Based on: Story Outline v2, Part 1｜2026-10-14

Part 1 · Segment 0 · Epigraph + Prologue (approx. 4 min, 28 shots)

Source: Epigraph (the opening of Dickens’s A Tale of Two Cities; one sentence from The Communist Manifesto); Prologue = Ep. 40, Sc. 7 (Wang Sheng’s release: the last iron gate unlocked, the gate opening, a deep breath, looking back at the wall, the morning glow gilding the wall, the grey office building lit fiery red, walking toward the road) + Ep. 9 prologue (the old black-and-white photograph by the Yan River: its content, the curled and worn corners, the fountain-pen writing on the back, “June 1938”).

Character looks (prompts use these descriptions only, never names): - [Crop-Haired Man] A man of about forty, hair cropped very short, black-framed glasses, thin, an old black leather jacket. (Added in this segment: he carries a very light old travel bag.) (= Wang Sheng, 2009) - [Young Man in the Photo · 1938 · look] A young man in his early twenties, thin, clean and upright features, a steady gaze, grey cotton Eighth Route Army uniform, army cap worn straight, collar hook fastened to the top. (= the young Song Qiankun; appears only in the photo, motionless) - [Foreign Woman in the Photo · 1938 · look] A foreign woman of about thirty, blonde, blue-eyed, a head full of curls, grey cotton Eighth Route Army uniform, a bright, focused expression. (= Anna; appears only in the photo, motionless)

Settings (reuse verbatim in first-frame images): - [Black] Pure black frame, very faint specks of floating dust light. - [Outside the Wall] Southern China, 2009. The tall grey-white wall of Zixin Farm, barbed wire along the top, one heavy iron gate; outside the wall a dirt road and a stretch of lakeshore grassland, the lake in the distance. - [The Photo] A yellowed old black-and-white photograph lying flat on an old wooden table: a young man in a grey cotton Eighth Route Army uniform and a foreign woman in a grey cotton Eighth Route Army uniform stand side by side on the bank of a clear river, about a hand’s width apart, not holding hands, both looking in the same direction; behind them the river shines, and in the distance a pagoda on a hilltop and the rolling loess plateau; the photo’s corners are yellowed and slightly curled; warm yellow desk-lamp light. - [1979 Sky] Orange-red sky light emerging out of black, a thin black line of horizon along the bottom of the frame.

Epigraph (4 shots)

0-1 Video prompt｜Pure black frame, 16:9, 10 seconds. Action: Very faint specks of dust light drift slowly in the black. Do not: No people, no text, no graphics. (caption added in post: the opening passage of Dickens’s A Tale of Two Cities, starting at 0-1 and running across two shots, 0-1 and 0-1a.)

0-1a Video prompt｜First frame = last frame of 0-1. Black frame, 16:9, 10 seconds. [First-frame reference | top priority] Use the last frame of 0-1 exactly as the first frame: pure black, a few specks of dust light hanging in the frame. Action: The specks of dust light keep drifting very slowly. Brightness stays the same. Do not: No people, no text, no graphics. Do not darken.

0-2 Video prompt｜First frame = last frame of 0-1a. Black frame, 16:9, 10 seconds. [First-frame reference | top priority] Use the last frame of 0-1a exactly as the first frame: pure black, a few specks of dust light. Action: Same as 0-1. The specks of dust light drift slowly. Do not: No people, no text, no graphics. (caption added in post: the sentence from The Communist Manifesto, “All that is solid melts into air.”)

0-2a Video prompt｜First frame = last frame of 0-2. Black frame, 16:9, 8 seconds. [First-frame reference | top priority] Use the last frame of 0-2 exactly as the first frame: pure black, a few specks of dust light. Action: The specks of dust light go out one by one, until the frame is completely black. Do not: No people, no text, no graphics.

Prologue · 2009 · Outside the Wall of Zixin Farm

P-S1 First-frame image｜Southern China, 2009. The tall grey-white wall of Zixin Farm, barbed wire along the top, one heavy iron gate; outside the wall a dirt road and a stretch of lakeshore grassland, the lake in the distance. Thin early-morning mist, first grey light of dawn, cold grey-blue tones. Extreme long shot: the wall runs from the left side of the frame into the distance; the iron gate is shut in the middle of the frame; the dirt road outside the gate is empty.

S-1 Video prompt｜Re-render from the uploaded first frame P-S1, 16:9 landscape, cinematic, 2009, outside the wall of Zixin Farm, dawn. 10 seconds, extreme long shot. [First-frame reference | top priority] Use the uploaded first frame P-S1 exactly as the first frame of the video. Do not redesign the wall, the gate, the mist, the lakeshore or the camera position. Keep everything in the first frame: the wall running from the left side of the frame into the distance; the iron gate shut in the center; barbed wire on top of the wall; the dirt road outside the gate empty; thin mist; cold grey-blue tones. The first frame is: the shut iron gate and the empty road. Action: Mist flows slowly along the ground. The iron gate stays shut and still. The camera does not move. Do not: No cuts. No people. Do not change the sky. Do not let the gate open.

P-S1a First-frame image｜Southern China, 2009. A heavy iron gate at Zixin Farm. Thin early-morning mist, cold grey-blue tones. Close-up: the seam where the two leaves of the iron gate meet; a big old-style iron lock on the gate, its bolt pushed into the hasp; rust on the iron plate and beads of water condensed from the mist; darkness inside the seam.

S-1a Video prompt｜Re-render from the uploaded first frame P-S1a, 16:9 landscape, cinematic, 2009, the iron gate of Zixin Farm, dawn. 8 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-S1a exactly as the first frame of the video. Do not redesign the gate, the lock, the rust or the camera position. Keep everything in the first frame: the seam of the gate in the center; the old-style iron lock and its bolt; the rust and the water beads; darkness inside the seam; cold grey-blue tones. The first frame is: the locked seam of the gate. Action: The bolt snaps back with a click (someone inside is unlocking it; no one is visible in the frame). A thin line of light appears in the seam. Do not: No cuts. No people or hands. Do not let the whole gate open.

S-1b Video prompt｜First frame = last frame of S-1. 16:9, 8 seconds, extreme long shot. [First-frame reference | top priority] Use the last frame of S-1 exactly as the first frame: extreme long shot, the iron gate shut in the center, the wall running off to the left, thin mist, cold grey-blue tones. Action: The iron gate slowly opens inward a crack. A little light shows through the gap. The camera does not move. Do not: No cuts. No people. Do not change the sky.

P-S2 First-frame image｜Southern China, 2009. The tall grey-white wall of Zixin Farm, barbed wire along the top, one heavy iron gate; outside the wall a dirt road and a stretch of lakeshore grassland, the lake in the distance. Thin early-morning mist. Long shot facing the iron gate: the gate is half open; in the gateway stands a man of about forty, hair cropped very short, black-framed glasses, thin, an old black leather jacket, carrying a very light old travel bag, facing the camera. Cold grey-blue tones.

S-2 Video prompt｜Re-render from the uploaded first frame P-S2, 16:9 landscape, cinematic, 2009, the gate of Zixin Farm, dawn. 8 seconds, long shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-S2 exactly as the first frame of the video. Do not redesign the man, the gate, the wall or the camera position. Keep everything in the first frame: the iron gate half open; the man standing in the exact center of the gateway, facing the camera; very short cropped hair, black-framed glasses, old black leather jacket, old travel bag in his hand; thin mist; cold grey-blue tones. The first frame is: the man standing still in the gateway. Action: The man stands in the gateway, stunned for a moment, completely still. Only the mist flows past his feet. Do not: No cuts. No new characters. No speaking. Do not let him step forward or look back.

S-2a Video prompt｜First frame = last frame of S-2. 16:9, 10 seconds, long shot, single figure. [First-frame reference | top priority] Use the last frame of S-2 exactly as the first frame: the man standing in the center of the half-open iron gateway, facing the camera, the old travel bag in his hand, thin mist. Action: The man steps out through the gate, walks onto the dirt road outside, and stops. Do not: No cuts. No new characters. No speaking. Do not let him look back.

P-S3 First-frame image｜Southern China, 2009. The tall grey-white wall of Zixin Farm, barbed wire along the top, one heavy iron gate; outside the wall a dirt road and a stretch of lakeshore grassland, the lake in the distance. Early morning. Medium shot from behind and to the side: a man of about forty, hair cropped very short, black-framed glasses, thin, an old black leather jacket, carrying a very light old travel bag, stands on the dirt road outside the gate, facing the road and the lakeshore on the right of the frame; the wall and the half-open iron gate are behind him on the left; thin mist, cold grey light.

S-3 Video prompt｜Re-render from the uploaded first frame P-S3, 16:9 landscape, cinematic, 2009, outside the wall of Zixin Farm, early morning. 8 seconds, medium shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-S3 exactly as the first frame of the video. Do not redesign the man, the wall, the mist or the camera position. Keep everything in the first frame: the man in the middle of the frame, seen from behind and to the side, facing right; very short cropped hair, black-framed glasses, old black leather jacket, old travel bag in his hand; the wall and the iron gate behind him on the left; thin mist, cold grey. The first frame is: the man standing, facing the road. Action: The man takes a deep breath. His shoulders rise and fall slowly once. Do not: No cuts. Do not let him walk, turn his head or speak. No other people. [NARRATION] My name is Wang Cheng. This was the morning in 2009 when I walked out of Zixin Farm.

S-3a Video prompt｜First frame = last frame of S-3. 16:9, 8 seconds, medium shot, single figure. [First-frame reference | top priority] Use the last frame of S-3 exactly as the first frame: the man standing on the dirt road, seen from behind and to the side, facing right, the old travel bag in his hand, the wall behind him on the left, thin mist, cold grey. Action: He slowly turns his head toward the wall on the left of the frame, and holds. Do not: No cuts. Do not let him walk or speak. No other people.

S-4 Video prompt｜First frame = last frame of S-3a. 16:9 landscape, cinematic, same setting, 10 seconds, medium shot pushing in to close shot. [First-frame reference | top priority] Use the last frame of S-3a exactly as the first frame: the man in profile facing the wall on the left, a thin film of mist on his glasses; everything else as in S-3. Action: The camera slowly pushes in to his face. He has no expression. He looks at the wall. Do not: No cuts. No speaking. Do not change the light. No movement other than blinking. [NARRATION] For the three years I was inside, I kept thinking about a photograph.

S-4a Video prompt｜First frame = last frame of S-4. 16:9, 6 seconds, close shot. [First-frame reference | top priority] Use the last frame of S-4 exactly as the first frame: close shot of the man in profile, facing the wall on the left, a thin film of mist on his glasses, cold grey light. Action: He slowly closes his eyes, then opens them. Do not: No cuts. No speaking. Do not change the light.

P-S5 First-frame image｜Southern China, 2009. The tall grey-white wall of Zixin Farm, barbed wire along the top, one heavy iron gate; outside the wall a dirt road and a stretch of lakeshore grassland, the lake in the distance. Sunrise. Backlit full shot: the mist is lifting; a rose-colored dawn glow rises in the eastern sky; the man of about forty (look as above, carrying the old travel bag) stands with his back to the camera outside the half-open iron gate, very small, facing the wall; the wall is still grey.

S-5 Video prompt｜Re-render from the uploaded first frame P-S5, 16:9 landscape, cinematic, 2009, outside the wall of Zixin Farm, sunrise. 10 seconds, backlit full shot. [First-frame reference | top priority] Use the uploaded first frame P-S5 exactly as the first frame of the video. Do not redesign the man, the wall, the gate, the sky or the camera position. Keep everything in the first frame: the man’s back at the lower center of the frame, very small, facing the wall; the iron gate half open; the wall running across the frame; rose-colored dawn glow in the east. The first frame is: the man standing with his back to us, the wall grey. Action: The sun rises. The rose-colored glow slowly reddens most of the sky. The man stands still the whole time. The camera does not move. Do not: No cuts. Do not let the man walk or turn around. No other people.

S-5a Video prompt｜First frame = last frame of S-5. 16:9, 10 seconds, backlit full shot. [First-frame reference | top priority] Use the last frame of S-5 exactly as the first frame: rose-colored glow reddening most of the sky; the man’s back, very small, outside the half-open iron gate; the wall still grey. Action: The top of the tall wall is edged with a line of gold. The light slowly spreads down and reaches the man. The man stands still the whole time. The camera does not move. Do not: No cuts. Do not let the man walk or turn around. No other people.

P-S5b First-frame image｜Southern China, 2009. The tall grey-white wall of Zixin Farm, barbed wire along the top. Sunrise. Medium-long shot: above the wall rises the upper half of the farm’s grey four-story office building, square and plain, rows of windows; the building is still grey; rose-colored sky in the east; the barbed wire on the wall runs across the bottom of the frame; no people in the frame.

S-5b Video prompt｜Re-render from the uploaded first frame P-S5b, 16:9 landscape, cinematic, 2009, the office building inside the wall of Zixin Farm, sunrise. 10 seconds, medium-long shot, locked-off. [First-frame reference | top priority] Use the uploaded first frame P-S5b exactly as the first frame of the video. Do not redesign the building, the wall, the barbed wire or the camera position. Keep everything in the first frame: the upper half of the grey office building showing above the wall; the barbed wire along the bottom of the frame; rose-colored sky; no people. The first frame is: the grey building. Action: The dawn light spills down from the roof. Floor by floor, the grey office building turns fiery red. The window glass reflects the light. Do not: No cuts. No people. No text or signs.

P-S5c First-frame image｜Southern China, 2009. Lakeshore grassland outside the wall of Zixin Farm; beyond the grass, a field of crops almost ripe; farther off, a calm lake reflecting the rose-gold dawn. Morning, long shot, horizon across the middle of the frame. No people, no wall in the frame.

S-5c Video prompt｜Re-render from the uploaded first frame P-S5c, 16:9 landscape, cinematic, 2009, the fields and lake outside the wall of Zixin Farm, morning. 10 seconds, long shot, empty landscape, locked-off. [First-frame reference | top priority] Use the uploaded first frame P-S5c exactly as the first frame of the video. Do not redesign the grassland, the crops, the lake or the camera position. Keep everything in the first frame: lakeshore grassland in the foreground; the crop field in the middle ground; the lake in the distance reflecting the dawn; horizon across the center; no people. The first frame is: the still fields and lake. Action: A morning breeze passes. The grass and the crops ripple in waves. Light glints on the lake. Do not: No cuts. No people, animals, vehicles or buildings.

P-S5d First-frame image｜Southern China, 2009. Outside the wall of Zixin Farm. Morning. Frontal close shot: a man of about forty, hair cropped very short, black-framed glasses, thin, an old black leather jacket, facing the camera with his head slightly lowered; golden-red morning light falls full on his face, nothing blocking it; behind him, a blurred golden sky and the edge of the grey-white wall.

S-5d Video prompt｜Re-render from the uploaded first frame P-S5d, 16:9 landscape, cinematic, 2009, outside the wall of Zixin Farm, morning. 8 seconds, frontal close shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-S5d exactly as the first frame of the video. Do not redesign the man, the glasses, the light or the camera position. Keep everything in the first frame: frontal close shot of the man, head slightly lowered; very short cropped hair, black-framed glasses, old black leather jacket; golden-red morning light full on his face; blurred background. The first frame is: the man standing in the light with his head lowered. Action: He slowly raises his head and looks at the sky. Sunlight falls full on his face. Do not: No cuts. No speaking. No tears. No new characters.

The Photograph

P-S6 First-frame image｜Overhead close-up. A yellowed old black-and-white photograph lying flat on an old wooden table: a young man in a grey cotton Eighth Route Army uniform and a foreign woman in a grey cotton Eighth Route Army uniform stand side by side on the bank of a clear river, about a hand’s width apart, not holding hands, both looking in the same direction; behind them the river shines, and in the distance a pagoda on a hilltop and the rolling loess plateau; the photo’s corners are yellowed and slightly curled; warm yellow desk-lamp light. The photo is centered, surrounded by dark wood-grain tabletop.

S-6 Video prompt｜Re-render from the uploaded first frame P-S6, 16:9 landscape, cinematic, close-up. 10 seconds. [First-frame reference | top priority] Use the uploaded first frame P-S6 exactly as the first frame. Do not redesign the content of the photo, the wooden table or the light. Keep everything in the first frame: the photo lying flat in the center; the young man on the left, the foreign woman on the right, side by side, not holding hands; the river, the pagoda, the loess plateau; where the corners curl up; warm yellow light. The first frame is: the whole photo. Action: The camera pushes in very slowly, all the way to the two faces in the photo: on the left, the thin young man with clean, upright features and his army cap worn straight; on the right, the foreign woman with a head full of curls and shining eyes. Do not: No cuts. Do not let the people in the photo move. No hands or other objects. [NARRATION] The photograph showed Song Qiankun and Anna, by the Yan River, in June 1938. Anna was Zong Da’s wife.

P-S7 First-frame image｜Extreme close-up: one corner of a yellowed old black-and-white photograph fills the frame. The edge of the photo paper is yellowed and brittle; one corner curls up slightly, showing the whiter backing of the paper. A few fine scratches run across the surface, one across the sky, one across the river. Everything outside the photo is dark. Light falls at a slant from above; the curled corner casts a small shadow.

S-7 Video prompt｜Re-render from the uploaded first frame P-S7, 16:9 landscape, cinematic, extreme close-up. 10 seconds. [First-frame reference | top priority] Use the uploaded first frame P-S7 exactly as the first frame. Do not redesign the photo paper, the scratches, the curled corner or the light. Keep everything in the first frame: the curled corner just right of center; the two fine scratches; darkness all around; slanting light. The first frame is: the still corner of the photo. Action: The camera tracks very slowly along the scratches. The light dims slightly. Do not: No cuts. No hands. No new objects.

