• s1 (0.0–3.0) EXTERIOR WIDE, locked — a car at a kerb, a lit house behind it, dusk.
• s2 (3.0–5.6) INTERIOR PROFILE — her lips moving, no sound. CARDS-0 in her lap.
• s3 (5.6–8.4) THE NAME-PLATES — three small rendered name cards appear in frame beside her head and fade one by one. Only the first is legible: EMILY. The other two are legible as handwriting but not as words. (Rendering two more legible names would invent characters the script does not have.)
• s4 (8.4–10.8) THE REAR-VIEW MIRROR — her own eyes in it. This is an object shot, not a mirror confrontation — S1 owns the mirror-confrontation beat and this board does not run one.
• s5 (10.8–13.4) CLOSE — she closes her eyes; the third plate fades out.
• s6 (13.4–16.0) HARD CUT on "my daughter's engagement dinner" to the SEAM FRAME.

MODEL: nano_banana_2_pro   REFERENCE: REF-PROTAG-53, SET-CAR/DUSK
s1 PROMPT: "Exterior wide, locked, dusk. A parked car at a suburban kerb, a lit family house
  behind it, windows glowing. Stylised 3D feature animation, cinematic staging."
s2 PROMPT: "Interior profile of a 53-year-old woman in the driver's seat, lips moving with no
  sound, eyes forward. Index cards bound with an elastic band in her lap."
s3 PROMPT: "Same profile. Three small hand-written name cards float in frame beside her head.
  The nearest reads EMILY and is fully legible; the other two read as handwriting only."
s4 PROMPT: "Rear-view mirror object shot: her eyes reflected in the strip of mirror. The mirror
  is small in frame - this is an object, not a portrait."
MODEL: seedance_2.0
s3 MOTION: "The three cards fade out one at a time, unevenly spaced."
s5 MOTION: "She closes her eyes. The last card goes."
NEGATIVE_PROMPT (all): "photoreal, live action, 2D, bathroom mirror, full-length mirror,
  mirror confrontation, grotesque, text overlay, watermark"
CUTTING: 6 cuts, 2.4-2.8s, pulled onto sung phrase boundaries

> ⚑ ALL THREE HOOKS EXIT ON THE IDENTICAL SEAM FRAME — her POV of the golden-hour table, the ring of faces and raised glasses, the son-in-law's chair lower-right. Beat 2 opens on that exact frame. The interchange test is therefore carried by the picture as well as the copy, which is the board's answer to the review's soft flags 1 and 2: the copy fix removed the phrase echo, and the seam frame removes any visual discontinuity for the B and C cuts, where the word "toast" has not yet been spoken.

• s1 (0:16–0:19) SEAM FRAME held — her POV, the ring of faces.
• s2 (0:19–0:22) CLOSE on her mouth, forming "sweetheart."
• s3 (0:22–0:25.5) SINGLE on REF-EMILY-28 taking it as pure affection.
• s4 (0:25.5–0:28.5) THE STILL BEAT — close on her; the room's motion continues around her at normal speed while she alone is static. No literal wall is rendered. The wall is the VOC word and the karaoke card carries it; building a wall image here would compete with Register B.
• s5 (0:28.5–0:31.5) WIDE — the room erupts, hands, applause.
• s6 (0:31.5–0:35) ⚑ THE PLATE-SHOT. A clean locked single of REF-SONINLAW, seated, not clapping, eyes down at his plate. 3.5s — deliberately longer than any other single in the beat. He does not look up. (Framing, lens, height and eyeline of this shot are a contract: Beat 13 s5 reproduces them exactly and inverts only his eyes.)
• s7 (0:35–0:38) CLOSE on her — one frame of registering it, then covered.
• s8 (0:38–0:41) SET-BATHROOM — the door closing, her back against it. [pause] = a 0.8s hold inside this shot.
• s9 (0:41–0:43) MACRO — a ballpoint writing EMILY on the back of her hand under bathroom light. PROP-HAND-INK established.

MODEL: nano_banana_2_pro   REFERENCE: REF-PROTAG-50, REF-EMILY-28, REF-SONINLAW, SET-DINING/TOAST-NIGHT
s6 PROMPT (THE PLATE-SHOT - CONTRACT FRAME, save the exact camera):
  "Clean single, locked, eye-level, 50mm-equivalent, subject centred at 1/3 height. A man in
  his late twenties seated at a dinner table, hands still, NOT applauding, eyes down at his
  plate. Everyone else in the frame edges is clapping, motion-blurred. Golden-hour dining
  room. Stylised 3D feature animation, expressive readable face."
s9 PROMPT: "Macro under a bathroom overhead: a ballpoint pen writing the name EMILY on the
  back of a woman's hand. Skin texture, ink bleed, shallow depth."
MODEL: seedance_2.0
s4 MOTION: "SHE IS STATIC. Everyone around her moves at normal speed. No slow motion on the
  room - the stillness is hers alone."
s6 MOTION: "He does not move. He does not look up. Hold the full 3.5s."
s8 MOTION: "Door closes. Her back meets it. HOLD 0.8s ([pause]) before the cut."
NEGATIVE_PROMPT (all): "photoreal, live action, mirror, bathroom mirror, 2D, text overlay,
  watermark, extra fingers"
CUTTING: 9 cuts, 2.0-3.5s, pulled onto sung phrase boundaries

• s1 (0:43–0:45) the same dining room, empty and unlit, present-day muted grade. The time-jump is made by the grade, not by a title.
• s2 (0:45–0:47) three phone alarms firing at once on a nightstand.
• s3 (0:47–0:49) a wristwatch alarm.
• s4 (0:49–0:51) a list on a table; under it, another list.
• s5 (0:51–0:53) PROP-CALENDAR on the fridge; her finger runs a line.
• s6 (0:53–0:55) she steps away, stops, comes back, runs the same line again. (Checked twice — the beat's key image and its most legible sound-off frame.)
• s7 (0:55–0:57) ⚑ REGISTER B, WHIPLASH #1, 1.8s, UNEXPLAINED. Hard cut to a fully lit aisle in an enormous hall of stocked shelves. A figure at a dead run goes down mid-stride. Cut before the place can be read.
• s8 (0:57–0:59) hard cut back to Register A mid-gesture — her at a door, composed, greeting people.
• s9 (0:59–1:01) CARDS-1 in her coat pocket — one card visibly gone, band slightly loose.
• s10 (1:01–1:03) the family at a table, laughing; her smile arriving a half-second late.
• s11 (1:03–1:05) SET-HALL — her hand on the doorframe of her own living room, the family lit inside, her outside the light. [quieter] lands here: the cut rate stops dead and this shot runs 2.0s locked. No mirror.