P-S7a First-frame image｜Extreme close-up: the back of a yellowed old photograph fills the frame. The back of the paper is yellowed, with three vertical lines of faded fountain-pen writing, the ink gone yellow (the writing is blurred; replaced in post with “Taken with Comrade Anna by the Yan River, June 1938, respectfully noted by Song Qiankun”). A very small round dent in one corner of the paper. Darkness all around; warm yellow light falling at a slant from above.

S-7a Video prompt｜Re-render from the uploaded first frame P-S7a, 16:9 landscape, cinematic, extreme close-up. 8 seconds. [First-frame reference | top priority] Use the uploaded first frame P-S7a exactly as the first frame. Do not redesign the photo paper, the position of the writing, the dent or the light. Keep everything in the first frame: the back of the photo filling the frame; three vertical lines of faded fountain-pen writing; the round dent; darkness all around; warm yellow slanting light. The first frame is: the still back of the photo. Action: The camera moves very slowly down along the three lines of writing, from top to bottom. Do not: No cuts. No hands. Do not generate new readable text. No new objects.

S-8 Video prompt｜First frame = last frame of S-6. 16:9, 6 seconds, close-up. [First-frame reference | top priority] Use the last frame of S-6 exactly as the first frame: the two faces in the photo fill the frame, the young man on the left, the foreign woman on the right, warm yellow light. Action: The two faces hold, quiet. The camera does not move. Do not: No cuts. Do not let the people in the photo move. No new elements.

S-8a Video prompt｜First frame = last frame of S-8. 16:9, 8 seconds, close-up. [First-frame reference | top priority] Use the last frame of S-8 exactly as the first frame: the two faces in the photo fill the frame, the young man on the left, the foreign woman on the right, warm yellow light. Action: The image slowly darkens. The glint on the river is the last thing to fade. The frame goes completely black. Do not: No cuts. Do not let the people in the photo move. No new elements.

Back Outside the Wall

P-S9 First-frame image｜Southern China, 2009. The tall grey-white wall of Zixin Farm, barbed wire along the top, one heavy iron gate; outside the wall a dirt road and a stretch of lakeshore grassland, the lake in the distance. Morning, golden-red dawn light. Medium-long shot from behind: the man of about forty (look as above, carrying the old travel bag) stands on the dirt road with his back to the camera, facing the road ahead; the wall on the left of the frame, its top edged with gold.

S-9 Video prompt｜Re-render from the uploaded first frame P-S9, 16:9 landscape, cinematic, 2009, the road in front of the Zixin Farm gate, morning. 10 seconds, medium-long shot from behind. [First-frame reference | top priority] Use the uploaded first frame P-S9 exactly as the first frame of the video. Do not redesign the man, the wall, the road or the camera position. Keep everything in the first frame: the man’s back in the center, carrying the old travel bag; the wall on the left with its gold edge; the road stretching into the distance; golden-red morning light. The first frame is: the man standing with his back to us. Action: The man starts walking forward along the road, very slowly. The camera does not move. Do not: No cuts. No new characters. No speaking. Do not change the sky. Do not let him look back. [NARRATION] I spent thirty years trying to work out which of the two, Song Qiankun or Zong Da, was the traitor.

S-9a Video prompt｜First frame = last frame of S-9. 16:9, 6 seconds, medium-long shot from behind. [First-frame reference | top priority] Use the last frame of S-9 exactly as the first frame: the man’s back, a few steps along the road, carrying the old travel bag; the wall on the left with its gold edge; golden-red morning light. Action: The man stops and looks back once at the wall on the left. The camera does not move. Do not: No cuts. No new characters. No speaking. Do not change the sky.

S-9b Video prompt｜First frame = last frame of S-9a. 16:9, 10 seconds, medium-long shot from behind. [First-frame reference | top priority] Use the last frame of S-9a exactly as the first frame: the man standing on the road, head turned toward the wall on the left, carrying the old travel bag, golden-red morning light. Action: He turns back and keeps walking along the road, faster and faster, his figure growing smaller and smaller. The camera does not move. Do not: No cuts. No new characters. No speaking. Do not change the sky. Do not let him look back again.

S-10 Video prompt｜First frame = last frame of S-9b. 16:9, 10 seconds, same camera position. [First-frame reference | top priority] Use the last frame of S-9b exactly as the first frame: a very small figure far down the road, the wall on the left, golden-red morning light. Action: The figure keeps walking away. The image slowly darkens until it is completely black. Do not: No cuts. No new characters.

Transition

S-11 Video prompt｜Start from black, 16:9, 10 seconds. Action: Out of the black, an orange-red sky light faintly emerges, with a thin black line of horizon along the bottom of the frame. Do not: No people or buildings. (caption added in post: “1979 · Pi Town”.)

(End of segment | 28 shots | approx. 4 min | Source: Epigraph; Ep. 40, Sc. 7, shots 3C (the fifth gate unlocked, the bolt snapping back), 3C/4B (a deep breath), 4 (the grey office building lit fiery red, sunlight full on his face), 4B (gold edge on the wall, looking up at the sky, natural sound of the fields and Niangzi Lake), 2B (crops in the distant fields), 5; Ep. 9 prologue, images 1, 2, 3 (fountain-pen writing on the back of the photo), the 0-2a supplementary shot (with the round dent), and “June 1938” as stated in the image-5 narration)

Part 1 · Segment 1 · 1979 · Pi Town Brick Factory (approx. 15 min, 112 shots)

Source: Ep. 3, Sc. 5 (Hands Up), Sc. 6 (Leniency for Confession), Sc. 8 (The First Wages), Sc. 2 (in front of the Purple-Tile House; per the outline, one image only: “six-year-old Gu Zheng waiting for her brother at the door of the Purple-Tile House”).

Character looks (prompts use these descriptions only, never names): - [Lanky Teen] A tall, thin teenager of seventeen or eighteen, short hair, a sullen face, a faded blue cotton jacket. (Added in this segment: in the first half, a white woven plastic sack rolled into a long strip is tied around his waist.) (= Zong Tianyi) - [Broad-Forehead Boy] A boy of twelve or thirteen, slightly dark-skinned, broad forehead, bright black eyes, red Young Pioneer scarf, white shirt. (Added in this segment: a small toy pistol made from a bullet casing, in his hand or at his waist.) (= the young Wang Cheng) - [Fair-Faced Boy] A boy of twelve or thirteen, fair skin, handsome features, quick darting eyes, red Young Pioneer scarf, white shirt. (Added in this segment: he holds a wooden-shafted red-tasseled spear in both hands; the spearhead is wood painted white, the red tassel hanging down.) (= the young Ba Dong) - [Man with the Empty Sleeve] A man of about fifty, dark lean face, old grey work clothes, one empty sleeve tucked into his jacket pocket. (Added in this segment: his one hand is covered in grease.) (= Wang Shengli) - [Big-Eyed Girl] A six-year-old girl, chin-length bob, big black eyes like glass marbles, a small-flowered cotton blouse. (= Gu Zheng as a small child) - [Accountant in Reading Glasses] A man in his fifties, reading glasses, a blue cotton Mao suit, a fountain pen clipped in his breast pocket. (= the brick factory accountant, minor character) - Workers going off shift in the distance, diners in the restaurant: only small distant figures, no faces.

Settings (reuse verbatim in first-frame images): - [Brick Factory, Long View] A small riverside town in southern China, 1979. A spread of red-brick factory buildings; in the middle of the factory grounds, an extremely tall brick smokestack, thick at the base and narrow at the top, a thin plume of smoke at its tip; fields in the foreground. - [Castor-Bean Field] 1979. A field of castor-bean plants beside a road, taller than a man; broad leaves block the view; through gaps in the leaves, the red-brick factory buildings and the great smokestack show far off; many old cigarette butts left by others are stuck in the soil. - [Brick Yard] The brick factory yard at night, 1979. Harsh white electric lights; rows of grey unfired bricks stacked neatly like soldiers in formation; greasy black iron machine parts scattered on the ground; the black silhouette of the great smokestack at the top of the frame. - [Factory Main Road] The dirt main road through the brick factory grounds at night, 1979. Unfired bricks stacked along both sides, a row of harsh white electric lights, a row of single-story factory office buildings at the far end. - [Factory Office] The brick factory office at night, 1979. A small room; a big wooden table in the middle, a few rattan chairs and wooden benches around it; one bare incandescent bulb, its light harsh white with a greenish tinge; on the front wall, two framed portraits (out of focus, faces not readable); above the portraits, a red slogan banner. - [Great Kiln] The great kiln of the brick factory on a winter day, 1979. A huge brick arched doorway breathing out waves of heat; outside it a dirt road crushed with wheel ruts; unfired bricks stacked all around; bright white daylight. - [Cashier’s Office] The brick factory cashier’s office, 1980. A wooden counter; behind it an old desk with an abacus and ledgers on it; daylight outside the window. - [Co-op Restaurant] The small restaurant of the Pi Town supply-and-marketing co-op, 1980. The room thick with cooking fumes and steam; one greasy wooden table and a few long benches; a handwritten price list on the wall, its edges smoke-yellowed; dim yellow light inside. - [Town Street] A bluestone-paved street in Pi Town at dusk, 1980. Grey-brick tiled houses and Chinese toon trees on both sides; the setting sun stretches people’s shadows long. - [Purple-Tile House Door] An old house in Pi Town with a purple tiled roof, a wooden threshold, a small pond in front of the door, a crabapple tree reaching under the eaves; dusk.

1. The Castor-Bean Field · Waiting for Dark

P-1.1 First-frame image｜A small riverside town in southern China, 1979. A spread of red-brick factory buildings; in the middle of the factory grounds, an extremely tall brick smokestack, thick at the base and narrow at the top, a thin plume of smoke at its tip; fields in the foreground. Dusk; the orange-red sky is split in two by the smokestack. Extreme long shot, the smokestack just right of center.

1-1 Video prompt｜Re-render from the uploaded first frame P-1.1, 16:9 landscape, cinematic, late summer 1979, outside Pi Town Brick Factory, dusk. 10 seconds, extreme long shot, long take. [First-frame reference | top priority] Use the uploaded first frame P-1.1 exactly as the first frame. Do not redesign the smokestack, the factory buildings, the sky or the camera position. Keep everything in the first frame: the smokestack just right of center, thick at the base and narrow at the top, a thin plume at its tip; rows of red-brick buildings in the middle ground; fields in the foreground; orange-red sky. The first frame is: the whole view, still. Action: The camera pushes slowly forward, over the fields and past row after row of red factory buildings. The smokestack grows larger and larger in the frame. Do not: No cuts. No people. Do not change the sky. [NARRATION] The smokestack stood, they said, several hundred meters tall. You could see it from miles around. I was twelve that year.

P-1.2 First-frame image｜1979. A field of castor-bean plants beside a road, taller than a man; broad leaves block the view; through gaps in the leaves, the red-brick factory buildings and the great smokestack show far off; many old cigarette butts left by others are stuck in the soil. Orange-red dusk light comes through gaps in the leaves. Low-angle close-up right at ground level: in the foreground, a row of dirty old cigarette butts stuck slantwise in the soil; at the right edge of the frame, the toes of a pair of old, mud-caked green canvas army shoes. The person is squatting; only the shoes are visible.

1-2 Video prompt｜Re-render from the uploaded first frame P-1.2, 16:9 landscape, cinematic, late summer 1979, castor-bean field, dusk. 10 seconds, low-angle close-up. [First-frame reference | top priority] Use the uploaded first frame P-1.2 exactly as the first frame. Do not redesign the cigarette butts, the soil, the shoes or the camera position. Keep everything in the first frame: the cigarette butts stuck slantwise in the foreground soil; the toes of the canvas army shoes at the right edge; shadows of castor-bean leaves; orange-red light. The first frame is: the ground, still. Action: The camera, right at ground level, tracks very slowly from left to right, past one old cigarette butt after another, and stops in front of the canvas shoes. Do not: No cuts. No hands. No smoke or fire. No speaking.

1-2a Video prompt｜First frame = last frame of 1-2. 16:9, 6 seconds, low-angle close-up. [First-frame reference | top priority] Use the last frame of 1-2 exactly as the first frame: the camera at ground level, stopped in front of the mud-caked canvas army shoes; beside them, old cigarette butts and a drooping castor-bean leaf; orange-red light. Action: A grasshopper jumps onto the drooping castor-bean leaf. The leaf dips slightly. The shoes do not move. Do not: No cuts. No hands. No smoke or fire. No speaking.

P-1.3 First-frame image｜1979. A field of castor-bean plants beside a road, taller than a man; broad leaves block the view; through gaps in the leaves, the red-brick factory buildings and the great smokestack show far off; many old cigarette butts left by others are stuck in the soil. Dusk. Medium shot: a tall, thin teenager of seventeen or eighteen, short hair, a sullen face, a faded blue cotton jacket, a white woven plastic sack rolled into a long strip tied around his waist, squats among the castor-bean plants with his back against a thick stalk, both hands empty and resting on his knees, eyes on the factory grounds through the gap in the leaves to the right of the frame. Orange-red sky light comes through gaps in the leaves.

1-3 Video prompt｜Re-render from the uploaded first frame P-1.3, 16:9 landscape, cinematic, late summer 1979, castor-bean field, dusk. 10 seconds, medium shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-1.3 exactly as the first frame. Do not redesign the character, the castor-bean leaves or the camera position. Keep everything in the first frame: the teen squatting in the center, back against the stalk, facing right; blue cotton jacket, white woven sack at his waist; both hands empty on his knees; old cigarette butts on the ground; orange-red light. The first frame is: the teen squatting, looking toward the factory. Action: The teen reaches out one finger and gently pushes a castor-bean leaf in front of him a little aside. He narrows his eyes at the factory grounds in the distance, then lets go. The leaf springs back into place. Do not: No cuts. No smoke or fire. No speaking. Do not stand up. No other people. [NARRATION] Gu Zheng’s brother, Zong Tianyi, was in the castor-bean field, waiting for dark.

1-4 Video prompt｜First frame = last frame of 1-3. 16:9, 10 seconds, medium shot slowly pushing in to close shot. [First-frame reference | top priority] Use the last frame of 1-3 exactly as the first frame: the teen squatting with his back against the stalk, hands on his knees, looking right, orange-red light. Action: The camera slowly pushes in to a close shot and holds on the teen’s face. He does not move. No expression. Cold eyes. The sky slowly shifts from orange-red to purple. Do not: No cuts. No smoke or fire. No speaking. Do not stand up. No other people.

1-4a Video prompt｜First frame = last frame of 1-4. 16:9, 10 seconds, close shot, locked-off. [First-frame reference | top priority] Use the last frame of 1-4 exactly as the first frame: close shot of the teen’s face, facing right, no expression, the sky already turned purple. Action: The sky shifts from purple to dark blue. The castor-bean leaves slowly become black silhouettes. In the distance, harsh white electric lights come on in the factory grounds, one by one. The teen does not move. Do not: No cuts. No smoke or fire. No speaking. Do not stand up. No other people.

1-5 Video prompt｜First frame = last frame of 1-4a. 16:9, 8 seconds, close shot. [First-frame reference | top priority] Use the last frame of 1-4a exactly as the first frame: the sky almost completely dark, only the outline of the teen’s face left, the distant factory lights showing white through the gaps in the leaves. Action: Still squatting, the teen unties the rolled-up white woven sack from his waist and shakes it open. Do not: No cuts. No speaking. Do not stand up. No other people.

1-5a Video prompt｜First frame = last frame of 1-5. 16:9, 8 seconds, close shot pulling back to medium shot. [First-frame reference | top priority] Use the last frame of 1-5 exactly as the first frame: the teen squatting among the dark castor-bean plants, holding the opened white woven sack, the distant factory lights showing white. Action: The teen slowly stands up. The camera pulls back with him to a medium shot. He faces the right of the frame. Do not: No cuts. No speaking. No other people.

2. The Brick Yard · Hands Up

P-1.6 First-frame image｜The brick factory yard at night, 1979. Harsh white electric lights; rows of grey unfired bricks stacked neatly like soldiers in formation; greasy black iron machine parts scattered on the ground; the black silhouette of the great smokestack at the top of the frame. At the entrance to the yard, following from behind: the Lanky Teen (look as above, holding the opened white woven sack) is walking into the factory grounds through a gap where there is no wall; ahead, harsh white lights along the main road, a few workers going off shift walking past far away; the camera tilted slightly up.

1-6 Video prompt｜Re-render from the uploaded first frame P-1.6, 16:9 landscape, cinematic, late summer 1979, brick yard, night. 10 seconds, medium shot following from behind. [First-frame reference | top priority] Use the uploaded first frame P-1.6 exactly as the first frame. Do not redesign the character, the yard, the lights, the smokestack or the camera position. Keep everything in the first frame: the teen’s back in the center, holding the woven sack; harsh white lights along the main road; the distant workers only small figures; the smokestack silhouette at upper right. The first frame is: the teen stepping into the factory grounds. Action: The camera follows the teen from behind as he walks forward. He turns off into the shadows between the stacks of bricks. None of the distant workers looks back. Do not: No cuts. Do not let the workers come closer or speak. Do not change the light.

P-1.7 First-frame image｜The brick factory yard at night, 1979. Harsh white electric lights; rows of grey unfired bricks stacked neatly like soldiers in formation; greasy black iron machine parts scattered on the ground; the black silhouette of the great smokestack at the top of the frame. Medium shot, side view: the Lanky Teen (look as above, holding the white woven sack) enters from the lower right of the frame, bent low, his eyes on the dark.

1-7 Video prompt｜Re-render from the uploaded first frame P-1.7, 16:9 landscape, cinematic, brick yard, night. 10 seconds, medium shot, lateral track. [First-frame reference | top priority] Use the uploaded first frame P-1.7 exactly as the first frame. Do not redesign the bricks, the lights, the character or the camera position. Keep everything in the first frame: rows of bricks running across the frame; the teen bent low at lower right; machine parts on the ground; harsh white hard light. The first frame is: the teen just entering the frame. Action: The camera tracks slowly along the bricks. The teen moves forward with light steps, bent low, his eyes searching the dark. Do not: No cuts. No speaking. No other people.

1-7a Video prompt｜First frame = last frame of 1-7. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 1-7 exactly as the first frame: the teen standing bent low beside the bricks, holding the woven sack, eyes on the dark, harsh white hard light. Action: The teen sees the machine parts on the ground and stops. His eyes light up. He half-crouches. Do not: No cuts. No speaking. No other people.

1-8 Video prompt｜First frame = last frame of 1-7a. 16:9, 10 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 1-7a exactly as the first frame: the teen half-crouching beside the bricks, a pile of black machine parts in front of him, his face lit white by the electric light. Action: With both hands, the teen quickly grabs machine parts and throws them into the woven sack, handful after handful. Do not: No cuts. No speaking. Do not stand up.

1-8a Video prompt｜First frame = last frame of 1-8. 16:9, 8 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 1-8 exactly as the first frame: the teen squatting, some machine parts already in the woven sack, both hands on the ground. Action: The teen shifts one step forward, grabs and throws again. The sack slowly fills out. Beads of sweat slide down his cheek. Do not: No cuts. No speaking. Do not stand up.

1-9 Video prompt｜First frame = last frame of 1-8a. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 1-8a exactly as the first frame: the teen kneeling on the ground, the sack almost full, a machine part in his right hand. Action: The teen looks up and catches his breath, then swings the heavy sack onto his back and stands up. Do not: No cuts. No other people. No speaking.

1-9a Video prompt｜First frame = last frame of 1-9. 16:9, 6 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 1-9 exactly as the first frame: the teen standing beside the bricks with the bulging woven sack on his back, facing forward. Action: The teen takes a first step, then a second. Do not: No cuts. No other people. No speaking.

1-9b Video prompt｜First frame = last frame of 1-9a. 16:9, 6 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 1-9a exactly as the first frame: the teen with the sack on his back, just two steps taken, one foot still forward. Action: Suddenly the teen’s whole body freezes. His face turns toward the left of the frame. Do not: No cuts. No other people. (Off-screen, a boy’s sharp shout, dubbed in post: “Halt! Don’t move! Hands up!”)

P-1.10 First-frame image｜The brick factory yard at night, 1979. Harsh white electric lights; rows of grey unfired bricks stacked neatly like soldiers in formation; greasy black iron machine parts scattered on the ground; the black silhouette of the great smokestack at the top of the frame. Reverse medium shot: two boys in red Young Pioneer scarves and white shirts have just jumped out from behind a stack of bricks and planted themselves side by side. On the left, the slightly dark-skinned boy with the broad forehead holds up the bullet-casing toy pistol in one hand, aimed toward the right of the frame; on the right, the fair-skinned, handsome boy holds the wooden-shafted red-tasseled spear in both hands, spearhead pointing right, the red tassel hanging down.

1-10 Video prompt｜Re-render from the uploaded first frame P-1.10, 16:9 landscape, cinematic, brick yard, night. 10 seconds, medium two-shot, slow motion. [First-frame reference | top priority] Use the uploaded first frame P-1.10 exactly as the first frame. Do not redesign the two boys, the toy weapons, the bricks or the camera position. Keep everything in the first frame: the Broad-Forehead Boy on the left, holding up the casing pistol in one hand; the Fair-Faced Boy on the right, holding the red-tasseled spear in both hands; both facing right; harsh white light. The first frame is: the two boys just landed and planted. Action: In slow motion, the two boys, weapons raised, edge half a step forward. The red tassel quivers in the light. Do not: No cuts. Do not swap the two boys’ positions. Do not let the two boys speak.

1-11 Video prompt｜First frame = last frame of 1-9b. 16:9, 8 seconds, close shot. [First-frame reference | top priority] Use the last frame of 1-9b exactly as the first frame: the Lanky Teen standing still with the bulging sack on his back, body rigid, face turned to the left. Action: The teen looks toward the left of the frame for two seconds. He does not resist. He slowly lowers the sack from his shoulder and sets it on the ground. Do not: No cuts. No speaking. No other people. [NARRATION] The one with the pistol was me. The one with the spear was Ba Dong. The one we caught was Gu Zheng’s brother. That night, among those stacks of bricks, the fates of the three of us were settled.

1-11a Video prompt｜First frame = last frame of 1-11. 16:9, 8 seconds, close shot. [First-frame reference | top priority] Use the last frame of 1-11 exactly as the first frame: the teen standing empty-handed, the sack on the ground by his feet, face turned to the left. Action: The teen slowly raises both hands above his head. Do not: No cuts. No speaking. No other people.

P-1.12 First-frame image｜The brick factory yard at night, 1979. Harsh white electric lights; rows of grey unfired bricks stacked neatly like soldiers in formation; greasy black iron machine parts scattered on the ground; the black silhouette of the great smokestack at the top of the frame. Long shot, three figures: in the middle, the Lanky Teen (blue cotton jacket) with both hands raised, a bulging white woven sack by his feet; on the left, the Broad-Forehead Boy holding up the casing pistol in one hand; on the right, the Fair-Faced Boy holding the red-tasseled spear in both hands.

1-12 Video prompt｜Re-render from the uploaded first frame P-1.12, 16:9 landscape, cinematic, brick yard, night. 10 seconds, long shot, three figures. [First-frame reference | top priority] Use the uploaded first frame P-1.12 exactly as the first frame. Do not redesign the three characters, their positions, the toy weapons, the bricks or the smokestack. Keep everything in the first frame: the teen with raised hands in the center, the boys one on the left and one on the right, the toy weapons pointed at the middle; the smokestack looming over the top. The first frame is: the three figures frozen. Action: The three hold their poses without moving. The camera pulls back very slowly; the ranks of bricks open out all around them. Do not: No cuts. Do not let anyone move or speak. No other people.

3. Marched Off

P-1.13 First-frame image｜The dirt main road through the brick factory grounds at night, 1979. Unfired bricks stacked along both sides, a row of harsh white electric lights, a row of single-story factory office buildings at the far end. Long shot from behind: three figures with their backs to the camera walk toward the end of the road. In the middle, the Lanky Teen (blue cotton jacket), head down, hands empty and hanging at his sides; on the left, the Broad-Forehead Boy holding up the casing pistol in one hand; on the right, the Fair-Faced Boy holding the red-tasseled spear in both hands, spearhead forward. The black silhouette of the great smokestack at the top of the frame.

1-13 Video prompt｜Re-render from the uploaded first frame P-1.13, 16:9 landscape, cinematic, late summer 1979, the factory main road, night. 10 seconds, long shot from behind. [First-frame reference | top priority] Use the uploaded first frame P-1.13 exactly as the first frame. Do not redesign the three characters, their positions, the road, the lights or the camera position. Keep everything in the first frame: the Lanky Teen in the center, head down; the Broad-Forehead Boy on the left with the casing pistol raised; the Fair-Faced Boy on the right holding the red-tasseled spear; bricks on both sides; harsh white road lights; the smokestack silhouette at the top of the frame. The first frame is: the three just starting to walk. Action: Heads high, chests out, the two boys march the Lanky Teen along the road, one on each side. The three figures grow smaller and smaller under the harsh white lights. The camera does not move. Do not: No cuts. Do not swap positions. No speaking. No new characters.

P-1.14 First-frame image｜The dirt main road through the brick factory grounds at night, 1979. Unfired bricks stacked along both sides, a row of harsh white electric lights, a row of single-story factory office buildings at the far end. Frontal medium shot: three figures walk toward the camera. In the middle, the Lanky Teen (look as above), head down; on the left, the Broad-Forehead Boy (look as above) holding up the casing pistol, his face set hard; on the right, the Fair-Faced Boy (look as above) holding the red-tasseled spear, chin raised high.

1-14 Video prompt｜Re-render from the uploaded first frame P-1.14, 16:9 landscape, cinematic, the factory main road, night. 10 seconds, frontal medium shot, camera tracking backward. [First-frame reference | top priority] Use the uploaded first frame P-1.14 exactly as the first frame. Do not redesign the three characters, their positions or the camera position. Keep everything in the first frame: the Lanky Teen in the center, head down; the Broad-Forehead Boy on the left of the frame; the Fair-Faced Boy on the right of the frame; bricks on both sides; harsh white light. The first frame is: the three walking toward the camera. Action: The camera tracks backward as the three walk forward step by step. The Fair-Faced Boy marches as if goose-stepping on a parade ground; the Broad-Forehead Boy shoots him a sideways look. The Lanky Teen keeps his head down the whole time. Do not: No cuts. No speaking. Do not swap positions.

P-1.15 First-frame image｜The brick factory office at night, 1979. A small room; a big wooden table in the middle, a few rattan chairs and wooden benches around it; one bare incandescent bulb, its light harsh white with a greenish tinge; on the front wall, two framed portraits (out of focus, faces not readable); above the portraits, a red slogan banner. Camera inside the room facing the door: the wooden door has just been pushed open; in the doorway, the Lanky Teen (look as above) stumbles forward from a shove; behind him, the Broad-Forehead Boy (look as above) still has one hand on his back; the Fair-Faced Boy (look as above) stands outside the door holding the red-tasseled spear.

1-15 Video prompt｜Re-render from the uploaded first frame P-1.15, 16:9 landscape, cinematic, the brick factory office, night. 8 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-1.15 exactly as the first frame. Do not redesign the characters, the door, the light or the camera position. Keep everything in the first frame: the Lanky Teen stumbling just inside the door; the Broad-Forehead Boy pushing from behind him; the Fair-Faced Boy outside the door; harsh white incandescent light. The first frame is: the teen being shoved through the door. Action: The Lanky Teen stumbles two steps, catches his balance, and stands in front of the table. The Broad-Forehead Boy follows him in; the Fair-Faced Boy stops at the doorway. Do not: No cuts. No speaking. No new characters.

4. The Factory Office · Leniency for Those Who Confess

P-1.16 First-frame image｜The brick factory office at night, 1979. A small room; a big wooden table in the middle, a few rattan chairs and wooden benches around it; one bare incandescent bulb, its light harsh white with a greenish tinge; on the front wall, two framed portraits (out of focus, faces not readable); above the portraits, a red slogan banner. Low angle; the lower half of the frame is the empty wooden tabletop and the backs of rattan chairs; no one in the room.

1-16 Video prompt｜Re-render from the uploaded first frame P-1.16, 16:9 landscape, cinematic, the brick factory office, night. 10 seconds, low angle, tilting up. [First-frame reference | top priority] Use the uploaded first frame P-1.16 exactly as the first frame. Do not redesign the table and chairs, the wall, the portraits, the banner or the light. Keep everything in the first frame: the wooden tabletop and chair backs at the bottom of the frame; the two portraits on the wall always out of focus, faces not readable; the red banner; harsh white light. The first frame is: the empty tabletop. Action: The camera tilts slowly up from the tabletop, past the empty chair backs, up to the front wall, and stops on the two out-of-focus portraits and the red banner above them. Do not: No cuts. No people. Do not bring the portraits into focus. (Banner text handled in post: “Carry on Chairman Mao’s behest! Grasp the key link and run the country well! Go all out and aim high! Strive to build the Four Modernizations!”)

P-1.17 First-frame image｜The brick factory office at night, 1979. A small room; a big wooden table in the middle, a few rattan chairs and wooden benches around it; one bare incandescent bulb, its light harsh white with a greenish tinge; on the front wall, two framed portraits (out of focus, faces not readable); above the portraits, a red slogan banner. Medium shot: the Broad-Forehead Boy (look as above, the casing pistol tucked in his waistband) stands at the table, one hand pressing down a sheet of white paper and a ballpoint pen on the table, facing the right of the frame; the Lanky Teen (look as above) stands on the right side of the table, head down; at the door, the Fair-Faced Boy (look as above) holding the red-tasseled spear, at the right rear of the frame.

1-17 Video prompt｜Re-render from the uploaded first frame P-1.17, 16:9 landscape, cinematic, the brick factory office, night. 6 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-1.17 exactly as the first frame. Do not redesign the characters, the paper and pen, the table and chairs or the camera position. Keep everything in the first frame: the Broad-Forehead Boy on the left, hand on the paper and pen; the Lanky Teen on the right, head down; the Fair-Faced Boy at the door; the portraits on the wall out of focus; harsh white light. The first frame is: the boy pressing down the paper and pen. Action: His small face set hard, the Broad-Forehead Boy pushes the paper and pen across to the Lanky Teen. Do not: No cuts. No new characters. No speaking.

1-17a Video prompt｜First frame = last frame of 1-17. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 1-17 exactly as the first frame: the paper and pen pushed in front of the Lanky Teen, the Broad-Forehead Boy standing at the left of the table with a hard face, the Fair-Faced Boy at the door. Action: The Broad-Forehead Boy stares at the Lanky Teen. The Broad-Forehead Boy says: “You write your confession first. No lies. My dad says: lenient to those who confess, severe to those who resist!” Do not: No cuts. No new characters. Only the Broad-Forehead Boy speaks.

1-18 Video prompt｜First frame = last frame of 1-17a. 16:9, 10 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 1-17a exactly as the first frame: the paper and pen in front of the Lanky Teen, the Broad-Forehead Boy standing at the left of the table, the Fair-Faced Boy at the door. Action: The Broad-Forehead Boy turns to the Fair-Faced Boy at the door. The Broad-Forehead Boy says: “You stand guard at the door. Don’t let him escape. I’m going to get my dad.” Do not: No cuts. No new characters. Only the Broad-Forehead Boy speaks. The Lanky Teen does not move.

P-1.19 First-frame image｜The brick factory office at night, 1979. A small room; a big wooden table in the middle, a few rattan chairs and wooden benches around it; one bare incandescent bulb, its light harsh white with a greenish tinge; on the front wall, two framed portraits (out of focus, faces not readable); above the portraits, a red slogan banner. Medium shot at the door: the Fair-Faced Boy (look as above) stands in the door frame gripping the red-tasseled spear, facing the left of the frame; the Broad-Forehead Boy (look as above) stands at the left foreground with his back to the camera, facing him.

1-19 Video prompt｜Re-render from the uploaded first frame P-1.19, 16:9 landscape, cinematic, the doorway of the brick factory office, night. 6 seconds, medium two-shot. [First-frame reference | top priority] Use the uploaded first frame P-1.19 exactly as the first frame. Do not redesign the two boys, the spear, the door frame or the camera position. Keep everything in the first frame: the Fair-Faced Boy in the door frame facing left; the Broad-Forehead Boy at left foreground with his back to the camera; harsh white light. The first frame is: the two boys standing face to face. Action: The Fair-Faced Boy snaps to attention, gripping the spear, head high, chest out, and gives a not-quite-correct military salute, copying the little Eighth Route Army soldiers in the movies. Do not: No cuts. Do not swap positions. No speaking.

1-19a Video prompt｜First frame = last frame of 1-19. 16:9, 6 seconds, medium two-shot. [First-frame reference | top priority] Use the last frame of 1-19 exactly as the first frame: the Fair-Faced Boy standing at attention, saluting; the Broad-Forehead Boy at left foreground with his back to the camera. Action: Holding the salute, the Fair-Faced Boy says loudly: “Yes, Squad Leader, sir!” Do not: No cuts. Do not swap positions. Only the Fair-Faced Boy speaks.

1-20 Video prompt｜First frame = last frame of 1-19a. 16:9, 6 seconds, medium two-shot. [First-frame reference | top priority] Use the last frame of 1-19a exactly as the first frame: the Fair-Faced Boy still holding the salute, the Broad-Forehead Boy at left foreground. Action: The Broad-Forehead Boy taps the Fair-Faced Boy lightly on the chest with his small fist, squeezes past him out of the door, and runs out of the frame. The Fair-Faced Boy lowers his hand and stands firm, gripping the spear. Do not: No cuts. No speaking. No new characters.

P-1.21 First-frame image｜The brick factory office at night, 1979. A small room; a big wooden table in the middle, a few rattan chairs and wooden benches around it; one bare incandescent bulb, its light harsh white with a greenish tinge; on the front wall, two framed portraits (out of focus, faces not readable); above the portraits, a red slogan banner. Medium close shot: the Lanky Teen (look as above) sits on a long bench, the white paper spread on the table, a ballpoint pen in his hand, looking up at the portraits on the wall above the frame (the portraits are out of frame; only a bit of an out-of-focus frame edge shows); his face looks greenish under the light.

1-21 Video prompt｜Re-render from the uploaded first frame P-1.21, 16:9 landscape, cinematic, the brick factory office, night. 10 seconds, medium close shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-1.21 exactly as the first frame. Do not redesign the character, the paper and pen, the bench or the camera position. Keep everything in the first frame: the teen sitting on the bench, holding the pen, looking up at the wall; the white paper on the table; harsh white light with a greenish tinge. The first frame is: the teen looking up. Action: The teen keeps his head tilted up, not moving, lips pressed shut, his frightened eyes moving back and forth across the wall. His throat moves once. Do not: No cuts. Mouth does not move. No other people. Do not show the portraits’ faces. [OFF-SCREEN · INNER VOICE, dubbed in post, original script line] Chairman Mao. Chairman Hua. I was wrong. I shouldn’t have stolen from the collective. Please forgive me. Please don’t let them parade me through the streets — I’ll never be able to lift my head in Pi Town again.