MODEL: gpt_image_2 (props/inserts) + nano_banana_2_pro (any shot with a character)
s5/s6 PROMPT: "A wall calendar on a fridge door, hand-annotated. A woman's index finger runs
  along a line. Muted desaturated domestic kitchen daylight. NOTE: NO COUNTER SURFACE IN
  FRAME - frame on the fridge door only."
s7 PROMPT (REGISTER B, first appearance):
  "Cathedral-scale archive interior. Shelving floor to ceiling, aisles to vanishing point.
  EVERY LAMP BURNING AT FULL, immaculate, fully stocked, nothing missing, nothing broken.
  Deep blue-green and gold jewel light, hard shadows, high key. A gaunt figure in plain
  working clothes collapses mid-stride in the aisle. High-fidelity CGI, feature-animation
  lighting - soft global illumination, subsurface scattering. Character-scale, not a diagram."
NEGATIVE_PROMPT (s7): "any substance on any surface, sludge, residue, dust, coating, frost,
  grime, mist, smoke, flames, radiators, dim lamps, flickering light, guttering light,
  decayed paper, faded ink, broken shelves, empty shelves, diagram, infographic, medical
  cross-section, arrows, labels, gore, blood, horror lighting"
s11 PROMPT: "A woman's hand on the doorframe of her own living room, seen from the dark hall.
  The family is warm and lit inside; she is in shadow outside it. NO MIRROR ANYWHERE."
MODEL: seedance_2.0
s6 MOTION: "She steps away. Stops. Returns. Runs the same line a second time."
s7 MOTION: "Full run, then the legs go. He is down inside 1.2s. Camera locked, no push."
CUTTING: 11 cuts, 1.8-2.2s. s11 breaks the rhythm and holds 2.0s locked.

• s1 (1:05–1:06.8) a half-filled crossword, coffee ring on the corner.
• s2 (1:06.8–1:08.6) fish-oil capsules in a palm.
• s3 (1:08.6–1:10.4) a phone app — a cartoon brain and a progress ring. Legible as shape, not as sentences (diegetic-UI rule).
• s4 (1:10.4–1:12.2) a wine glass being turned upside down on a shelf.
• s5 (1:12.2–1:14) a bedroom, curtains drawn at 9pm, a clock.
• s6 (1:14–1:16) morning: the same face, unchanged. ("Nothing moved.")
• s7 (1:16–1:19) SET-SURGERY — REF-DOCTOR across a desk, looking at a screen, not at her. 3s.
• s8 (1:19–1:21) the doctor's hand sliding a referral sheet across the desk. (Quoted-speech law: the word "stress" arrives in the sung line; no lip-sync is attempted.)
• s9 (1:21–1:23) the sheet — a waiting-list form, legible as a form, with a year legible and nothing else.
• s10 (1:23–1:25) SET-CAR SURGERY CAR PARK, exterior — she is crying inside the car and the camera stays outside it.

MODEL: gpt_image_2 (s1-s5, s8, s9) / nano_banana_2_pro (s6, s7, s10)
s3 PROMPT: "A phone on a table showing a brain-training app: a cartoon brain and a circular
  progress ring. NO LEGIBLE SENTENCES ON THE SCREEN - shapes and icons only."
s7 PROMPT: "A doctor seated behind a desk in a flat, high-key consulting room, looking at a
  monitor, not at the patient. Shot past the patient's shoulder. Stylised 3D feature
  animation. NO WHITE COAT DRAMA, no stethoscope hero prop - ordinary, uninterested."
s10 PROMPT: "Exterior, a parked car in a small surgery car park, muted overcast daylight.
  A woman is crying inside it, seen through glass at distance. WE DO NOT GO IN."
MODEL: seedance_2.0
s6 MOTION: "Hold on the unchanged face. Nothing happens. That is the shot."
s8 MOTION: "The hand slides the sheet across. It does not stop halfway."
NEGATIVE_PROMPT (all): "photoreal, live action, legible paragraphs, readable body text,
  watermark, text overlay, extra fingers"
CUTTING: 10 cuts. s1-s6 at 1.8s (inventory rhythm). s7-s10 at 2.0-3.0s (the beat slows for
  the dismissal). All pulled onto sung phrase boundaries.

• s1 (1:25–1:28) a dinner table; her nodding, saying nothing.
• s2 (1:28–1:31) she leaves; the door; the night.
• s3 (1:31–1:34) SET-CAR 2AM — the same framing as Hook B s4. Deliberate: the donor's own summary-then-recount construction, and on the B cut it is a promised image being paid.
• s4 (1:34–1:38) OVER-SHOULDER MACRO — the search field, letters one at a time. [pause] = a 0.8s hold inside this shot.
• s5 (1:38–1:41) her face in phone glow.
• s6 (1:41–1:44) she does not press search. She opens the phone app instead and calls.
• s7 (1:44–1:47) a phone ringing on a bedside table somewhere else; a hand.
• s8 (1:47–1:50) REF-CAROL sitting up in the dark. Mid-50s, plain, glasses pushed up. No credential prop of any kind in frame.
• s9 (1:50–1:54) intercut, two cuts — her mouth on the question; Carol's face taking it.
• s10 (1:54–1:57) CAROL'S SILENCE — a locked hold, the longest single in the beat, Carol not moving.
• s11 (1:57–1:59) Carol swings her legs out of bed. Cut.

MODEL: nano_banana_2_pro   REFERENCE: REF-PROTAG-53, REF-CAROL, SET-CAR/2AM
s3 PROMPT: "REPRODUCE HOOK B s4 EXACTLY - wide through a windscreen, one car alone in an empty
  night car park, one lit window beyond. Same lens, same height, same angle."
s8 PROMPT: "A plain woman in her mid-fifties sitting up in a dark bedroom, holding a phone,
  glasses pushed up onto her head. Ordinary nightclothes, ordinary room.
  ABSOLUTELY NO white coat, NO lanyard, NO stethoscope, NO clinic or pharmacy branding,
  NO uniform, NO badge - she is a friend, not a clinician."
s10 PROMPT: "Locked close on her face, listening, saying nothing. Neutral, serious."
MODEL: seedance_2.0
s4 MOTION: "Letters resolve one at a time. HOLD 0.8s ([pause]) mid-shot before the last."
s6 MOTION: "The thumb leaves the search key, moves to the call icon, presses."
s10 MOTION: "SHE DOES NOT MOVE. Hold the full 3s. No blink cut."
NEGATIVE_PROMPT (all): "white coat, lab coat, stethoscope, lanyard, hospital, clinic,
  pharmacy uniform, name badge, photoreal, live action, text overlay, watermark"
CUTTING: 11 cuts, 2.4-3.5s. s10 is the beat's longest hold and must not be trimmed.