1-21a Video prompt｜First frame = last frame of 1-21. 16:9, 8 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 1-21 exactly as the first frame: the teen sitting on the bench looking up at the wall, ballpoint pen in hand, white paper on the table, harsh white light with a greenish tinge. Action: The teen slowly lowers his head to look at the white paper. The pen tip goes down, then stops. Do not: No cuts. Mouth does not move. No other people.

1-22 Video prompt｜First frame = last frame of 1-21a. 16:9, 8 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 1-21a exactly as the first frame: the teen with his head down, pen tip stopped on the white paper. Action: The teen’s eyes dart toward the door a few times. Suddenly he puts down the pen, clutches his stomach with both hands, bends over, and screws up his face. Do not: No cuts. No new characters. No speaking. Do not stand up.

1-22a Video prompt｜First frame = last frame of 1-22. 16:9, 10 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 1-22 exactly as the first frame: the teen sitting on the bench, bent over, clutching his stomach with both hands, face screwed up. Action: Clutching his stomach, the teen cries out. The Lanky Teen says: “Aiyo… my stomach. I have to take a shit — hurry — or I’m going to do it in my pants!” Do not: No cuts. No new characters. Only the Lanky Teen speaks. Do not stand up.

P-1.23 First-frame image｜The brick factory office at night, 1979. A small room; a big wooden table in the middle, a few rattan chairs and wooden benches around it; one bare incandescent bulb, its light harsh white with a greenish tinge; on the front wall, two framed portraits (out of focus, faces not readable); above the portraits, a red slogan banner. Medium close shot at the door: the Fair-Faced Boy (look as above) stands in the door frame, gripping the red-tasseled spear with both hands, facing left into the room, frowning.

1-23 Video prompt｜Re-render from the uploaded first frame P-1.23, 16:9 landscape, cinematic, the doorway of the brick factory office, night. 8 seconds, medium close shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-1.23 exactly as the first frame. Do not redesign the character, the spear, the door frame or the camera position. Keep everything in the first frame: the Fair-Faced Boy in the door frame, facing left, gripping the spear with both hands, frowning. The first frame is: the boy glaring into the room. Action: The boy glares into the room. The Fair-Faced Boy says: “What are you yelling about?” Then he keeps staring into the room. Do not: No cuts. No new characters. Only the Fair-Faced Boy speaks. Do not walk.

1-23a Video prompt｜First frame = last frame of 1-23. 16:9, 10 seconds, medium close shot, single figure. [First-frame reference | top priority] Use the last frame of 1-23 exactly as the first frame: the Fair-Faced Boy standing in the door frame, gripping the red-tasseled spear with both hands, facing left, staring into the room. Action: The boy suddenly snorts with laughter. The Fair-Faced Boy says: “In the movies, that’s exactly what the collaborators always do when the Eighth Route Army catches them. You want to trick me? Not a chance!” Do not: No cuts. No new characters. Only the Fair-Faced Boy speaks. Do not walk.

P-1.24 First-frame image｜The brick factory office at night, 1979. A small room; a big wooden table in the middle, a few rattan chairs and wooden benches around it; one bare incandescent bulb, its light harsh white with a greenish tinge; on the front wall, two framed portraits (out of focus, faces not readable); above the portraits, a red slogan banner. Medium close shot: the Lanky Teen (look as above) sits on the bench, now sitting up straight, hands off his stomach and resting on the table edge, face turned toward the door on the right of the frame, his eyes darting about.

1-24 Video prompt｜Re-render from the uploaded first frame P-1.24, 16:9 landscape, cinematic, the brick factory office, night. 10 seconds, medium close shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-1.24 exactly as the first frame. Do not redesign the character, the bench or the camera position. Keep everything in the first frame: the teen sitting, facing the door on the right, hands on the table edge; harsh white light. The first frame is: the teen looking at the door. Action: The teen tilts his head and lowers his voice. The Lanky Teen says: “That kid just now — he’s not even taller than you. What’s his name — Wang Cheng —” Do not: No cuts. No new characters. Only the Lanky Teen speaks. Do not stand up.

1-24a Video prompt｜First frame = last frame of 1-24. 16:9, 8 seconds, medium close shot, single figure. [First-frame reference | top priority] Use the last frame of 1-24 exactly as the first frame: the teen sitting with his head tilted, facing the door on the right, hands on the table edge. Action: The teen narrows his eyes and goes on. The Lanky Teen says: “Why is he always pushing you around? Are you afraid of him?” Do not: No cuts. No new characters. Only the Lanky Teen speaks. Do not stand up.

1-25 Video prompt｜First frame = last frame of 1-23a. 16:9, 6 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 1-23a exactly as the first frame: the Fair-Faced Boy standing in the door frame, gripping the red-tasseled spear with both hands, facing left. Action: The boy stiffens his neck and points the red-tasseled spear into the room. Do not: No cuts. No new characters. No speaking. Do not walk into the room.

1-25a Video prompt｜First frame = last frame of 1-25. 16:9, 8 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 1-25 exactly as the first frame: the Fair-Faced Boy standing stiff-necked in the door frame, the red-tasseled spear pointed into the room. Action: Holding the spear up, the Fair-Faced Boy says: “Who’s afraid of him? You’re saying I’m afraid of him? Say it again and you’ll see what I do to you!” Do not: No cuts. No new characters. Only the Fair-Faced Boy speaks. Do not walk into the room.

1-26 Video prompt｜First frame = last frame of 1-24a. 16:9, 8 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 1-24a exactly as the first frame: the Lanky Teen sitting, facing the door on the right. Action: The teen looks at the wooden spearhead at the door. The corner of his mouth twitches. The Lanky Teen says: “If you’re really not afraid of him, then let me go!” Do not: No cuts. No new characters. Only the Lanky Teen speaks.

1-27 Video prompt｜First frame = last frame of 1-25a. 16:9, 6 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 1-25a exactly as the first frame: the Fair-Faced Boy in the door frame, the red-tasseled spear raised and pointed into the room. Action: The boy slowly lowers the spear. His shoulders sag, like a balloon with the air gone out of it. Do not: No cuts. No new characters. No speaking.

1-27a Video prompt｜First frame = last frame of 1-27. 16:9, 8 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 1-27 exactly as the first frame: the Fair-Faced Boy standing in the door frame, the spear lowered, shoulders sagging. Action: The Fair-Faced Boy says quietly: “I don’t dare. If his dad found out, that’d be the end of me.” Do not: No cuts. No new characters. Only the Fair-Faced Boy speaks.

1-28 Video prompt｜First frame = last frame of 1-26. 16:9, 8 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 1-26 exactly as the first frame: the Lanky Teen sitting, facing the door. Action: Dejected, the teen lowers his head, picks the ballpoint pen back up, and stares blankly at the white paper in front of him. Do not: No cuts. No speaking. No other people.

1-28a Video prompt｜First frame = last frame of 1-28. 16:9, 6 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 1-28 exactly as the first frame: the teen with his head down, holding the ballpoint pen, staring at the white paper. Action: Suddenly the teen raises his head and looks toward the door. Do not: No cuts. No speaking. No other people. (Off-screen, heavy footsteps approach from far off and suddenly stop; added in post.)

P-1.29 First-frame image｜The brick factory office at night, 1979. A small room; a big wooden table in the middle, a few rattan chairs and wooden benches around it; one bare incandescent bulb, its light harsh white with a greenish tinge; on the front wall, two framed portraits (out of focus, faces not readable); above the portraits, a red slogan banner. Over the shoulder of the Lanky Teen (look as above) toward the door: in the door frame stands a man of about fifty, dark lean face, old grey work clothes, one empty sleeve tucked into his jacket pocket, his one hand covered in grease and gripping a greasy wrench; close behind him, the Broad-Forehead Boy (look as above); the Fair-Faced Boy (look as above) stands to one side of the door frame, gripping the red-tasseled spear.

1-29 Video prompt｜Re-render from the uploaded first frame P-1.29, 16:9 landscape, cinematic, the brick factory office, night. 10 seconds, over-the-shoulder medium shot, slow push-in. [First-frame reference | top priority] Use the uploaded first frame P-1.29 exactly as the first frame. Do not redesign the characters, the wrench, the door frame or the camera position. Keep everything in the first frame: the Lanky Teen’s shoulder and the back of his head in the foreground; the Man with the Empty Sleeve in the exact center of the door frame, one sleeve empty, the wrench in his hand; the Broad-Forehead Boy behind him; the Fair-Faced Boy to one side of the door frame; harsh white light. The first frame is: the man standing in the doorway. Action: The camera pushes slowly over the teen’s shoulder toward the door. The man stands still, his eyes resting on the teen in the room. Do not: No cuts. No speaking. Do not swap positions. No new characters. [NARRATION] That was my father, Wang Shengli. He lost an arm in the war, and everyone at the brick factory called him One-Hand.

1-29a Video prompt｜First frame = last frame of 1-29. 16:9, 6 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 1-29 exactly as the first frame: the Man with the Empty Sleeve standing in the center of the door frame holding the wrench, the Broad-Forehead Boy behind him, the Fair-Faced Boy to one side of the door frame gripping the red-tasseled spear. Action: The Fair-Faced Boy immediately snaps to attention and straightens his back. Do not: No cuts. No speaking. Do not swap positions. No new characters.

P-1.30 First-frame image｜The brick factory office at night, 1979. A small room; a big wooden table in the middle, a few rattan chairs and wooden benches around it; one bare incandescent bulb, its light harsh white with a greenish tinge; on the front wall, two framed portraits (out of focus, faces not readable); above the portraits, a red slogan banner. Medium shot by the door: the Man with the Empty Sleeve (look as above) has just come in and stands by the table, the wrench already set down on it; in front of him stands the Fair-Faced Boy (look as above), gripping the spear and looking up at him; the Broad-Forehead Boy (look as above) stands behind the man.

1-30 Video prompt｜Re-render from the uploaded first frame P-1.30, 16:9 landscape, cinematic, the brick factory office, night. 6 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-1.30 exactly as the first frame. Do not redesign the characters, the wrench, the table or the camera position. Keep everything in the first frame: the man in the middle of the frame, one sleeve empty; the wrench on the table; the Fair-Faced Boy in front of him looking up; the Broad-Forehead Boy behind him; harsh white light. The first frame is: the man looking down at the Fair-Faced Boy. Action: The man reaches out, rubs the Fair-Faced Boy’s head, and starts to laugh. Do not: No cuts. No new characters. No speaking.

1-30a Video prompt｜First frame = last frame of 1-30. 16:9, 10 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 1-30 exactly as the first frame: the man’s hand on the Fair-Faced Boy’s head, laughing, the Broad-Forehead Boy behind him. Action: Laughing heartily, the Man with the Empty Sleeve says: “You did a great deed tonight, son. Tomorrow I’ll talk to your principal — get you and Wang Cheng a big certificate of merit!” Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks.

1-31 Video prompt｜First frame = last frame of 1-30a. 16:9, 10 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 1-30a exactly as the first frame: the man’s hand still on the Fair-Faced Boy’s head, the Broad-Forehead Boy behind him. Action: The man pats the boy’s head. The Man with the Empty Sleeve says: “Your mission’s complete. Now go on home. And remember — tell your mother to make you dumplings as a reward — say I said so!” Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks.

1-31a Video prompt｜First frame = last frame of 1-31. 16:9, 6 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 1-31 exactly as the first frame: the man’s hand just lifted from the Fair-Faced Boy’s head, the boy looking up at him, the Broad-Forehead Boy behind him. Action: As if given an order, the Fair-Faced Boy turns and runs out of the door. Do not: No cuts. No new characters. No speaking.

P-1.32 First-frame image｜The brick factory office at night, 1979. A small room; a big wooden table in the middle, a few rattan chairs and wooden benches around it; one bare incandescent bulb, its light harsh white with a greenish tinge; on the front wall, two framed portraits (out of focus, faces not readable); above the portraits, a red slogan banner. Medium shot: the Man with the Empty Sleeve (look as above) stands on the left side of the table, eyes bright and sharp, sizing up the Lanky Teen (look as above), who sits hanging his head on the bench on the right side of the table; the Broad-Forehead Boy (look as above) stands beside the man, holding a sheet of white paper with a few words written on it.

1-32 Video prompt｜Re-render from the uploaded first frame P-1.32, 16:9 landscape, cinematic, the brick factory office, night. 8 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-1.32 exactly as the first frame. Do not redesign the characters, the paper, the table and chairs or the camera position. Keep everything in the first frame: the man on the left; the teen on the right, sitting with his head down; the Broad-Forehead Boy beside the man holding the white paper; harsh white light. The first frame is: the man staring at the teen. Action: In a stern voice, the Man with the Empty Sleeve says: “So you’re the little one who stole from the factory? What’s your name? Speak!” The teen keeps his head down and says nothing. Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks.

1-32a Video prompt｜First frame = last frame of 1-32. 16:9, 6 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 1-32 exactly as the first frame: the man on the left staring at the teen, the teen on the right with his head down, silent, the Broad-Forehead Boy beside the man holding the white paper. Action: The Broad-Forehead Boy hands the white paper to the man. Do not: No cuts. No new characters. No speaking.

P-1.33 First-frame image｜The brick factory office at night, 1979. A small room; a big wooden table in the middle, a few rattan chairs and wooden benches around it; one bare incandescent bulb, its light harsh white with a greenish tinge; on the front wall, two framed portraits (out of focus, faces not readable); above the portraits, a red slogan banner. Close shot: the Man with the Empty Sleeve (look as above) holds a sheet of white paper up to his eyes with his one greasy hand; only a few words are written on it; his face is half visible behind the paper.

1-33 Video prompt｜Re-render from the uploaded first frame P-1.33, 16:9 landscape, cinematic, the brick factory office, night. 8 seconds, close shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-1.33 exactly as the first frame. Do not redesign the character, the paper, the empty sleeve or the camera position. Keep everything in the first frame: the man holding the paper up to his eyes, only a few words on it; one sleeve empty; harsh white light. The first frame is: the man reading the paper. Action: The man’s eyes suddenly stop on the paper and do not move, for a long moment. Do not: No cuts. No speaking. No new characters.

1-33a Video prompt｜First frame = last frame of 1-33. 16:9, 8 seconds, close shot, single figure. [First-frame reference | top priority] Use the last frame of 1-33 exactly as the first frame: the man holding the paper, his eyes stopped on it, not moving. Action: He slowly lowers the paper. His eyes turn to the right of the frame and study something carefully, from top to bottom. Do not: No cuts. No speaking. No new characters.

P-1.34 First-frame image｜The brick factory office at night, 1979. A small room; a big wooden table in the middle, a few rattan chairs and wooden benches around it; one bare incandescent bulb, its light harsh white with a greenish tinge; on the front wall, two framed portraits (out of focus, faces not readable); above the portraits, a red slogan banner. Side-on medium two-shot: the Man with the Empty Sleeve (look as above) stands on the left of the frame, the white paper hanging from his hand, looking at the Lanky Teen (look as above), who sits on the bench on the right of the frame; the teen’s head is down.

1-34 Video prompt｜Re-render from the uploaded first frame P-1.34, 16:9 landscape, cinematic, the brick factory office, night. 8 seconds, side-on medium two-shot. [First-frame reference | top priority] Use the uploaded first frame P-1.34 exactly as the first frame. Do not redesign the characters, the paper or the camera position. Keep everything in the first frame: the man standing on the left, the teen sitting on the right; harsh white light. The first frame is: the man looking at the teen. Action: The man’s voice has clearly changed. The Man with the Empty Sleeve says: “Your name is Zong Tianyi?” The teen nods. Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks; the teen only nods.

1-34a Video prompt｜First frame = last frame of 1-34. 16:9, 8 seconds, side-on medium two-shot. [First-frame reference | top priority] Use the last frame of 1-34 exactly as the first frame: the man standing on the left looking at the teen, the teen having just nodded. Action: The Man with the Empty Sleeve says: “Your father’s name is Zong… Xiaotian?” The teen nods again. Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks; the teen only nods.

1-35 Video prompt｜First frame = last frame of 1-34a. 16:9, 8 seconds, side-on medium two-shot. [First-frame reference | top priority] Use the last frame of 1-34a exactly as the first frame: the man standing on the left looking at the teen, the teen having just nodded. Action: The Man with the Empty Sleeve says: “Your mother’s name is Gu… Ying?” The teen nods. Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks; the teen does not speak.

1-35a Video prompt｜First frame = last frame of 1-35. 16:9, 8 seconds, side-on medium two-shot. [First-frame reference | top priority] Use the last frame of 1-35 exactly as the first frame: the man standing on the left looking at the teen, the teen with his head down, having just nodded. Action: The Man with the Empty Sleeve says: “Both schoolteachers, at the middle school?” Puzzled, the teen raises his head and looks at the man. Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks; the teen does not speak.

P-1.36 First-frame image｜The brick factory office at night, 1979. A small room; a big wooden table in the middle, a few rattan chairs and wooden benches around it; one bare incandescent bulb, its light harsh white with a greenish tinge; on the front wall, two framed portraits (out of focus, faces not readable); above the portraits, a red slogan banner. Medium close shot: the Man with the Empty Sleeve (look as above) sits in a rattan chair behind the big table, a lit cigarette between the fingers of his one hand, resting on the table edge; the empty sleeve lies along the edge of the table; he faces the right of the frame, his expression kindly; the wrench lies on the table by his hand.