• s1 (1:59–2:02) a car pulling into a drive, daylight.
• s2 (2:02–2:05) Carol in the doorway, coat still on. No hug.
• s3 (2:05–2:09) SET-DINING PRESENT-MUTED — the same room as the toast, daylight, the chair in frame and empty.
• s4 (2:09–2:13) ⚑ THE PRODUCT LANDS. Carol's hand sets the dark bottle down on the dining table, directly in front of that chair. Locked, 4s — the longest hold since the PLATE-SHOT. The score turns on this frame.
• s5 (2:13–2:15) her face. She does not reach for it.
• s6 (2:15–2:18) a pill bottle and a prescription slip pushed to the edge of frame, anonymised — no legible brand, no named competitor. The picture disqualifies a category, never a company.
• s7 (2:18–2:22) PRODUCT BEAUTY MACRO — the dropper lifting, berry liquid in the pipette, light through it. Deep berry-red, not amber (the palette swap off the donor's honey). 4s.
• s8 (2:22–2:25) DEMONSTRATION MACRO — the dropper at the tongue. No face. Carol showing, not her taking.
• s9 (2:25–2:28) HARD CUT to SET-PHARMACY — a counter, a bag going across it, a woman's hands taking it.
• s10 (2:28–2:31) the same counter, the same hands, older, taking a bigger box. Dose escalation rendered as repetition.
• s11 (2:31–2:33) back to the dining table on "figured out the same thing" — Carol's face, and the loop left open.

STAGE 1 - PRODUCT IMPORT
TOOL: media_import_url -> media_id   (the real Kindled bottle, front + three-quarter)

STAGE 2 - THE LANDING (s4) and THE MACRO (s7)
MODEL: marketing_studio
PRESET: closeup product with person (s4) / closeup product (s7)
PRODUCT_REF: {media_id from Stage 1}
s4 SCENE_PROMPT: "A woman's hand sets a small dark dropper bottle down on a DINING TABLE,
  directly in front of an empty dining chair. Muted daylight through a window, a dining room,
  a laid table edge. Locked camera, eye-level with the tabletop. Stylised 3D feature animation
  environment matched to the rest of the ad. NOT A KITCHEN. NO COUNTER, NO WORKTOP, NO HOB."
s7 SCENE_PROMPT: "Macro: a glass dropper lifting from a small dark bottle, filled with deep
  BERRY-RED liquid, light refracting through it. Shallow depth, one clean specular. The
  liquid is BERRY, not amber, not honey, not gold."
NEGATIVE_PROMPT: "kitchen counter, worktop, hob, sink, amber liquid, honey liquid, gold liquid,
  guarantee badge, seal, stamp, discount flash, starburst, competitor branding, text overlay"

STAGE 3 - EVERYTHING ELSE
MODEL: nano_banana_2_pro   REFERENCE: REF-CAROL, REF-PROTAG-53, SET-DINING/PRESENT-MUTED,
  SET-PHARMACY
s6 PROMPT: "A generic white pill bottle and a folded prescription slip pushed to the edge of
  a dining table, out of focus, LABELS ILLEGIBLE. No brand marks anywhere."
s9/s10 PROMPT: "A pharmacy counter from the customer side. A paper bag / a larger box crosses
  it into a woman's hands. Only hands and the counter - NO FACES, no signage, no branding."
MODEL: seedance_2.0 / kling_3.0 (s4 only, for the hand)
s4 MOTION: "The bottle is set down and RELEASED. The hand withdraws. Hold to 4s.
  SCORE TURNS ON THE FRAME THE BOTTLE TOUCHES THE TABLE."
s9->s10 MOTION: "Identical camera. Only the hands age and the box gets bigger."

• s1 (2:33–2:36.5) her hand pushing the bottle back across the table.
• s2 (2:36.5–2:40) her face on "I need a neurologist." Hard, not tearful.
• s3 (2:40–2:43.5) Carol's hand closing over hers on the table. [pause] lands here and the entire frame stops.
• s4 (2:43.5–2:47) Carol's face for the reframe line. 3.5s, locked, no camera move at all. The quietest frame in the ad.

MODEL: nano_banana_2_pro   REFERENCE: REF-PROTAG-53, REF-CAROL, SET-DINING/PRESENT-MUTED
s3 PROMPT: "Two hands on a dining table, one closing over the other. Muted daylight.
  Macro-adjacent, shallow depth, no faces."
s4 PROMPT: "Locked close-up, eye-level, of a plain woman in her mid-fifties speaking one
  sentence with complete certainty. No gesture. No lean. Stylised 3D feature animation,
  expressive but still."
MODEL: kling_3.0   (facial acting carries this beat; use the stronger performer)
s2 MOTION: "One line, hard, no tremor."
s3 MOTION: "The hand closes. FULL STOP - 0.8s in which nothing in frame moves ([pause])."
s4 MOTION: "She speaks. The camera does not move. Do not add a push-in."
NEGATIVE_PROMPT (all): "camera push, dolly, zoom, handheld, rack focus, photoreal, text overlay"
CUTTING: 4 cuts at 3.5s. THIS IS THE SLOW ZONE. Do not add a fifth shot.