1-36 Video prompt｜Re-render from the uploaded first frame P-1.36, 16:9 landscape, cinematic, the brick factory office, night. 10 seconds, medium close shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-1.36 exactly as the first frame. Do not redesign the character, the cigarette, the wrench, the empty sleeve or the camera position. Keep everything in the first frame: the man sitting in the rattan chair, the cigarette between his fingers resting on the table edge; the empty sleeve along the table edge; facing right; harsh white light. The first frame is: the man sitting, looking to the right. Action: The man’s voice turns warm and kindly. The Man with the Empty Sleeve says: “Boy — I knew your father and your mother. Two talented young people!” Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks. No smoking, no exhaling smoke.

1-37 Video prompt｜First frame = last frame of 1-36. 16:9, 8 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 1-36 exactly as the first frame: the man sitting, the cigarette between his fingers, facing right. Action: The man’s gaze drifts a little into the distance. The Man with the Empty Sleeve says: “When they first came down from the provincial capital to settle in Pi Town, I myself went all the way to Chuzhou to welcome them.” Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks. No smoking, no exhaling smoke.

1-37a Video prompt｜First frame = last frame of 1-37. 16:9, 8 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 1-37 exactly as the first frame: the man sitting, the cigarette between his fingers, his gaze drifting a little into the distance. Action: The Man with the Empty Sleeve goes on: “At the time, I was still the head of martial affairs for the People’s Commune — and the deputy chair of the revolutionary committee.” Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks. No smoking, no exhaling smoke.

P-1.38 First-frame image｜The brick factory office at night, 1979. A small room; a big wooden table in the middle, a few rattan chairs and wooden benches around it; one bare incandescent bulb, its light harsh white with a greenish tinge; on the front wall, two framed portraits (out of focus, faces not readable); above the portraits, a red slogan banner. Close shot: the Man with the Empty Sleeve (look as above) sits in the rattan chair, a cigarette between his fingers, his gaze far away, as if he were not in this office at all; the background is out of focus.

1-38 Video prompt｜Re-render from the uploaded first frame P-1.38, 16:9 landscape, cinematic, the brick factory office, night. 10 seconds, close shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-1.38 exactly as the first frame. Do not redesign the character, the cigarette or the camera position. Keep everything in the first frame: close shot of the man, gaze far away; cigarette between his fingers; background out of focus; harsh white light. The first frame is: the man lost in thought. Action: The Man with the Empty Sleeve says slowly: “After your father disappeared, I led the militia into the mountains to search for him. We searched for more than a month.” Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks. No smoking, no exhaling smoke.

1-38a Video prompt｜First frame = last frame of 1-38. 16:9, 10 seconds, close shot. [First-frame reference | top priority] Use the last frame of 1-38 exactly as the first frame: close shot of the man, gaze far away, a cigarette between his fingers. Action: The Man with the Empty Sleeve goes on: “We covered every slope of the Pi Valley range. We never found him. To this day there is no official conclusion as to whether he is alive or dead.” Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks. No smoking, no exhaling smoke.

1-39 Video prompt｜First frame = last frame of 1-38a. 16:9, 10 seconds, close shot. [First-frame reference | top priority] Use the last frame of 1-38a exactly as the first frame: close shot of the man, gaze far away, a cigarette between his fingers. Action: The man frowns briefly. The Man with the Empty Sleeve says: “It’s true your father erred in his personal conduct. And his disappearance is not without its murky side. But who among us has not erred in his life?” Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks. No smoking, no exhaling smoke.

1-40 Video prompt｜First frame = last frame of 1-39. 16:9, 10 seconds, close shot. [First-frame reference | top priority] Use the last frame of 1-39 exactly as the first frame: close shot of the man, a cigarette between his fingers, brow slightly furrowed. Action: The Man with the Empty Sleeve says: “When all is said — they were educated youth who came down to settle in our Pi Town in answer to Chairman Mao’s call.” Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks. No smoking, no exhaling smoke.

1-40a Video prompt｜First frame = last frame of 1-40. 16:9, 10 seconds, close shot. [First-frame reference | top priority] Use the last frame of 1-40 exactly as the first frame: close shot of the man, just finished speaking, a cigarette between his fingers, gaze far away. Action: The man is silent for three seconds, then turns his head to the right of the frame. His voice softens. The Man with the Empty Sleeve says: “Your mother’s illness — has it not yet gotten better?” Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks. No smoking, no exhaling smoke.

P-1.41 First-frame image｜The brick factory office at night, 1979. A small room; a big wooden table in the middle, a few rattan chairs and wooden benches around it; one bare incandescent bulb, its light harsh white with a greenish tinge; on the front wall, two framed portraits (out of focus, faces not readable); above the portraits, a red slogan banner. Close shot: the Lanky Teen (look as above) sits on the bench, face raised, facing the left of the frame, lips slightly parted, looking shaken.

1-41 Video prompt｜Re-render from the uploaded first frame P-1.41, 16:9 landscape, cinematic, the brick factory office, night. 6 seconds, close shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-1.41 exactly as the first frame. Do not redesign the character or the camera position. Keep everything in the first frame: close shot of the teen, facing left, shaken; harsh white light with a greenish tinge. The first frame is: the teen with his face raised. Action: The teen nods slightly. Do not: No cuts. No speaking. No other people.

1-41a Video prompt｜First frame = last frame of 1-41. 16:9, 8 seconds, close shot, single figure. [First-frame reference | top priority] Use the last frame of 1-41 exactly as the first frame: close shot of the teen, facing left, having just nodded, looking shaken. Action: Without knowing why, the teen’s eyes slowly fill with tears. A single tear hangs on his lashes and does not fall. Do not: No cuts. No speaking. No other people.

1-42 Video prompt｜First frame = last frame of 1-40a. 16:9, 6 seconds, close shot. [First-frame reference | top priority] Use the last frame of 1-40a exactly as the first frame: close shot of the man, head turned to the right, a cigarette between his fingers. Action: The man drops the cigarette butt to the floor and frowns. Do not: No cuts. No new characters. No speaking.

1-42a Video prompt｜First frame = last frame of 1-42. 16:9, 10 seconds, close shot. [First-frame reference | top priority] Use the last frame of 1-42 exactly as the first frame: close shot of the man, no cigarette in his hand now, frowning, looking to the right. Action: The Man with the Empty Sleeve says: “Boy — if I remember right, you have a younger sister, don’t you? A widow and orphans. The days can’t have been easy.” Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks.

1-42b Video prompt｜First frame = last frame of 1-42a. 16:9, 10 seconds, close shot. [First-frame reference | top priority] Use the last frame of 1-42a exactly as the first frame: close shot of the man, frowning, looking to the right. Action: The man’s brow clears. The Man with the Empty Sleeve says: “Here’s what we’ll do. From now on, every Sunday and every school holiday, come work as a temp at the brick factory. Earn a little money. Help out at home.” Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks.

1-43 Video prompt｜First frame = last frame of 1-42b. 16:9, 8 seconds, close shot. [First-frame reference | top priority] Use the last frame of 1-42b exactly as the first frame: close shot of the man, no cigarette in his hand now, looking to the right. Action: The man raises one finger. The Man with the Empty Sleeve says: “But you damaged collective property — you’ll still have to spend a few days locked up.” Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks.

1-43a Video prompt｜First frame = last frame of 1-43. 16:9, 8 seconds, close shot. [First-frame reference | top priority] Use the last frame of 1-43 exactly as the first frame: close shot of the man, one finger raised, looking to the right. Action: The Man with the Empty Sleeve goes on: “Chairman Mao said — learn from the past to avoid future mistakes; cure the sickness to save the patient.” Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks.

P-1.44 First-frame image｜The brick factory office at night, 1979. A small room; a big wooden table in the middle, a few rattan chairs and wooden benches around it; one bare incandescent bulb, its light harsh white with a greenish tinge; on the front wall, two framed portraits (out of focus, faces not readable); above the portraits, a red slogan banner. Medium shot, three figures: the Man with the Empty Sleeve (look as above) sits in the rattan chair behind the big table; the Lanky Teen (look as above) sits on the bench on the right side of the table; the Broad-Forehead Boy (look as above, the casing pistol in his hand) stands beside the man on the left side of the table.

1-44 Video prompt｜Re-render from the uploaded first frame P-1.44, 16:9 landscape, cinematic, the brick factory office, night. 8 seconds, medium shot, three figures. [First-frame reference | top priority] Use the uploaded first frame P-1.44 exactly as the first frame. Do not redesign the three characters, their positions or the camera position. Keep everything in the first frame: the man sitting behind the table in the center; the teen on the right; the Broad-Forehead Boy standing on the left; the portraits on the wall out of focus; harsh white light. The first frame is: the three, still. Action: The man looks at the teen. The Man with the Empty Sleeve says: “Are you hungry? Let me have the canteen cook you a bowl of noodles.” Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks. Do not swap positions.

1-44a Video prompt｜First frame = last frame of 1-44. 16:9, 10 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 1-44 exactly as the first frame: the man sitting behind the table looking at the teen, the teen on the right, the Broad-Forehead Boy standing on the left. Action: Without waiting for the teen to answer, the man turns to the Broad-Forehead Boy beside him. The Man with the Empty Sleeve says: “Son — go tell the night-shift cook in the canteen to make a bowl of noodles. Put it on my tab.” Do not: No cuts. No new characters. Only the Man with the Empty Sleeve speaks. Do not swap positions.

1-45 Video prompt｜First frame = last frame of 1-44a. 16:9, 8 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 1-44a exactly as the first frame: the man looking at the Broad-Forehead Boy beside him, the teen sitting on the right. Action: Pouting, the Broad-Forehead Boy reluctantly tucks the casing pistol into his waistband, walks around the table, and heads for the door. Do not: No cuts. No speaking. No new characters.

1-45a Video prompt｜First frame = last frame of 1-45. 16:9, 8 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 1-45 exactly as the first frame: the Broad-Forehead Boy has walked around the table to behind the teen, the casing pistol in his waistband; the man sitting behind the table; the teen sitting on the bench. Action: As the boy passes the teen, the teen looks up at him once. The boy walks out of the door. Do not: No cuts. No speaking. No new characters.

1-45b Video prompt｜First frame = last frame of 1-45a. 16:9, 10 seconds, medium shot pulling back to full shot. [First-frame reference | top priority] Use the last frame of 1-45a exactly as the first frame: only the man sitting behind the table and the teen sitting on the bench are left in the office; the doorway is empty. Action: The camera slowly pulls back: the man sitting, the teen with his head down holding the pen, the two out-of-focus portraits on the wall under the harsh white light. Do not: No cuts. No speaking. Do not bring the portraits into focus. No new characters.

5. The First Wages

P-1.46 First-frame image｜The great kiln of the brick factory on a winter day, 1979. A huge brick arched doorway breathing out waves of heat; outside it a dirt road crushed with wheel ruts; unfired bricks stacked all around; bright white daylight. Medium shot: the Lanky Teen (look as above, no woven sack around his waist now) pushes a wooden wheelbarrow with a single wheel (a “rooster cart”), loaded with a dozen or so earth-yellow unfired bricks; the cart is already tilting.

1-46 Video prompt｜Re-render from the uploaded first frame P-1.46, 16:9 landscape, cinematic, winter 1979, outside the great kiln of the brick factory, day. 8 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-1.46 exactly as the first frame. Do not redesign the character, the wheelbarrow, the bricks, the archway or the camera position. Keep everything in the first frame: the teen pushing the wheelbarrow in the middle of the frame; the unfired bricks on the cart; the cart tilting; the archway in the background; bright white daylight. The first frame is: the cart tipping to one side. Action: The cart tilts more and more. The unfired bricks slide off and crash to the ground, breaking all over. Do not: No cuts. No speaking. No new characters. No injury or blood.

1-46a Video prompt｜First frame = last frame of 1-46. 16:9, 10 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 1-46 exactly as the first frame: the wheelbarrow tipped to one side, broken unfired bricks all over the ground, the teen standing behind the handles. Action: The teen squats down, biting his lip, and picks up the broken bricks one by one, stacking them back on the cart. Do not: No cuts. No speaking. No new characters. No injury or blood.

P-1.47 First-frame image｜The great kiln of the brick factory on a winter day, 1979. A huge brick arched doorway breathing out waves of heat; outside it a dirt road crushed with wheel ruts; unfired bricks stacked all around; bright white daylight. Seen from in front of the cart: the Lanky Teen (look as above) grips the wheelbarrow handles and pushes forward, the cart fully loaded with unfired bricks, tilting to one side again and about to tip over; on the dirt road far behind him, the Broad-Forehead Boy and the Fair-Faced Boy (look as above, both in red Young Pioneer scarves, no toy weapons) are running toward him.

1-47 Video prompt｜Re-render from the uploaded first frame P-1.47, 16:9 landscape, cinematic, outside the great kiln of the brick factory, day. 8 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-1.47 exactly as the first frame. Do not redesign the three characters, the wheelbarrow or the camera position. Keep everything in the first frame: the teen pushing the cart in the center, the cart tilting; the two boys running up from far behind, the Broad-Forehead Boy on the left, the Fair-Faced Boy on the right. The first frame is: the cart about to tip. Action: The two boys run up to the cart and steady it firmly, one on the left and one on the right. Do not: No cuts. No speaking. Do not swap the two boys’ positions. No new characters.

1-47a Video prompt｜First frame = last frame of 1-47. 16:9, 6 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 1-47 exactly as the first frame: the teen gripping the handles, the two boys steadying the cart on the left and right, the cart steady now. Action: The teen looks up and is stunned. Do not: No cuts. No speaking. Do not swap the two boys’ positions. No new characters.

1-48 Video prompt｜First frame = last frame of 1-47a. 16:9, 10 seconds, medium shot, camera tracking backward. [First-frame reference | top priority] Use the last frame of 1-47a exactly as the first frame: the teen gripping the handles, the two boys steadying the cart on the left and right. Action: The camera tracks backward. One pushing and two steadying, the three of them move the rooster cart smoothly toward the arched doorway of the great kiln. Do not: No cuts. No speaking. No new characters.

1-48a Video prompt｜First frame = last frame of 1-48. 16:9, 8 seconds, medium shot, camera tracking backward. [First-frame reference | top priority] Use the last frame of 1-48 exactly as the first frame: the three pushing and steadying the rooster cart toward the camera, the great kiln’s archway behind them. Action: The cart lurches. All three push the other way at the same moment, and the cart steadies again. Do not: No cuts. No speaking. No new characters.

1-48b Video prompt｜First frame = last frame of 1-48a. 16:9, 6 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 1-48a exactly as the first frame: the three have just steadied the tilting cart and are all still straining. Action: The Fair-Faced Boy laughs, out of breath. The Broad-Forehead Boy glares at him. Do not: No cuts. No speaking. No new characters.

P-1.49 First-frame image｜The great kiln of the brick factory on a winter day, 1979. A huge brick arched doorway breathing out waves of heat; outside it a dirt road crushed with wheel ruts; unfired bricks stacked all around; bright white daylight. Inside the kiln, medium shot, three figures: the unloaded rooster cart leans against a brick wall; all three are drenched in sweat, their clothes soaked and clinging to them; the Lanky Teen (look as above) in the middle takes a towel from around his neck; the Broad-Forehead Boy on the left, the Fair-Faced Boy on the right (look as above). Firelight glows red deep in the kiln.

1-49 Video prompt｜Re-render from the uploaded first frame P-1.49, 16:9 landscape, cinematic, inside the great kiln of the brick factory, day. 6 seconds, medium shot, three figures. [First-frame reference | top priority] Use the uploaded first frame P-1.49 exactly as the first frame. Do not redesign the three characters, their positions, the towel or the camera position. Keep everything in the first frame: the teen in the center holding the towel; the Broad-Forehead Boy on the left; the Fair-Faced Boy on the right; all three drenched in sweat; firelight deep in the kiln. The first frame is: the three standing, catching their breath. Action: The teen holds out the towel to the two boys. Do not: No cuts. No new characters. No speaking. Do not swap positions.

1-49a Video prompt｜First frame = last frame of 1-49. 16:9, 6 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 1-49 exactly as the first frame: the teen in the center, the towel held out in front of the two boys, all three drenched in sweat. Action: The teen looks at them. The Lanky Teen says: “Why did you help me?” Do not: No cuts. No new characters. Only the Lanky Teen speaks. Do not swap positions.

1-50 Video prompt｜First frame = last frame of 1-49a. 16:9, 8 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 1-49a exactly as the first frame: the teen in the center, the towel held out in front of the two boys. Action: The Broad-Forehead Boy lifts his flushed, sweaty face, showing two rows of white teeth. The Broad-Forehead Boy says: “Learning from Lei Feng, of course!” Do not: No cuts. No new characters. Only the Broad-Forehead Boy speaks. Do not swap positions.

1-51 Video prompt｜First frame = last frame of 1-50. 16:9, 10 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 1-50 exactly as the first frame: the Broad-Forehead Boy smiling, the three in the same positions. Action: The Broad-Forehead Boy eyes the teen, blinks a few times, and pulls a face. The Broad-Forehead Boy says: “That last time, when we caught you — do you still hate us for it?” Do not: No cuts. No new characters. Only the Broad-Forehead Boy speaks. Do not swap positions.

1-52 Video prompt｜First frame = last frame of 1-51. 16:9, 8 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 1-51 exactly as the first frame: the Broad-Forehead Boy pulling a face, the three in the same positions. Action: The teen laughs. The Lanky Teen says: “Hate you? I haven’t had time to thank you enough! If it weren’t for you two — would I be working at the brick factory today?” Do not: No cuts. No new characters. Only the Lanky Teen speaks. Do not swap positions.