• s1 (2:47–2:50) THE ESTABLISH — crane up through an enormous hall. Shelving floor to ceiling, aisles to vanishing point, every lamp burning, immaculately stocked, nothing missing. This is not a room that is broken.
• s2 (2:50–2:53) THE CARD — push in on a shelf ten feet up. One card, and the camera goes close enough to read it: EMILY. Pristine. Undamaged.
• s3 (2:53–2:56) THE CREW — three couriers at the head of an aisle under a full lamp. Gaunt, shaking, grey-lipped, hollow at the temple.
• s4 (2:56–3:00) THE COLLAPSE. One sets off at a run. Twenty paces. He goes down. The camera holds a beat too long — a hand still reaching up the aisle, fingers open, six feet short of a bright, stocked, waiting shelf. 4s. This is the ad's grotesque and it is the only place it goes.
• s5 (3:00–3:02) the next one. Down.
• s6 (3:02–3:04) the next. Down. (The rhythm of three is the point — it is a systemic failure, not an accident.)
• s7 (3:04–3:08) THE PALLET — crane to a mezzanine. One loaded pallet under a tarpaulin, glowing through the fabric, untouched. Nobody near it with the strength to break it open. 4s.
• s8–s12 (3:08–3:12) FIVE FAST CUTS, 0.8s each, on the "words / hair / temperature / gut / mood" line — five different aisles, five different couriers, all down, all under full lamps. ⛔ These five shots do NOT illustrate the five symptoms. They multiply the same failure across the building. Rendering "temperature" as an image would import N3's owned heat axis and rendering "the words" differently from "the mood" would turn the insert into a diagram. The §5 cascade is carried by the sung line; the picture says one thing, in five places, which is the line's actual claim.
• s13 (3:12–3:16) HARD CUT BACK to Register A — her face at the dining table, unmoved, on "You can't practice your way out of a fuel shortage."

MODEL: gpt_image_2 (environment keyframes) + nano_banana_2_pro (REF-COURIER-A/B/C consistency)
SET REFERENCE: SET-RECORDS-HALL - BUILD ONCE, REUSE AT BEATS 3, 9, 10, 11, 17, 18.
  Beat 17 re-shoots s2's exact framing; if the hall is re-imagined between passes,
  the ad's thesis shot is destroyed.

s1 PROMPT: "Establishing crane shot inside a cathedral-scale archive. Shelving floor to ceiling,
  aisles receding to vanishing point, a mezzanine above. EVERY LAMP BURNING AT FULL. Perfect
  condition. Completely stocked - not one gap on any shelf. Deep blue-green and gold jewel
  light, hard shadows, high key. High-fidelity CGI with feature-animation lighting: soft
  global illumination, subsurface scattering, rounded volumes. A place, not a diagram."
s2 PROMPT: "Push-in on a single index card on a shelf ten feet up. The card reads EMILY in
  clear handwriting and is CRISP, PRISTINE, PERFECTLY LEGIBLE, UNDAMAGED. Bright lamp above it."
s3 PROMPT: "Three character-scale couriers in plain working clothes at the head of a lit aisle.
  GAUNT, shaking, grey-lipped, hollow at the temple - starved. Rendered with feature-animation
  craft: pitiable, never disgusting. No gore, no wounds, no horror lighting."
s4 PROMPT: "Long-lens aisle compression. A courier down on the floor mid-aisle, one hand still
  reaching up the aisle, fingers open, SIX FEET SHORT of a bright fully stocked shelf.
  The shelf is perfect. He is not."
s7 PROMPT: "Crane to a mezzanine. One loaded pallet under a tarpaulin, GLOWING THROUGH THE
  FABRIC, untouched, nobody near it. Same jewel light."

NEGATIVE_PROMPT (EVERY Register B shot, verbatim):
  "sludge, residue, grease, wax, slime, goo, dust, grime, coating, buildup, mist, smoke,
  frost, ice, snow, steam, breath vapour, flames, fire, embers, radiators, heaters,
  thermometers, dim lamps, flickering lamps, guttering lamps, dark aisles, unlit sections,
  lamps switching on, lamps switching off, empty shelves, missing files, crumbling paper,
  faded ink, torn cards, decay, cobwebs, broken shelving, switches, levers, track points,
  railway points, forks in a path, diagram, infographic, arrows, labels, medical
  cross-section, anatomy chart, gore, blood, wounds, horror lighting, photoreal humans"

MODEL: seedance_2.0 (wides, crane) / kling_3.0 (s4 - the collapse and the reaching hand)
s4 MOTION: "Full run for twenty paces. The legs go. He is down. THE CAMERA HOLDS A BEAT TOO
  LONG on the reaching hand - do not cut on the fall, cut 1.5s after it."
s7 MOTION: "Slow crane up. Nothing moves on the mezzanine. Nobody comes."
s8-s12 MOTION: "Five separate aisles, five separate couriers, all going down. IDENTICAL
  failure in five places - do NOT differentiate them by symptom, colour or set dressing."
CUTTING: s1-s3 3.0s / s4 4.0s (longest) / s5-s6 2.0s / s7 4.0s / s8-s12 0.8s each / s13 4.0s

• s1 (3:16–3:19) Carol's hands on the table, Register A — the hand-off into the insert.
• s2 (3:19–3:22) IODINE · HANDS — the loading-bay doors open; crates of raw stock come in on a hand-truck and are handed across. (Material comes IN. Nothing goes out. Ever.)
• s3 (3:22–3:26) SELENIUM · TURNS — a bench-scale converter: raw stock in one side, a different and usable thing out the other. ⛔ A CONVERTER, NEVER A SWITCH. No lever thrown, no fork, no track points. N1 owns the literal switch.
• s4 (3:26–3:29) the converted load put into a courier's hands.
• s5 (3:29–3:33) ZINC · CARRIES — far end of the aisle; the load off the dock and onto a shoulder.
• s6 (3:33–3:36) the shoulder-load arriving at a shelf-face and being set down where it was ordered.
• s7 (3:36–3:40) VITAMIN D3 · FEEDS — a long table down the middle of the hall; the whole crew eating at once. Wide, 4s.
• s8 (3:40–3:43) ASHWAGANDHA · GUARDS — a figure standing in the loading-bay doorway, back to us, blocking a shadow that has been taking rations off that table. The shadow does not enter. Nothing leaves the building.
• s9 (3:43–3:45) NO IRON — one crate set aside, unopened, deliberately left off the truck. One shot, no comment, no card.
• s10 (3:45–3:48) DROPS NOT PILLS — a side corridor where a queue of pills is stalled at a closed door. (A traffic image. There is no substance and nothing is being taken out — the door is simply shut and the queue is simply waiting, which is what the line says.)
• s11 (3:48–3:51) the sublingual route — a direct door straight into the hall. One step. No queue.
• s12 (3:51–3:54) THE CREW STANDS — fed, upright, colour back in the lips, running the aisle at full speed. Same aisle, same lamp, same distance as Beat 8 s4.
• s13 (3:54–3:57) ⚑ THE MONEY SHOT. Hard cut to Register A — her face, mid-sentence at the dining table, and a card arrives in her mouth on time. The word lands.
• s14 (3:57–3:58) Carol: "Four weeks. Watch." Cut out on the word.