1-52a Video prompt｜First frame = last frame of 1-52. 16:9, 8 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 1-52 exactly as the first frame: the teen standing in the middle, smiling, the two boys on the left and right looking at him. Action: The teen thumps his chest. The Lanky Teen says: “When I get my wages — I’m taking you two out to a real restaurant!” Do not: No cuts. No new characters. Only the Lanky Teen speaks. Do not swap positions.

P-1.53 First-frame image｜The brick factory cashier’s office, 1980. A wooden counter; behind it an old desk with an abacus and ledgers on it; daylight outside the window. Medium shot: behind the counter sits the accountant in reading glasses (a man in his fifties, reading glasses, a blue cotton Mao suit, a fountain pen clipped in his breast pocket), a stack of banknotes in his hand; in front of the counter stands the Lanky Teen (look as above), side-on to the camera, both hands resting on the counter.

1-53 Video prompt｜Re-render from the uploaded first frame P-1.53, 16:9 landscape, cinematic, 1980, the brick factory cashier’s office, day. 10 seconds, medium two-shot. [First-frame reference | top priority] Use the uploaded first frame P-1.53 exactly as the first frame. Do not redesign the two characters, the counter, the banknotes or the camera position. Keep everything in the first frame: the accountant behind the counter holding the banknotes; the teen side-on in front of the counter; the abacus and ledgers; daylight outside the window. The first frame is: the accountant about to count the money. Action: The accountant counts the banknotes one by one and pushes them across the counter. The Accountant in Reading Glasses says: “After deducting your tipping losses — this comes to two hundred and one yuan.” Do not: No cuts. No new characters. Only the accountant speaks. (caption added in post: “Half a year later”.)

1-53a Video prompt｜First frame = last frame of 1-53. 16:9, 6 seconds, medium two-shot. [First-frame reference | top priority] Use the last frame of 1-53 exactly as the first frame: a stack of banknotes pushed onto the counter, the accountant sitting behind the counter, the teen standing in front of it. Action: The teen takes the banknotes and holds them in his hand. His hand trembles slightly. Do not: No cuts. No new characters. No speaking.

P-1.54 First-frame image｜The small restaurant of the Pi Town supply-and-marketing co-op, 1980. The room thick with cooking fumes and steam; one greasy wooden table and a few long benches; a handwritten price list on the wall, its edges smoke-yellowed; dim yellow light inside. Medium shot, three figures sitting around the table, all three the same size in the frame and in the same light: the Lanky Teen (look as above) sits on the middle side of the table, one hand patting his bulging pocket; the Broad-Forehead Boy (look as above) sits on the left; the Fair-Faced Boy (look as above) sits on the right; the table is still empty.

1-54 Video prompt｜Re-render from the uploaded first frame P-1.54, 16:9 landscape, cinematic, 1980, the small Pi Town co-op restaurant, afternoon. 8 seconds, medium shot, three figures. [First-frame reference | top priority] Use the uploaded first frame P-1.54 exactly as the first frame. Do not redesign the three characters, their positions, the table or the camera position. Keep everything in the first frame: the teen in the middle patting his pocket; the Broad-Forehead Boy on the left; the Fair-Faced Boy on the right; the table empty; cooking fumes and steam; dim yellow light. The first frame is: the three seated. Action: The Fair-Faced Boy leans forward first. The Fair-Faced Boy says: “I want meat! I haven’t had meat in three days!” Do not: No cuts. No new characters. Only the Fair-Faced Boy speaks. Do not swap positions.

1-55 Video prompt｜First frame = last frame of 1-54. 16:9, 8 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 1-54 exactly as the first frame: the Fair-Faced Boy leaning forward, the three in the same positions. Action: The Broad-Forehead Boy immediately points at him. The Broad-Forehead Boy says: “You’re lying! Yesterday your dad took you to the canteen and got you a plate of stir-fried pork shreds with green peppers!” Do not: No cuts. No new characters. Only the Broad-Forehead Boy speaks. Do not swap positions.

1-55a Video prompt｜First frame = last frame of 1-55. 16:9, 6 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 1-55 exactly as the first frame: the Broad-Forehead Boy pointing at the Fair-Faced Boy, the three in the same positions. Action: The Fair-Faced Boy’s face turns red at once, and he pulls back. Do not: No cuts. No new characters. No speaking. Do not swap positions.

P-1.56 First-frame image｜The small restaurant of the Pi Town supply-and-marketing co-op, 1980. The room thick with cooking fumes and steam; one greasy wooden table and a few long benches; a handwritten price list on the wall, its edges smoke-yellowed; dim yellow light inside. Medium shot, three figures around the table: on the table, three big empty bowls, specks of oil and chopped scallion floating on the soup, and an empty bamboo steamer; the Fair-Faced Boy (look as above) on the right, licking his lips and gazing at the soup in his bowl; the Lanky Teen (look as above) in the middle has just put a big meat bun in front of the Fair-Faced Boy; the Broad-Forehead Boy (look as above) on the left.

1-56 Video prompt｜Re-render from the uploaded first frame P-1.56, 16:9 landscape, cinematic, the small Pi Town co-op restaurant, afternoon. 10 seconds, medium shot, three figures. [First-frame reference | top priority] Use the uploaded first frame P-1.56 exactly as the first frame. Do not redesign the three characters, the bowls, the bun or the camera position. Keep everything in the first frame: the teen in the middle; the Fair-Faced Boy on the right with a meat bun in front of him; the Broad-Forehead Boy on the left; three empty bowls; dim yellow light. The first frame is: the bun just set down. Action: The Fair-Faced Boy’s face breaks into a grin. He gives the teen a thumbs-up. The Fair-Faced Boy says: “Brother — you’re a generous man! When I have money, I’ll treat you to pork-shred noodles — no — I’ll treat you to stir-fried dishes — I’ll pay you back double!” Do not: No cuts. No new characters. Only the Fair-Faced Boy speaks. Do not swap positions.

1-57 Video prompt｜First frame = last frame of 1-56. 16:9, 10 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 1-56 exactly as the first frame: the Fair-Faced Boy giving a thumbs-up, the three in the same positions. Action: The Broad-Forehead Boy blinks twice with disdain. Mocking, the Broad-Forehead Boy says: “Big talker. Your dad gives you plenty of pocket money — and have you ever once treated me?” Do not: No cuts. No new characters. Only the Broad-Forehead Boy speaks. Do not swap positions.

1-58 Video prompt｜First frame = last frame of 1-57. 16:9, 8 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 1-57 exactly as the first frame: the Broad-Forehead Boy eyeing the Fair-Faced Boy sideways, the three in the same positions. Action: The Fair-Faced Boy wipes his oily mouth. The Fair-Faced Boy says: “You never treated me — so why should I treat you?” Do not: No cuts. No new characters. Only the Fair-Faced Boy speaks. Do not swap positions.

1-59 Video prompt｜First frame = last frame of 1-58. 16:9, 6 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 1-58 exactly as the first frame: the Fair-Faced Boy wiping his mouth with the back of his hand, the three in the same positions. Action: The Broad-Forehead Boy sticks out his chest. The Broad-Forehead Boy says: “My dad never gives me pocket money!” Do not: No cuts. No new characters. Only the Broad-Forehead Boy speaks. Do not swap positions.

1-60 Video prompt｜First frame = last frame of 1-59. 16:9, 6 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 1-59 exactly as the first frame: the Broad-Forehead Boy with his chest stuck out, the three in the same positions. Action: The Fair-Faced Boy curls his lip. The Fair-Faced Boy says: “Your dad is too stingy!” Do not: No cuts. No new characters. Only the Fair-Faced Boy speaks. Do not swap positions.

1-61 Video prompt｜First frame = last frame of 1-60. 16:9, 6 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 1-60 exactly as the first frame: the Fair-Faced Boy curling his lip, the three in the same positions. Action: The Broad-Forehead Boy gets angry and slaps the table. The Broad-Forehead Boy says: “Don’t you dare speak ill of my father!” Do not: No cuts. No new characters. Only the Broad-Forehead Boy speaks. Do not swap positions.

1-61a Video prompt｜First frame = last frame of 1-61. 16:9, 8 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 1-61 exactly as the first frame: the Broad-Forehead Boy with his hand on the table, glaring at the Fair-Faced Boy, the teen in the middle. Action: Glaring, the Broad-Forehead Boy says: “My father is carrying on the spirit of thrift, plain living — and hard struggle …” Do not: No cuts. No new characters. Only the Broad-Forehead Boy speaks. Do not swap positions.

1-62 Video prompt｜First frame = last frame of 1-61a. 16:9, 8 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 1-61a exactly as the first frame: the Broad-Forehead Boy with his hand on the table, glaring at the Fair-Faced Boy, the teen in the middle. Action: Seeing the two about to start quarreling again, the teen grabs two big meat buns from the steamer and stuffs one into each boy’s mouth. Do not: No cuts. No new characters. Do not swap positions. No speaking.

1-62a Video prompt｜First frame = last frame of 1-62. 16:9, 8 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 1-62 exactly as the first frame: both boys with a big meat bun stuffed in their mouths, the teen in the middle, the three in the same positions. Action: The three look at each other and suddenly all burst out laughing. Do not: No cuts. No new characters. Do not swap positions. No speaking.

P-1.63 First-frame image｜A bluestone-paved street in Pi Town at dusk, 1980. Grey-brick tiled houses and Chinese toon trees on both sides; the setting sun stretches people’s shadows long. Shot from behind the three: the Lanky Teen (look as above) in the middle, carrying a bamboo steamer basket of meat buns tied up with straw rope; the Broad-Forehead Boy (look as above) walking on his left; the Fair-Faced Boy (look as above) walking on his right, still licking his fingers; the three shadows fall on the bluestone road ahead, one long and two short.

1-63 Video prompt｜Re-render from the uploaded first frame P-1.63, 16:9 landscape, cinematic, 1980, a Pi Town street, dusk. 10 seconds, medium shot from behind, locked-off. [First-frame reference | top priority] Use the uploaded first frame P-1.63 exactly as the first frame. Do not redesign the three characters, their positions, the bun basket or the camera position. Keep everything in the first frame: the teen in the center carrying the straw-tied bun basket; the Broad-Forehead Boy on the left; the Fair-Faced Boy on the right; three shadows ahead, one long and two short; backlit by the setting sun. The first frame is: the three, seen from behind, just starting to walk. Action: The three walk along the bluestone road. The bun basket swings on its straw rope in the teen’s hand. The camera does not move. Do not: No cuts. No speaking. Do not swap positions. No new characters. [NARRATION] Many years later, after Zong Tianyi had eaten every delicacy money could buy, he would still remember the bowl of pork-shred noodles he treated us to at the Pi Town co-op.

1-63a Video prompt｜First frame = last frame of 1-63. 16:9, 8 seconds, medium shot from behind, locked-off. [First-frame reference | top priority] Use the last frame of 1-63 exactly as the first frame: the three walking on the bluestone road, seen from behind, the teen in the center carrying the bun basket, backlit by the setting sun. Action: The Fair-Faced Boy jumps up to grab at a branch of a toon tree by the road. The Broad-Forehead Boy yanks him back. The camera does not move. Do not: No cuts. No speaking. Do not swap positions. No new characters.

1-63b Video prompt｜First frame = last frame of 1-63a. 16:9, 10 seconds, medium shot from behind, locked-off. [First-frame reference | top priority] Use the last frame of 1-63a exactly as the first frame: the three side by side on the bluestone road, seen from behind, the Fair-Faced Boy just landed, backlit by the setting sun. Action: The three figures slowly walk away. Their shadows stretch longer and longer on the stone road. The camera does not move. Do not: No cuts. No speaking. Do not swap positions. No new characters.

6. The Door of the Purple-Tile House

P-1.64 First-frame image｜An old house in Pi Town with a purple tiled roof, a wooden threshold, a small pond in front of the door, a crabapple tree reaching under the eaves; dusk. Locked-off medium shot, the door frame in the center of the frame: a six-year-old girl, chin-length bob, big black eyes like glass marbles, a small-flowered cotton blouse, stands just inside the threshold, one hand on the door frame, eyes on the dirt road in front of the house to the right of the frame; the pond reflects the purple tiled roof; the light is fading.

1-64 Video prompt｜Re-render from the uploaded first frame P-1.64, 16:9 landscape, cinematic, 1980, in front of the Purple-Tile House in Pi Town, dusk. 10 seconds, medium shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-1.64 exactly as the first frame. Do not redesign the girl, the door frame, the pond, the crabapple tree or the camera position. Keep everything in the first frame: the door frame in the center; the girl standing inside the threshold, hand on the door frame, looking toward the dirt road on the right; small-flowered blouse, chin-length bob, big eyes; the pond reflecting the purple tiles; dusk light. The first frame is: the girl holding the door frame, looking out. Action: Holding the door frame, the girl watches the dirt road, waiting and waiting. Do not: No cuts. No speaking. No new characters. Do not change the camera position. [NARRATION] That basket of buns was for his mother and his little sister at home. His sister was six that year. Her name was Gu Zheng.

1-64a Video prompt｜First frame = last frame of 1-64. 16:9, 8 seconds, medium shot, single figure. [First-frame reference | top priority] Use the last frame of 1-64 exactly as the first frame: the girl standing inside the threshold holding the door frame, looking toward the dirt road on the right, dusk light. Action: The girl squats down on the threshold, hugging her knees. Her eyes never leave the road. Do not: No cuts. No speaking. No new characters. Do not change the camera position.

1-64b Video prompt｜First frame = last frame of 1-64a. 16:9, 10 seconds, medium shot, single figure. [First-frame reference | top priority] Use the last frame of 1-64a exactly as the first frame: the girl squatting on the threshold hugging her knees, looking toward the dirt road on the right, the pond reflecting the purple tiles. Action: A crabapple leaf falls onto the surface of the pond. Ripples spread out ring after ring. The light fades little by little. The girl does not move. Do not: No cuts. No speaking. No new characters. Do not change the camera position.

(End of segment | 112 shots | approx. 15 min | Source: Ep. 3, Sc. 5, shots 5-1 to 5-11 and the transition, supplementary shots 5-2a/5-6a; Sc. 6, shots 6-1 to 6-12, supplementary shot 6-3a; Sc. 8, images 1 to 8, supplementary shots 8-2a/8-7a; Sc. 2, shot 2-3a, and the threshold composition of Ep. 3, Sc. 3, supplementary shot 3-3a)

Part 1 · Segment 2 · The Purple-Tile House (approx. 10 min, 67 shots)

Source: Ep. 2, Sc. 6 (summer 1969 · the man in the mirror), Sc. 8 (Zong Xiaotian leaves, goes into the mountains and disappears; Vice-Principal Gong brings back the rattan trunk), Sc. 9 (Song Qiankun’s visit; Gu Ying goes mad), Sc. 10 (the early 1980s · wiping the mirror; the drowning).

Character looks (prompts use these descriptions only, never names): - [Woman at the Mirror] A woman of about thirty, long hair, pale, extremely beautiful, a dazed look in her eyes, plain old clothes. (Added in this segment: a small mole under her left eye.) (= Gu Ying. In 1969 each shot notes “belly slightly rounded / clearly rounded / high and round”; in the early 1980s each shot notes “her temples already grey” — these are states only; the look does not change.) - [Tall Blue-Eyed Man · 1969 · look] A man of about thirty, tall and big-framed, slate-blue eyes, chin tilted slightly up, white shirt, sleeves rolled to the elbow. (= Zong Xiaotian) - [Blue-Eyed Toddler · 1969 · look] A boy of two and a half, slate-blue eyes, short hair, a small white vest. (= Zong Tianyi as a small child) - [Man in the Khaki Mao Suit · look] A man of about fifty, hair combed neatly, a stern face, a blue khaki Mao suit, the collar hook fastened with perfect precision. (= Vice-Principal Gong) - [Grey-Haired Old Man · 1969 · look] A man of about sixty, refined and scholarly bearing, slightly pointed chin, thick eyebrows, back held perfectly straight, thick grey hair combed neatly back, a navy-blue Mao suit, open at the collar to show a white shirt. (= Song Qiankun, 1969) - [Secretary in the Grey Mao Suit · look] A man of about thirty, hair combed with precision, a grey Mao suit. (= Secretary Huang) - Middle-school students, women at the vegetable market, long-distance bus passengers: crowds only, no close-ups.

Settings (reuse verbatim in first-frame images): - [Purple-Tile House Door] An old house in Pi Town with a purple tiled roof, a wooden threshold, a small pond in front of the door, a crabapple tree reaching under the eaves, two pots of orchids set out under the veranda eaves. - [Veranda Kitchen] A simple kitchen under the veranda eaves of the Purple-Tile House: a brick stove, a wooden chopping board, hooks nailed to the veranda post; through the open front door, the main room is visible. - [Purple-Tile House Bedroom] The bedroom of the Purple-Tile House: a full-length floor mirror standing against the wall, an old wooden wardrobe beside it, a small window. - [Middle-School Campus] The Pi Town Middle School campus, 1969: several single-story buildings of red brick and grey tile; along the edge of the sports ground, a row of teachers’ offices, their windows pasted over with old newspaper. - [Pi Town Main Street] The bluestone-paved main street of Pi Town: grey-brick tiled houses on both sides, Chinese toon trees casting patches of shade, vegetable stalls along the street. - [Music Classroom] An old classroom at Pi Town Middle School, 1969: wooden desks, a blackboard, an old pump organ. - [Reception Room] The school reception room in Pi Town, 1969: two old leather sofas and a tea table, a cup of hot tea on the table, the wall plaster faded white, the cold light of late autumn outside the window. - [Outside the Reception Room] The dirt yard outside the school reception room in Pi Town, 1969, with a dust-covered silver-grey sedan parked in it. - [Roadside] A highway on the edge of Pi Town, early 1980s: an old-style long-distance bus spattered with mud parked by the road; in the distance, the small town wrapped in thin mist, only the outline of a ginkgo tree showing. - [Riverbank] Black-and-white. A river in a city, the water flowing slowly, a few willow trees along the bank, a few empty small fishing boats, the early-morning mist not yet lifted, fallen leaves floating on the water.