MODEL: gpt_image_2 (environment) + nano_banana_2_pro (REF-COURIER consistency)
SET REFERENCE: SET-RECORDS-HALL (same build as Beat 8 - do NOT regenerate the hall)

s2 PROMPT: "Loading-bay doors open at the end of the archive. Crates of raw stock arrive on a
  hand-truck and are HANDED ACROSS to waiting workers. Material moving INTO the building."
s3 PROMPT: "A bench-scale CONVERTER machine in the archive: raw stock enters one side, a
  different usable form emerges the other. A processing machine with a hopper and an output
  chute. ABSOLUTELY NO SWITCH, NO LEVER, NO TOGGLE, NO RAILWAY POINTS, NO FORK IN A PATH."
s5 PROMPT: "Far end of a lit aisle. A worker takes a load off a dock and onto his shoulder,
  carrying it up. The last step of a journey."
s7 PROMPT: "Wide. A long table down the centre aisle of the archive. The entire crew eating
  at once. Colour returning to their faces. Fully lit, jewel light, unchanged."
s8 PROMPT: "A figure standing in the loading-bay doorway with its back to camera, arms out,
  BLOCKING a shadow outside from entering. The shadow stays outside. Nothing exits."
s9 PROMPT: "One crate set aside on the dock, unopened, deliberately left off the truck."
s10 PROMPT: "A narrow side corridor. A long queue of small capsules stalled at a closed door.
  Nothing is stuck to anything - they are simply waiting."
s12 PROMPT: "The SAME aisle and the SAME lamp as the collapse shot. The same courier, now fed
  and upright, running it at full speed and reaching the shelf."

NEGATIVE_PROMPT: (use the Beat 8 Register-B negative verbatim, plus)
  "switch, lever, toggle, railway points, track points, fork in the path, brooms, mops,
  hoses, mallets, shields, sweeping, mopping, hosing, washing, anything being carried OUT
  of the building, anything being removed, drains, pipes, plugholes"

MODEL: seedance_2.0 / kling_3.0 (s13 - the facial performance)
s7 MOTION: "They eat. Nothing is dramatic. Hold 4s - this is the beat's rest."
s12 MOTION: "Full run, reaches the shelf, takes the card. NO COLLAPSE."
s13 MOTION: "Register A. Her mouth, mid-sentence, and the word arrives WITHOUT the pause she
  used to need. The absence of a hesitation is the shot."
CUTTING: 14 cuts, 2.5-4.0s. s7 (4s) is the beat's only rest. s13-s14 land the payoff.

• WEEK ONE — s1 (3:58–4:00.4) her mid-sentence at a table, the sentence completing; s2 (4:00.4–4:02.6) her small private double-take; s3 (4:02.6–4:04.8) the other person not noticing anything (that is the point — nobody else can see this).
• s4 (4:04.8–4:06) ⚑ REGISTER B, WHIPLASH #4, 1.2s — a courier on his feet, jogging an aisle, handing a card off.
• DAY NINE — s5–s8 (4:06–4:14) the phone ringing; her hand going to it without the pause; the name on the screen; she answers. Four cuts at 2.0s.
• WEEK TWO — s9–s13 (4:14–4:24) the half-second, rendered three times as three greetings where the gap used to be and is not; then the walk metaphor rendered adjacent — her moving through her own hallway without looking down; then CARDS-2 in her pocket, two cards gone. Five cuts at 2.0s.
• FRIDAY NIGHT — s14–s18 (4:24–4:35) the table at ten o'clock; four conversations running at once; her holding all of them; a wide of the room, full; the clock. Five cuts tightening to 1.6s.

MODEL: nano_banana_2_pro   REFERENCE: REF-PROTAG-53, SET-KITCHEN, SET-HALL, SET-DINING
GRADE INSTRUCTION (post): generate all 18 shots NEUTRAL. The muted->golden ramp is a POST
  grade applied across beats 10-11-12 as one continuous curve, NOT baked per shot.
s1 PROMPT: "A woman mid-sentence at a table, the sentence arriving without a detour. Relaxed
  jaw, steady eyes. Domestic daylight."
s3 PROMPT: "The listener across the table, completely unremarkable reaction. NOTHING IS
  HAPPENING for them. That indifference is the shot."
s4 PROMPT: "REGISTER B. A courier ON HIS FEET jogging a fully lit archive aisle, handing a
  card off to another worker. Jewel light, unchanged from Beat 8. He is fed and upright."
s9-s11 PROMPT: "Three greetings in three different doorways. In each, she says a name
  IMMEDIATELY. No hesitation beat, no glance away, no lip-purse."
s12 PROMPT: "A woman walking her own hallway without looking down at her feet."
s13 PROMPT: "A thinner stack of index cards in a coat pocket, elastic band loose."
NEGATIVE_PROMPT: (Register B shot uses the Beat 8 negative verbatim)
  (Register A shots) "photoreal, live action, before-and-after split, weight change,
  de-aging, slimming, text overlay, watermark"
MODEL: seedance_2.0
CUTTING: 18 cuts. Rate ramps 2.4s -> 1.6s across the beat and rides the sung phrasing.
  The RAMP is the technique; a constant rate here reads as a slideshow.

• WEEK THREE — s1 (4:35–4:37.5) SET-KITCHEN: she stands in the doorway, by the window. ⛔ No counter surface in frame, no product in the room — the kitchen-counter strike is honoured in the picture as well as in the staging note. s2 (4:37.5–4:40) her lips forming "Emily"; s3 (4:40–4:42) it arrives; s4 (4:42–4:44.5) her small laugh; she says it again.
• s5 (4:44.5–4:45.7) ⚑ REGISTER B, WHIPLASH #5, 1.2s — the aisle at full run; the tarpaulin off the pallet, broken down and carried.
• THE TEMPERATURE MARKER — s6 (4:45.7–4:48) her hands wrapped around a mug; s7 (4:48–4:50) the same hands, on a cold morning, not wrapped around anything. ⛔ Register A hands ONLY. No Register-B thermal imagery, no gauge, no breath vapour — the insert has no temperature axis and never acquires one.
• WEEK FOUR — s8 (4:50–4:52.5) the fridge calendar; her finger runs it once; s9 (4:52.5–4:55) she walks away and does not come back; s10 (4:55–4:57) she takes it down, both hands, off the door.
• s11 (4:57–4:59) the phone: alarm after alarm being deleted; s12 (4:59–5:00.5) the wristwatch alarm off.
• s13 (5:00.5–5:02.5) MACRO — the back of her hand under a running tap, ink going; then the same hand, dry and blank, the next morning.
• s14 (5:02.5–5:04) ⚑ THE ELASTIC BAND SNAPS ONTO AN EMPTY HAND. CARDS-4. The animation-only metaphor pays, and the words still do not know it exists.