1. Summer 1969 · The Man in the Mirror

P-2.1 First-frame image｜An old house in Pi Town with a purple tiled roof, a wooden threshold, a small pond in front of the door, a crabapple tree reaching under the eaves, two pots of orchids set out under the veranda eaves. A summer evening in 1969, warm orange light. Medium shot: a woman of about thirty (look as above, long hair pinned up, plain old clothes, belly slightly rounded) squats at the edge of the pond, holding a wooden water ladle she has just filled from the pond, looking down into it.

2-1 Video prompt｜Re-render from the uploaded first frame P-2.1, 16:9 landscape, cinematic, summer 1969, in front of the Purple-Tile House in Pi Town, evening. 10 seconds, medium shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-2.1 exactly as the first frame of the video. Do not redesign the character, the ladle, the pond, the orchids or the camera position. Keep everything in the first frame: the woman squatting at the edge of the pond, facing the water; the ladle in her hand full of water; belly slightly rounded; two pots of orchids under the veranda eaves; warm orange light. The first frame is: the woman looking down into the ladle. Action: The woman sees a tiny tadpole, the size of a grain of rice, swimming in the ladle with its tail flicking. She gently pours the water, tadpole and all, back into the pond, and scoops up a fresh ladleful. Do not: No cuts. No speaking. No new characters.

2-1a Video prompt｜First frame = last frame of 2-1. 16:9, 8 seconds, medium shot, single figure. [First-frame reference | top priority] Use the last frame of 2-1 exactly as the first frame: the woman squatting at the edge of the pond with a fresh ladleful of water, belly slightly rounded, two pots of orchids under the veranda eaves, warm orange light. Action: The woman stands up, carries the ladle under the veranda eaves, and waters the two pots of orchids. Do not: No cuts. No speaking. No new characters.

P-2.2 First-frame image｜A simple kitchen under the veranda eaves of the Purple-Tile House: a brick stove, a wooden chopping board, hooks nailed to the veranda post; through the open front door, the main room is visible. Summer evening, 1969. Medium shot: a woman of about thirty (look as above, wearing an apron, belly slightly rounded) stands at the chopping board cutting asparagus; in the background, through the doorway, a blue-eyed toddler of two and a half (look as above) sits on the floor building with wooden blocks.

2-2 Video prompt｜Re-render from the uploaded first frame P-2.2, 16:9 landscape, cinematic, summer 1969, the veranda kitchen of the Purple-Tile House, evening. 10 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-2.2 exactly as the first frame of the video. Do not redesign the characters, the chopping board, the blocks or the camera position. Keep everything in the first frame: the woman at the chopping board in the foreground; the toddler building blocks in the doorway in the background; warm light. The first frame is: the woman cutting vegetables. Action: The woman briskly finishes cutting the asparagus, stir-fries it in the wok, and dishes it onto a plate. Do not: No cuts. No speaking. No new characters.

2-2a Video prompt｜First frame = last frame of 2-2. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 2-2 exactly as the first frame: the woman in her apron standing by the stove, a plate of stir-fried vegetables on the chopping board, the toddler building blocks in the doorway in the background. Action: The woman takes off her apron and hangs it on the hook on the veranda post, then lifts her wrist and glances at her watch. Do not: No cuts. No speaking. No new characters.

P-2.3 First-frame image｜An old house in Pi Town with a purple tiled roof, a wooden threshold, a small pond in front of the door, a crabapple tree reaching under the eaves, two pots of orchids set out under the veranda eaves. Medium shot: a woman of about thirty (look as above, belly slightly rounded) stands just inside the threshold, one hand on the door frame, looking toward the end of the street in front of the house, to the right of the frame; the light is just beginning to fade.

2-3 Video prompt｜Re-render from the uploaded first frame P-2.3, 16:9 landscape, cinematic, summer 1969, the door of the Purple-Tile House, evening into night. 10 seconds, medium shot, single figure, locked-off. [First-frame reference | top priority] Use the uploaded first frame P-2.3 exactly as the first frame of the video. Do not redesign the character, the door frame, the pond or the camera position. Keep everything in the first frame: the woman inside the threshold, hand on the door frame, looking right; the pond in front; the crabapple tree; evening light. The first frame is: the woman looking out from the door. Action: The woman keeps watching the end of the street. No one ever comes. The sky slowly turns from evening to full dark. Do not: No cuts. No speaking. No new characters walking into the frame.

2-3a Video prompt｜First frame = last frame of 2-3. 16:9, 10 seconds, medium shot, single figure, locked-off. [First-frame reference | top priority] Use the last frame of 2-3 exactly as the first frame: fully dark now, the woman standing inside the threshold holding the door frame, looking toward the end of the street on the right, the pond all dark. Action: The neighbors’ electric lights come on one by one. Their bright light falls on the pond like scattered pieces of silver. The woman’s hand slowly drops from the door frame. Do not: No cuts. No speaking. No new characters walking into the frame.

P-2.4 First-frame image｜The main room of the Purple-Tile House, night, one dim yellow lamp. Medium shot, low angle: the blue-eyed toddler of two and a half (look as above) sits on the floor; in front of him, a tower of wooden blocks stacked as high as a little hill.

2-4 Video prompt｜Re-render from the uploaded first frame P-2.4, 16:9 landscape, cinematic, summer 1969, the main room of the Purple-Tile House, night. 10 seconds, medium shot, low angle. [First-frame reference | top priority] Use the uploaded first frame P-2.4 exactly as the first frame of the video. Do not redesign the toddler, the blocks or the camera position. Keep everything in the first frame: the toddler sitting on the floor, the tall tower of blocks in front of him; dim yellow lamplight. The first frame is: the blocks still standing. Action: The toddler knocks the blocks over all at once and cries out, close to tears. The Blue-Eyed Toddler says: “Mom, I’m hungry — why isn’t Dad home yet?…” Do not: No cuts. No new characters. Only the toddler speaks.

P-2.5 First-frame image｜The Pi Town Middle School campus, 1969: several single-story buildings of red brick and grey tile; along the edge of the sports ground, a row of teachers’ offices, their windows pasted over with old newspaper. Night, the moon not yet up, one dim yellow street lamp. Medium shot: a woman of about thirty (look as above, a loose blue cotton smock, belly slightly rounded) stands under a window pasted over with old newspaper, one hand protecting her belly, looking up at the window; there is no light inside; the street lamp is behind her, casting her shadow on the wall.

2-5 Video prompt｜Re-render from the uploaded first frame P-2.5, 16:9 landscape, cinematic, summer 1969, outside the teachers’ office at Pi Town Middle School, night. 8 seconds, medium shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-2.5 exactly as the first frame of the video. Do not redesign the character, the window, the street lamp or the camera position. Keep everything in the first frame: the woman under the window looking up, one hand protecting her belly; newspaper over the window; darkness inside; the street lamp behind her and her shadow on the wall. The first frame is: the woman looking at the window. Action: The woman stands motionless under the window, looking up at the dark window. Do not: No cuts. No speaking. No new characters. Do not show the inside of the room.

2-5a Video prompt｜First frame = last frame of 2-5. 16:9, 8 seconds, medium shot, single figure. [First-frame reference | top priority] Use the last frame of 2-5 exactly as the first frame: the woman standing under the window looking up, one hand protecting her belly, the street lamp behind her casting her shadow on the wall. Action: The woman takes one step toward the door, then stops. She turns her face sideways, leans close to the edge of the door, and holds her breath. Do not: No cuts. No speaking. No new characters. Do not show the inside of the room. (Faint sounds from behind the door, added in post.)

P-2.6 First-frame image｜The doorway of a teachers’ office at Pi Town Middle School, 1969. Camera inside the room facing the door: the door has just been shoved open; a woman of about thirty (look as above, a loose blue cotton smock) stands in the door frame, one hand still on the pull cord of the light by the door; the light in the room has just snapped on, and its harsh white glare falls full on her face; outside the door, black night.

2-6 Video prompt｜Re-render from the uploaded first frame P-2.6, 16:9 landscape, cinematic, summer 1969, the doorway of the teachers’ office at Pi Town Middle School, night. 8 seconds, medium close shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-2.6 exactly as the first frame of the video. Do not redesign the character, the door frame, the light or the camera position. Keep everything in the first frame: the woman in the exact center of the door frame, hand on the light cord; harsh white light on her face; pitch black outside the door; show only her, not the room. The first frame is: the light just switched on. Action: The woman freezes completely. She stands in the doorway with her eyes wide open, as if struck by lightning, not moving at all. Do not: No cuts. No speaking. Do not turn the camera toward the inside of the room. No other characters.

2-6a Video prompt｜First frame = last frame of 2-6. 16:9, 8 seconds, medium close shot, single figure. [First-frame reference | top priority] Use the last frame of 2-6 exactly as the first frame: the woman standing frozen in the center of the door frame, hand still on the light cord, eyes wide open, harsh white light on her face, pitch black outside the door. Action: She lets go of the cord, turns around, and runs stumbling out into the darkness beyond the door. Do not: No cuts. No speaking. Do not turn the camera toward the inside of the room. No other characters.

P-2.7 First-frame image｜The bedroom of the Purple-Tile House: a full-length floor mirror standing against the wall, an old wooden wardrobe beside it, a small window. Night, a thin line of cold light. Close-up of the surface of the full-length mirror; the mirror reflects only the empty bedroom; no one in it.

2-7 Video prompt｜Re-render from the uploaded first frame P-2.7, 16:9 landscape, cinematic, the bedroom of the Purple-Tile House, night. 10 seconds, close-up, slow motion. [First-frame reference | top priority] Use the uploaded first frame P-2.7 exactly as the first frame of the video. Do not redesign the mirror, the wardrobe or the light. Keep everything in the first frame: the full-length mirror filling the frame; the empty bedroom in the mirror; cold light. The first frame is: the unbroken mirror. Action: In slow motion, a crack splits the mirror down the very middle, and the cracks spread outward in every direction. Do not: No cuts. No people. Do not let shards fly. (Sound of the mirror breaking, added in post.)

2. Leaving, the Mountains, the Disappearance

P-2.8 First-frame image｜An old house in Pi Town with a purple tiled roof, a wooden threshold, a small pond in front of the door, a crabapple tree reaching under the eaves, two pots of orchids set out under the veranda eaves. Early morning in late summer 1969, first light, grey-white light. Medium shot: a blue-eyed man of about thirty (look as above) has just stepped out of the front door, textbooks, a chalk box and a cloth bundle tucked under his arm.

2-8 Video prompt｜Re-render from the uploaded first frame P-2.8, 16:9 landscape, cinematic, late summer 1969, in front of the Purple-Tile House, early morning. 10 seconds, medium shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-2.8 exactly as the first frame of the video. Do not redesign the character, the cloth bundle, the door or the camera position. Keep everything in the first frame: the man outside the threshold, textbooks, chalk box and cloth bundle under his arm; the pond; grey-white morning light. The first frame is: the man stepping out of the door. Action: Without looking back, the man walks along the dirt path by the pond and out of the frame. Do not: No cuts. No speaking. No new characters.

P-2.9 First-frame image｜The bedroom of the Purple-Tile House: a full-length floor mirror standing against the wall, an old wooden wardrobe beside it, a small window. Grey-white early-morning light. Locked-off medium shot from the bedroom doorway: the wardrobe doors stand open; on the right, a row of clothes hooks is empty, only two empty hangers left; a woman of about thirty (look as above, a loose blue cotton smock, belly slightly rounded) stands in front of the wardrobe with her back to the camera; the full-length mirror is behind her and to one side, reflecting her profile and the empty hooks.

2-9 Video prompt｜Re-render from the uploaded first frame P-2.9, 16:9 landscape, cinematic, late summer 1969, the bedroom of the Purple-Tile House, early morning. 10 seconds, medium shot, locked-off. [First-frame reference | top priority] Use the uploaded first frame P-2.9 exactly as the first frame of the video. Do not redesign the character, the wardrobe, the mirror or the camera position. Keep everything in the first frame: the woman standing in front of the wardrobe with her back to the camera; the empty hangers; the full-length mirror reflecting her profile; grey-white light. The first frame is: the woman standing still. Action: The two empty hangers sway gently and knock together. The woman stands still the whole time. Do not: No cuts. No speaking. Do not let the woman turn around. No new characters.

P-2.10 First-frame image｜The bedroom of the Purple-Tile House: a full-length floor mirror standing against the wall, an old wooden wardrobe beside it, a small window. Autumn 1969, cold grey light. Medium shot: a woman of about thirty (look as above, a loose blue cotton smock, belly clearly rounded now, her hair somewhat disheveled) stands in front of the full-length mirror; the camera is behind her shoulder; in the mirror is her face, seen from the front, her eyes empty.

2-10 Video prompt｜Re-render from the uploaded first frame P-2.10, 16:9 landscape, cinematic, autumn 1969, the bedroom of the Purple-Tile House, day. 10 seconds, over-the-shoulder medium shot. [First-frame reference | top priority] Use the uploaded first frame P-2.10 exactly as the first frame of the video. Do not redesign the character, the mirror or the camera position. Keep everything in the first frame: the woman’s back in the foreground, her face seen from the front in the mirror; belly clearly rounded; hair disheveled; cold grey light. The first frame is: the woman looking at herself in the mirror. Action: Looking into the mirror, the woman slowly raises one hand. Her fingertips touch the glass and stay there. Do not: No cuts. Mouth does not move. No new characters. No one else in the mirror. [OFF-SCREEN · INNER VOICE of the Woman at the Mirror, dubbed in post, original script line] I suddenly realized — I had never truly known Zong Xiaotian — there had always been a layer of cold glass between us — as if the man who had lived with me was not a real man at all — but a man inside a mirror…

2-10a Video prompt｜First frame = last frame of 2-10. 16:9, 10 seconds, over-the-shoulder medium shot pushing in. [First-frame reference | top priority] Use the last frame of 2-10 exactly as the first frame: the woman’s back in the foreground, the fingertips of one hand resting on the glass, her empty face in the mirror, cold grey light. Action: The camera slowly pushes in on her face in the mirror. The woman does not move. Do not: No cuts. Mouth does not move. No new characters. No one else in the mirror.

P-2.11 First-frame image｜The Pi Town Middle School campus, 1969: several single-story buildings of red brick and grey tile; along the edge of the sports ground, a row of teachers’ offices, their windows pasted over with old newspaper. Early morning in late autumn, at the school gate, long shot: a column of about thirty high-school students in coarse cloth clothes, bedrolls on their backs, lined up in single file; the blue-eyed man of about thirty (look as above, now in coarse cloth clothes, carrying the same kind of bedroll) walks at the very front, holding up a small red flag; the column heads toward the distant mountains deep in the frame; there is mist on the mountains.

2-11 Video prompt｜Re-render from the uploaded first frame P-2.11, 16:9 landscape, cinematic, late autumn 1969, the gate of Pi Town Middle School, early morning. 10 seconds, long shot, locked-off. [First-frame reference | top priority] Use the uploaded first frame P-2.11 exactly as the first frame of the video. Do not redesign the characters, the column, the red flag, the distant mountains or the camera position. Keep everything in the first frame: the column in single file heading deep into the frame; the man at the very front holding up the small red flag; mist on the distant mountains. The first frame is: the column just setting out. Action: The column keeps walking toward the mountains in the distance, growing smaller and smaller. The small red flag at the front is the last thing to disappear into the mountain mist. The camera does not move. Do not: No cuts. No speaking. Do not let the column look back.

P-2.12 First-frame image｜The main room of the Purple-Tile House, an old wooden table, daytime. Overhead close-up: on the tabletop, a slip of paper with three words written in fountain pen (replaced in post with “I am gone”); at the edge of the frame, a woman’s hand has just reached in.

2-12 Video prompt｜Re-render from the uploaded first frame P-2.12, 16:9 landscape, cinematic, late autumn 1969, the main room of the Purple-Tile House, day. 10 seconds, overhead close-up. [First-frame reference | top priority] Use the uploaded first frame P-2.12 exactly as the first frame of the video. Do not redesign the slip of paper, the tabletop, the hand or the camera position. Keep everything in the first frame: the slip of paper in the center; the three fountain-pen words; the woman’s hand at the edge of the frame. The first frame is: the hand just reaching in. Action: The woman’s hand picks up the slip of paper and stops in midair. Her fingers tighten slightly. Do not: No cuts. No faces. No new objects.

P-2.13 First-frame image｜The bluestone-paved main street of Pi Town: grey-brick tiled houses on both sides, Chinese toon trees casting patches of shade, vegetable stalls along the street. Early winter 1969, cold grey light. Medium shot: in the foreground, several women with vegetable baskets on their arms huddle together whispering; in the background, on the street, a woman of about thirty (look as above, a loose blue cotton smock, belly clearly rounded) walks past alone.