MODEL: nano_banana_2_pro / gpt_image_2 (props)
s1 PROMPT: "A woman standing in a KITCHEN DOORWAY beside a window, morning light. Frame on the
  doorway and the window. NO COUNTER, NO WORKTOP, NO HOB, NO SINK IN FRAME. She is alone."
s5 PROMPT: "REGISTER B. A fully lit archive aisle, workers at a full run. On the mezzanine the
  tarpaulin is OFF the pallet and the load is being broken down and CARRIED. Jewel light,
  unchanged. Nothing is removed from the building."
s6/s7 PROMPT: "Two matched macro shots of the same pair of 53-year-old hands. (a) wrapped
  around a hot mug. (b) resting bare on a table on a bright cold morning, unbothered.
  REGISTER A DOMESTIC ONLY - no thermal imagery, no gauge, no breath vapour, no colour-coded
  heat, no anatomy."
s10 PROMPT: "Both hands lifting a hand-annotated calendar off a fridge door."
s13 PROMPT: "Macro: the back of a hand under running water, ballpoint ink going. Then the same
  hand, dry and completely blank, in next-morning light."
s14 PROMPT: "Macro: an elastic band snapping closed onto an EMPTY hand. No cards. Nothing in
  the fingers. Golden morning light."
NEGATIVE_PROMPT: "kitchen counter, worktop, hob, sink, product bottle, thermometer, thermal
  imaging, heat map, breath vapour, radiator, photoreal, text overlay"
MODEL: seedance_2.0
s9 MOTION: "She runs the line once, walks out of frame, AND DOES NOT RETURN. Hold the empty
  frame 0.5s before the cut - the not-coming-back is the shot."
s14 MOTION: "The band snaps. Nothing is in the hand. Cut on the snap."
CUTTING: 14 cuts, 1.5-2.5s, riding the sung phrasing.

• s1 (5:04–5:07) the phone call. s2 (5:07–5:10) her face taking the invitation.
• s3 (5:10–5:14) ⚑ THE MATCH-FRAME. SET-DINING SUNDAY-GOLDEN, being laid — the same room, the same lens, the same height, the same angle as Beat 2 s1, three years later and in the act-two grade. 4s. Nothing else in the ad does this and nothing else needs to.
• THE OLD-ME FLASH-BLOCK (act-one grade re-inserted for exactly three shots) — s4 (5:14–5:16) Thursday prep, lists; s5 (5:16–5:18) the car rehearsal — Hook C's exact framing; s6 (5:18–5:20) the pen on the hand. CARDS-2 permitted in this block (it is set in the past).
• s7 (5:20–5:23) hard cut back to act-two: she walks in, hands empty, sleeves up, nothing written anywhere.
• s8 (5:23–5:26) a close on her bare hands.
• s9 (5:26–5:29) the family sitting; chairs; faces. s10 (5:29–5:32) the room settling.
• s11 (5:32–5:37) ⚑ THE PLATE-SHOT, RE-ARMED. REF-SONINLAW sits down directly across from her — Beat 2 s6's exact framing, now opened into a two-shot: him far half, her near half. Locked. 5s. Cut out cold.

MODEL: nano_banana_2_pro   REFERENCE: REF-PROTAG-53, REF-SONINLAW, SET-DINING/SUNDAY-GOLDEN
s3 PROMPT: "REPRODUCE BEAT 2 s1's CAMERA EXACTLY - same lens, same height, same angle, same
  framing of the dining room. The room is being laid for Sunday dinner. Saturated golden-hour
  suburban light. The set is identical; only the light and the time have changed."
s5 PROMPT: "REPRODUCE HOOK C s2's FRAMING - interior profile of a woman in a parked car,
  lips moving with no sound. ACT-ONE MUTED GRADE."
s11 PROMPT: "TWO-SHOT built out of the Beat 2 PLATE-SHOT camera. A man in his early thirties
  sits down directly across a dinner table from a 53-year-old woman. He is in the far half,
  she is in the near half. Locked, eye-level. Golden hour."
MODEL: seedance_2.0
s7 MOTION: "She walks in. Hands open and empty. Sleeves up. Nothing in either hand."
s11 MOTION: "He sits. Neither of them speaks. HOLD 5s. Cut cold on the silence."
NEGATIVE_PROMPT: "index cards, notes, paper in her hands, writing on her hand, photoreal,
  live action, text overlay"
CUTTING: 11 cuts. s3 (4s) and s11 (5s) are holds; s4-s6 are a 2.0s flash-block.

• s1 (5:37–5:40) the table mid-dinner: normal, golden, loud.
• s2 (5:40–5:43.5) her, calm and unhurried: "Emily." 3.5s.
• s3 (5:43.5–5:46.5) REF-EMILY-31 stops mid-sentence, fork down, staring.
• s4 (5:46.5–5:50) "Emily, pass the bread." — her, exactly as flat and easy as anyone else at that table. The ordinariness is the flex.
• s5 (5:50–5:54) ⚑ THE REVERSAL. The PLATE-SHOT framing from Beat 2 s6 — identical lens, height, angle — and he LOOKS UP. Cartoon reaction-face physics: the eyes, the jaw, the whole face going through the floor. 4s — the longest single in the ad. He cannot hold her eye and goes back down to the plate. ⚑ THE SCORE DROPS OUT COMPLETELY UNDER THIS SHOT.
• s6 (5:54–5:57.5) HER: smug satisfaction. Not warmth. Not forgiveness. The donor's own register, dialled to 9. [pause] holds inside this shot. The score returns loud on the cut into it.
• s7 (5:57.5–6:00.5) the table around them, oblivious, eating — nobody else in the room knows what just happened, which is what makes it hers.
• s8 (6:00.5–6:03) she says the name again. Held on her mouth. Hard cut.

MODEL: nano_banana_2_pro (keyframes) + kling_3.0 (motion - the facial acting IS the beat)
REFERENCE: REF-PROTAG-53, REF-EMILY-31, REF-SONINLAW, SET-DINING/SUNDAY-GOLDEN

s5 PROMPT (THE PEAK - reproduce the Beat 2 s6 camera EXACTLY):
  "Clean single, locked, eye-level, 50mm-equivalent, subject centred at 1/3 height - IDENTICAL
  to the Beat 2 plate shot. The same man, three years older, at the same kind of dinner table.
  HE LOOKS UP. Cartoon reaction-face physics: eyes wide, jaw dropping, the whole face falling
  through the floor - the exaggerated Pixar reaction beat at full amplitude. Golden hour."
s6 PROMPT: "Close on the 53-year-old woman. SMUG SATISFACTION. Not warmth, not forgiveness,
  not tenderness. Calm, level, entirely unbothered, faintly pleased. She is not going to
  help him."
MOTION s5: "He looks up. The reaction plays FULL - do not restrain it, do not make it subtle,
  this is the ad's 9/10 and the donor plays it as cartoon physics. Then he goes back down to
  the plate. HOLD 4s. SCORE OUT under this entire shot."
MOTION s6: "She holds his gaze after he breaks it. HOLD 0.8s ([pause]). SCORE BACK IN LOUD on
  the cut into this shot."
NEGATIVE_PROMPT: "tender, tearful, reconciliation, apologetic, forgiving, warm smile, hug,
  hand on arm, subtle restrained reaction, photoreal, live action, text overlay"
CUTTING: 8 cuts, 3.0-4.0s. THIS IS A SLOW ZONE. Adding cuts here lowers the peak.

• s1 (6:03–6:06) REF-MOTHER, 70s, across the table, watching her.
• THE OLD VERSION (act-one grade, shot from the mother's eyeline — these are her memories, not the protagonist's) — s2 (6:06–6:08.5) her nodding; s3 (6:08.5–6:11) her waiting; s4 (6:11–6:14) someone else finishing her sentence while she smiles.
• s5 (6:14–6:17) back to now: the mother's fork going down on the cloth. Sound-off, this reads as a room changing.
• s6 (6:17–6:20) WIDE — the whole table turning to her.
• s7 (6:20–6:23) the mother on her line — three-quarter back of her head, the table beyond turning. (Quoted-speech law: her mouth is not the subject and no lip-sync is attempted.)
• s8 (6:23–6:27) HER, straight down the table. [pause], then the line. 4s.
• s9 (6:27–6:30) the mother's reaction. Cut.

MODEL: nano_banana_2_pro   REFERENCE: REF-MOTHER, REF-PROTAG-53, SET-DINING/SUNDAY-GOLDEN
s2-s4 PROMPT: "ACT-ONE MUTED GRADE. Three memories shot from an observer's eyeline across a
  table: (a) a woman nodding without speaking, (b) the same woman waiting with her mouth
  half-open, (c) someone else finishing her sentence while she smiles and lets them."
s7 PROMPT: "Three-quarter BACK of a woman in her seventies at a dinner table, her face turned
  away from camera, the table beyond her turning toward the far end. HER MOUTH IS NOT VISIBLE."
s8 PROMPT: "The 53-year-old woman looking straight down the length of the table, level, direct,
  completely unembarrassed."
MODEL: seedance_2.0
s5 MOTION: "The fork goes down onto the cloth. Deliberate. Everything else in frame stops."
s8 MOTION: "HOLD 0.8s ([pause]) before she speaks. She does not soften it afterwards."
NEGATIVE_PROMPT: "lip sync, mouth visible on the older woman, photoreal, live action,
  product bottle, text overlay"
CUTTING: 9 cuts, 2.5-4.0s.

• s1 (6:30–6:33) the front door, goodbyes — she uses three names, one per handshake. Legible sound-off: she is naming people.
• s2 (6:33–6:35.5) SET-CAR — HOOK C's EXACT FRAMING, now in act-two golden light. Her car at the kerb. She gets in.
• s3 (6:35.5–6:38) she does not sit. The engine starts immediately. [exhale] lands here as a 0.8s hold on her chest and shoulders dropping — the one delivery token in the ad that is a body event.
• s4 (6:38–6:40.5) the window going down; her hand out into the air.
• s5 (6:40.5–6:43) the car away down the road. The score comes up loud (the radio, implied, never rendered as a UI).

MODEL: nano_banana_2_pro   REFERENCE: REF-PROTAG-53, SET-CAR
s2 PROMPT: "REPRODUCE HOOK C s1's FRAMING - a car at a suburban kerb with a lit house behind
  it - but in SATURATED GOLDEN ACT-TWO LIGHT. She walks to it and gets in."
MODEL: seedance_2.0
s1 MOTION: "Three goodbyes, three handshakes, three names. No hesitation on any of them."
s3 MOTION: "She does NOT sit still. Key turns immediately. HOLD 0.8s ([exhale]) on the
  shoulders dropping - a body event, not a facial one."
s5 MOTION: "The car leaves frame. Score comes up loud as it goes."
NEGATIVE_PROMPT: "car radio UI, dashboard screen graphics, text overlay, photoreal"
CUTTING: 5 cuts, 2.5-3.0s.

• s1 (6:43–6:46) REF-EMILY-31 at the dining table, the bottle in frame — same table, same spot it landed at 1:59.
• s2 (6:46–6:49) Emily holding a baby, tired in exactly the way her mother was — the same greyed, slowed read, on a different face.
• s3 (6:49–6:52) a flash of Emily being waved off — "it's just motherhood." No credential prop, no doctor persona, no consulting room — an ordinary person dismissing her.
• s4 (6:52–6:55) Emily watching her mother across the room, moving fast, present.
• s5 (6:55–6:58) Emily's phone: a booking screen, legible as a calendar grid, not as sentences.
• s6 (6:58–7:01) Emily and the baby, her mother's hand on her shoulder.

MODEL: nano_banana_2_pro   REFERENCE: REF-EMILY-31, REF-PROTAG-53, SET-DINING/SUNDAY-GOLDEN
s2 PROMPT: "A 31-year-old woman holding a baby, flattened and exhausted - the SAME greyed,
  slowed read the older woman carried in act one, on a younger face. Stylised, sympathetic,
  never repulsive."
s5 PROMPT: "A phone screen showing a booking calendar. Legible as a GRID of dates only -
  NO readable sentences, no clinic name, no lab branding, no result values."
NEGATIVE_PROMPT: "doctor, white coat, consulting room, lab results, blood test values,
  numbers on screen, clinic branding, photoreal, text overlay"
CUTTING: 6 cuts, 3.0s.

• s1 (7:01–7:05) her, direct, act-two light — the ad's most composed frame.
• s2 (7:05–7:09) THE DISAPPEARING IMAGE, act-one grade, three quick sub-frames inside one shot: her at the edge of family frames, cropped by doorways and other people's shoulders. She is not fading and nothing decays — she is being edged out. (A fade would contradict the thesis; the record is intact and so is she.)
• s3 (7:09–7:13) ⚑ REGISTER B, WHIPLASH #6 — THE THESIS SHOT. The shelf. The card. EMILY. Ten feet up. Beat 8 s2's exact framing, and the card is in exactly the same condition. 4s. Nothing about it has changed, and that is the entire argument: her name was never gone; it sat exactly where she left it, in perfect condition.
• s4 (7:13–7:17) pull back: the courier who went down at Beat 8 s4 is standing under that same lamp, fed, and reaches the shelf. Same aisle, same lamp, same distance — only the man is different.
• s5 (7:17–7:21) hard cut to Register A: her face on "I was running out of fuel." [pause] lands here.
• s6 (7:21–7:25) the morning kitchen, light, her moving through it. (Doorway and window framing, per the counter strike.)
• s7 (7:25–7:28) her at fifty-three — not de-aged, not smoothed, not slimmer. The same woman with the fog gone. The animation shield licenses an animated body; it does not license a before/after.

MODEL: gpt_image_2 (Register B) + nano_banana_2_pro (Register A)
s3 PROMPT (THE THESIS SHOT - REPRODUCE BEAT 8 s2 EXACTLY):
  "The identical framing, lens and lamp as the earlier archive shelf shot. The SAME index card
  reading EMILY on a shelf ten feet up. CRISP, PRISTINE, PERFECTLY LEGIBLE, UNDAMAGED -
  indistinguishable from the first time we saw it. NOTHING about the card or the shelf has
  changed."
s4 PROMPT: "Pull back from the shelf: the SAME aisle, the SAME lamp, the SAME distance as the
  collapse shot. The same courier, now fed and standing, reaches the shelf and takes the card."
s7 PROMPT: "The 53-year-old woman in golden morning light. SAME AGE, SAME FACE, SAME BODY as
  every other shot of her. The fog is gone from the eyes and that is the ONLY difference.
  NO de-aging, NO smoothing, NO slimming, NO body change."
NEGATIVE_PROMPT: "de-aged, younger, slimmer, weight loss, before and after, body morph,
  smoothed skin, glamour retouch, faded card, damaged card, aged paper, changed lighting,
  photoreal, text overlay"
MODEL: seedance_2.0
s2 MOTION: "Three sub-frames inside one shot. She is EDGED OUT of each - cropped by a doorway,
  by a shoulder, by a door closing. SHE NEVER FADES, NEVER GOES TRANSPARENT, NEVER DISSOLVES."
CUTTING: 7 cuts at ~4.0s. Slow zone. Do not add shots.

• s1 (7:28–7:31) her at the dining table, the bottle beside her.
• THE LITANY — s2 (7:31–7:33.5) WOMAN 1: a dinner table, mid-fifties, a name not arriving, the table waiting. s3 (7:33.5–7:36) WOMAN 2: a parked car outside a lit house, lips moving — Hook C's frame with a stranger in it. s4 (7:36–7:38.5) WOMAN 3: a crossword, a fish-oil bottle, a phone with a puzzle app. s5 (7:38.5–7:41) WOMAN 4: a desk across from her, a referral sheet sliding over.
• s6 (7:41–7:45) "Don't let them file you under aging" — a filing drawer closing on a folder. Hard, 4s. [pause] after.
• s7 (7:45–7:48) a crossword on a table; her hand pushes it away.
• s8 (7:48–7:52) ⚑ REGISTER B, WHIPLASH #7, 4s — "A crossword cannot feed a starving brain. Fuel can." The long table down the middle of the hall, the crew eating. The insert's final appearance and the only time it is used inside the close: it welds the mechanism to the sell.
• s9 (7:52–7:55) THE PRODUCT — the bottle on the dining table, macro, berry.
• s10 (7:55–7:58) her hand around it.
• s11 (7:58–8:02) THE GUARANTEE — SPOKEN ONLY. No badge, no stamp, no seal, no countdown. The picture is her face. 4s.
• s12 (8:02–8:05) the bottle and the empty chair — the chair where the toast fell apart, now just a chair.
• s13 (8:05–8:08) her, ONE to-camera frame, on "So go see if it's in stock." The only to-camera frame in the ad. End card: the bottle plus the wordmark on its own label. Nothing else.

MODEL: nano_banana_2_pro (women, her) / gpt_image_2 (props, filing drawer, Register B)
     / marketing_studio (s9, s12 - the real bottle)
s2-s5 PROMPT: "Four DIFFERENT women, 45-70, in four different domestic rooms, each in one
  situation: (1) at her own dinner table, a name not arriving, the table waiting; (2) in a
  parked car outside a lit house, lips moving - REPRODUCE HOOK C's FRAMING with a different
  woman; (3) with a crossword, a fish-oil bottle and a puzzle app on a phone; (4) across a
  desk as a referral sheet slides toward her. Stylised 3D feature animation, act-two grade,
  each face distinct and sympathetic."
s6 PROMPT: "A filing drawer closing hard on a folder. Institutional, unlovely, final."
s8 PROMPT: "REGISTER B. The long table down the centre aisle of the archive, the whole crew
  eating. Jewel light, unchanged. This is the last time we are in this building."
s9/s12 (marketing_studio, PRODUCT_REF = the real bottle):
  "Macro of the small dark dropper bottle on a dining table in golden light" /
  "The bottle on the dining table beside an empty dining chair, wider, golden hour."
s13 PROMPT: "The 53-year-old woman looking DIRECTLY INTO THE LENS for the first and only time
  in the ad. Level, warm, certain. Golden hour."
NEGATIVE_PROMPT: "guarantee badge, money-back seal, discount starburst, percentage off,
  countdown timer, stock counter, urgency banner, arrows, buttons, photoreal, live action"
MODEL: seedance_2.0
s7 MOTION: "Her hand pushes the crossword away. One motion, dismissive, unhurried."
s11 MOTION: "Her face while the guarantee is sung. NOTHING is burned on screen."
CUTTING: 13 cuts. Litany at 2.5s; s6, s8, s11 hold at 4s.