2-13 Video prompt｜Re-render from the uploaded first frame P-2.13, 16:9 landscape, cinematic, early winter 1969, the vegetable market on Pi Town’s main street, day. 8 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-2.13 exactly as the first frame of the video. Do not redesign the characters, the vegetable stalls, the street or the camera position. Keep everything in the first frame: the women whispering in the foreground; the woman walking past alone in the background; cold grey light. The first frame is: the women gossiping. Action: The women notice the woman walking past in the background. They break off and point at her. Do not: No cuts. Do not let anyone speak clear lines. No new characters coming closer.

2-13a Video prompt｜First frame = last frame of 2-13. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 2-13 exactly as the first frame: the women in the foreground pointing toward the background, the woman in the background walking past alone, cold grey light. Action: The woman does not look at them. She keeps walking straight on and out of the frame. The women huddle together again, voices lowered. Do not: No cuts. Do not let anyone speak clear lines. No new characters coming closer.

P-2.14 First-frame image｜An old house in Pi Town with a purple tiled roof, a wooden threshold, a small pond in front of the door, a crabapple tree reaching under the eaves, two pots of orchids set out under the veranda eaves. A winter afternoon in 1969; the pond is dull grey; the crabapple tree has lost all its leaves. Medium shot from the yard toward the veranda: the man in the khaki Mao suit, about fifty (look as above), stands under the veranda eaves, facing the woman of about thirty (look as above, belly clearly rounded) inside the doorway; beside him stands a man in a grey cotton Mao suit with his head down, saying nothing; on the grey-brick floor at their feet sits a yellowed rattan trunk with a small padlock on its clasp.

2-14 Video prompt｜Re-render from the uploaded first frame P-2.14, 16:9 landscape, cinematic, winter 1969, under the veranda eaves of the Purple-Tile House, afternoon. 10 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-2.14 exactly as the first frame of the video. Do not redesign the characters, the rattan trunk or the camera position. Keep everything in the first frame: the man in the khaki Mao suit under the eaves facing the door; the woman inside the doorway; the man with his head down to one side; the rattan trunk at their feet; grey winter light. The first frame is: the three standing facing each other. Action: Head bowed as if reading out an official document, the Man in the Khaki Mao Suit says flatly: “Teacher Gu Ying — the disappearance of Comrade Zong Xiaotian is a grave loss to Pi Town Middle School. We are deeply pained and grieved.” Do not: No cuts. No new characters. Only the Man in the Khaki Mao Suit speaks.

2-14a Video prompt｜First frame = last frame of 2-14. 16:9, 10 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 2-14 exactly as the first frame: the man in the khaki Mao suit standing under the eaves with his head bowed, the woman inside the doorway, the man with his head down to one side, the rattan trunk at their feet. Action: The Man in the Khaki Mao Suit goes on: “On behalf of the school, I extend my deep condolences — and of course, we have also reported to Vice-Governor Song… ah, I mean, to Comrade Zong Xiaotian’s stepfather.” Do not: No cuts. No new characters. Only the Man in the Khaki Mao Suit speaks.

2-14b Video prompt｜First frame = last frame of 2-14a. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 2-14a exactly as the first frame: the man in the khaki Mao suit standing under the eaves, just finished speaking, the woman inside the doorway, the man with his head down to one side, the rattan trunk at their feet. Action: The man in the khaki Mao suit glances guiltily at the woman, then turns and leaves, taking the man with his head down with him. The rattan trunk is left at the door. Do not: No cuts. No new characters. No speaking.

P-2.15 First-frame image｜The bedroom of the Purple-Tile House: a full-length floor mirror standing against the wall, an old wooden wardrobe beside it, a small window. Grey winter light. Overhead close-up: in the open rattan trunk, a thread-bound book wrapped tightly in brown kraft paper, an English record (the words on its cover replaced in post with “Flowers”), and a stack of old envelopes; a woman’s hand is picking up the top envelope.

2-15 Video prompt｜Re-render from the uploaded first frame P-2.15, 16:9 landscape, cinematic, winter 1969, the bedroom of the Purple-Tile House, day. 8 seconds, overhead close-up. [First-frame reference | top priority] Use the uploaded first frame P-2.15 exactly as the first frame of the video. Do not redesign the objects in the trunk, the hand or the camera position. Keep everything in the first frame: the thread-bound book in kraft paper, the English record, the stack of envelopes; the woman’s hand picking up an envelope. The first frame is: the hand picking up the envelope. Action: The hand turns the envelope over, looks at it, and puts it down. Do not: No cuts. No faces. Do not open the book. No new objects.

2-15a Video prompt｜First frame = last frame of 2-15. 16:9, 8 seconds, overhead close-up. [First-frame reference | top priority] Use the last frame of 2-15 exactly as the first frame: the envelope put back on the stack, the woman’s hand stopped above the trunk, the thread-bound book and the English record in the trunk. Action: The hand touches the cover of the record and stays there, still. Do not: No cuts. No faces. Do not open the book. No new objects.

3. Song Qiankun’s Visit

P-2.16 First-frame image｜An old classroom at Pi Town Middle School, 1969: wooden desks, a blackboard, an old pump organ. A late-autumn morning. Medium shot: a woman of about thirty (look as above, a loose blue cotton smock, belly high and round, her hair tied back carelessly with a rubber band) stands by the lectern facing a classroom of students, one hand beating time; the students sit behind their desks, only the backs of their heads and their profiles visible.

2-16 Video prompt｜Re-render from the uploaded first frame P-2.16, 16:9 landscape, cinematic, late autumn 1969, a classroom at Pi Town Middle School, morning. 10 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-2.16 exactly as the first frame of the video. Do not redesign the characters, the classroom or the camera position. Keep everything in the first frame: the woman by the lectern beating time; belly high and round; the students in the foreground with their backs to the camera; late-autumn light. The first frame is: the woman raising her hand to beat time. Action: The students open their mouths and sing. The woman beats time, stroke by stroke, her lips moving softly along, but her eyes are somewhere far away. Do not: No cuts. No new characters. (Singing added in post: The Never-Setting Sun Rises over the Grassland.)

P-2.17 First-frame image｜The Pi Town Middle School campus, 1969: several single-story buildings of red brick and grey tile; along the edge of the sports ground, a row of teachers’ offices, their windows pasted over with old newspaper. A late-autumn morning, medium tracking shot: the man in the khaki Mao suit, about fifty (look as above), and the woman of about thirty (look as above, belly high and round) walk side by side along the covered walkway of the single-story buildings; the man on the left, his face turned toward her as he talks; the woman on the right, staring fixedly ahead.

2-17 Video prompt｜Re-render from the uploaded first frame P-2.17, 16:9 landscape, cinematic, late autumn 1969, a walkway at Pi Town Middle School, morning. 6 seconds, medium shot, camera tracking backward. [First-frame reference | top priority] Use the uploaded first frame P-2.17 exactly as the first frame of the video. Do not redesign the two characters, the walkway or the camera position. Keep everything in the first frame: the man on the left, face turned sideways; the woman on the right staring straight ahead; the walkway of the single-story buildings; late-autumn light. The first frame is: the two walking side by side. Action: The two walk on. The man, face turned toward her, gives low-voiced instructions; the woman seems not to hear. Do not: No cuts. No new characters. No clear lines spoken. Do not swap positions.

2-17a Video prompt｜First frame = last frame of 2-17. 16:9, 8 seconds, medium shot, camera tracking backward. [First-frame reference | top priority] Use the last frame of 2-17 exactly as the first frame: the two walking side by side along the walkway, the man on the left with his face turned sideways, the woman on the right staring fixedly ahead. Action: Murmuring to herself, the Woman at the Mirror says: “A living person — how could they vanish, just like that?” Do not: No cuts. No new characters. Only the woman speaks. Do not swap positions.

P-2.18 First-frame image｜The school reception room in Pi Town, 1969: two old leather sofas and a tea table, a cup of hot tea on the table, the wall plaster faded white, the cold light of late autumn outside the window. Medium shot: the grey-haired old man of about sixty (look as above) sits in the center of a sofa, back perfectly straight, both hands resting on the sofa arms; the woman of about thirty (look as above, belly high and round) sits on the other sofa beside him, hands on her knees; at the door, the secretary in the grey Mao suit (look as above) is quietly pulling the door shut as he goes out.

2-18 Video prompt｜Re-render from the uploaded first frame P-2.18, 16:9 landscape, cinematic, late autumn 1969, the school reception room in Pi Town, morning. 8 seconds, medium two-shot. [First-frame reference | top priority] Use the uploaded first frame P-2.18 exactly as the first frame of the video. Do not redesign the characters, the sofas, the tea table or the camera position. Keep everything in the first frame: the old man seated in the center, hands on the sofa arms; the woman on the side sofa; the secretary at the door; cold light; steam rising from the teacup. The first frame is: the secretary pulling the door shut. Action: The door closes softly. The reception room is very quiet. Neither of them moves. Do not: No cuts. No speaking. No new characters.

2-18a Video prompt｜First frame = last frame of 2-18. 16:9, 8 seconds, medium two-shot. [First-frame reference | top priority] Use the last frame of 2-18 exactly as the first frame: the door closed, the old man seated in the center with his hands on the sofa arms, the woman on the side sofa with her hands on her knees, steam rising from the teacup. Action: The old man silently studies the woman. His fingers on the sofa arm tap lightly, tap-tap-tap, like someone sending a telegraph. The woman does not move. Do not: No cuts. No speaking. No new characters.

P-2.19 First-frame image｜The school reception room in Pi Town, 1969: two old leather sofas and a tea table, a cup of hot tea on the table, the wall plaster faded white, the cold light of late autumn outside the window. Medium close shot: the grey-haired old man of about sixty (look as above) sits on the sofa, facing the right of the frame, his fingers resting on the sofa arm.

2-19 Video prompt｜Re-render from the uploaded first frame P-2.19, 16:9 landscape, cinematic, late autumn 1969, the school reception room in Pi Town, morning. 10 seconds, medium close shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-2.19 exactly as the first frame of the video. Do not redesign the character, the sofa or the camera position. Keep everything in the first frame: the old man seated facing right; navy-blue Mao suit open at the collar; fingers on the sofa arm; cold light. The first frame is: the old man looking to the right. Action: The old man clears his throat softly. The Grey-Haired Old Man says: “The situation regarding Zong Xiaotian — the comrades at Pi Town Middle School have reported to me. As for his conduct, and his unexplained disappearance — I am very disappointed, and very… angered.” Do not: No cuts. No new characters. Only the old man speaks.

2-19a Video prompt｜First frame = last frame of 2-19. 16:9, 8 seconds, medium close shot, single figure. [First-frame reference | top priority] Use the last frame of 2-19 exactly as the first frame: the old man seated facing right, fingers on the sofa arm, cold light. Action: The old man looks somewhat angry. The Grey-Haired Old Man says: “I had not imagined he could fall to such moral depravity!” His fingers rap the sofa arm hard, twice. Do not: No cuts. No new characters. Only the old man speaks.

P-2.20 First-frame image｜The school reception room in Pi Town, 1969: two old leather sofas and a tea table, a cup of hot tea on the table, the wall plaster faded white, the cold light of late autumn outside the window. Medium shot: the grey-haired old man of about sixty (look as above) stands in the middle of the reception room with his hands clasped behind his back, his body turned toward the left of the frame; in the right foreground, the shoulder and back of the head of the woman (look as above) sitting on the sofa.

2-20 Video prompt｜Re-render from the uploaded first frame P-2.20, 16:9 landscape, cinematic, late autumn 1969, the school reception room in Pi Town, morning. 8 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-2.20 exactly as the first frame of the video. Do not redesign the characters, their positions or the camera position. Keep everything in the first frame: the old man standing in the middle, hands behind his back, turned to the left; the woman’s shoulder and back in the right foreground; cold light. The first frame is: the old man standing with his hands behind his back. Action: Hands clasped behind his back, the old man paces a few steps back and forth, then turns around to face the woman. Do not: No cuts. No new characters. No speaking.

2-20a Video prompt｜First frame = last frame of 2-20. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 2-20 exactly as the first frame: the old man standing in the middle of the reception room with his hands behind his back, facing the woman in the right foreground; the woman’s shoulder and back in the right foreground. Action: As if he has made up his mind about something, the old man asks in a probing tone. The Grey-Haired Old Man says: “Little Gu — did Zong Xiaotian ever speak to you of why his surname is Zong, not Song?” Do not: No cuts. No new characters. Only the old man speaks.

P-2.21 First-frame image｜The school reception room in Pi Town, 1969: two old leather sofas and a tea table, a cup of hot tea on the table, the wall plaster faded white, the cold light of late autumn outside the window. Close shot: the grey-haired old man of about sixty (look as above) stands facing the right of the frame, an indefinable, mysterious expression on his face.

2-21 Video prompt｜Re-render from the uploaded first frame P-2.21, 16:9 landscape, cinematic, late autumn 1969, the school reception room in Pi Town, morning. 10 seconds, close shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-2.21 exactly as the first frame of the video. Do not redesign the character or the camera position. Keep everything in the first frame: close shot of the old man facing right; the mysterious expression; cold light. The first frame is: the old man looking to the right. Action: The Grey-Haired Old Man says slowly: “You know — I was once Zong Xiaotian’s stepfather — his birth father was called…” He says a name, but his voice is muffled and it cannot be made out. Do not: No cuts. No new characters. Only the old man speaks. (The name is muffled in post; the subtitle shows only “…”.) [NARRATION] The history Gu Zheng’s father went searching into and the history my father kept asking about were one and the same.

2-22 Video prompt｜First frame = last frame of 2-21. 16:9, 10 seconds, close shot. [First-frame reference | top priority] Use the last frame of 2-21 exactly as the first frame: close shot of the old man facing right, his expression just composed again. Action: As if remembering something, the Grey-Haired Old Man says: “Oh — I forgot to mention — Zong Xiaotian’s mother is named Anna — she is English — we divorced many years ago.” Do not: No cuts. No new characters. Only the old man speaks.

P-2.23 First-frame image｜The school reception room in Pi Town, 1969: two old leather sofas and a tea table, a cup of hot tea on the table, the wall plaster faded white, the cold light of late autumn outside the window. Medium close shot: the woman of about thirty (look as above, belly high and round) sits on the sofa facing the left of the frame, hands on her knees, no expression at all on her face.

2-23 Video prompt｜Re-render from the uploaded first frame P-2.23, 16:9 landscape, cinematic, late autumn 1969, the school reception room in Pi Town, morning. 10 seconds, medium close shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-2.23 exactly as the first frame of the video. Do not redesign the character or the camera position. Keep everything in the first frame: the woman seated facing left, hands on her knees, no expression; cold light. The first frame is: the woman sitting still. Action: The woman does not move, like a statue. Only her eyes blink once, very slowly. Do not: No cuts. No speaking. No new characters.

2-24 Video prompt｜First frame = last frame of 2-22. 16:9, 8 seconds, close shot pulling back to medium close shot. [First-frame reference | top priority] Use the last frame of 2-22 exactly as the first frame: close shot of the old man facing right. Action: The old man seems somewhat taken aback. He sits back down on the sofa, picks up the teacup from the tea table, takes a sip, and puts it down. Do not: No cuts. No new characters. No speaking.

2-24a Video prompt｜First frame = last frame of 2-24. 16:9, 8 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 2-24 exactly as the first frame: the old man seated on the sofa, the teacup just put back on the tea table, facing right. Action: The old man glances toward the right of the frame. The Grey-Haired Old Man says: “As Zong Xiaotian’s former stepfather, I regret his conduct —” Do not: No cuts. No new characters. Only the old man speaks.

2-24b Video prompt｜First frame = last frame of 2-24a. 16:9, 10 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 2-24a exactly as the first frame: the old man seated on the sofa, facing right. Action: The Grey-Haired Old Man goes on: “If you have any personal needs in work or life, please feel free to raise them with me — after all, he and I were once nominally father and son!” Do not: No cuts. No new characters. Only the old man speaks.

2-25 Video prompt｜First frame = last frame of 2-24b. 16:9, 10 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 2-24b exactly as the first frame: the old man seated on the sofa, the teacup on the tea table, facing right. Action: The old man shrugs. The Grey-Haired Old Man says: “I have come to attend the Chuzhou-Pi highway opening ceremony — and the local leadership reported Zong Xiaotian’s situation to me — I am deeply pained —” Do not: No cuts. No new characters. Only the old man speaks.

2-25a Video prompt｜First frame = last frame of 2-25. 16:9, 8 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 2-25 exactly as the first frame: the old man seated on the sofa, facing right. Action: The Grey-Haired Old Man goes on: “— and deeply sympathetic to your misfortune — so I came to see you — whatever difficulty you have, please tell me…” Do not: No cuts. No new characters. Only the old man speaks.

2-25b Video prompt｜First frame = last frame of 2-25a. 16:9, 6 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 2-25a exactly as the first frame: the old man seated on the sofa, just finished speaking, facing right. Action: The old man takes a handkerchief from his pocket and lightly touches the corner of his eye. There are no tears in his eyes. Do not: No cuts. No new characters. No speaking.

P-2.26 First-frame image｜The school reception room in Pi Town, 1969: two old leather sofas and a tea table, a cup of hot tea on the table, the wall plaster faded white, the cold light of late autumn outside the window. Medium shot: the grey-haired old man of about sixty (look as above) has just risen from the sofa, his back to the right of the frame; at the door, the secretary in the grey Mao suit (look as above) silently pushes the door open and comes in; the woman of about thirty (look as above, belly high and round) is still sitting on the sofa, one hand pressing on the sofa arm.

2-26 Video prompt｜Re-render from the uploaded first frame P-2.26, 16:9 landscape, cinematic, late autumn 1969, the school reception room in Pi Town, morning. 8 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-2.26 exactly as the first frame of the video. Do not redesign the characters, their positions or the camera position. Keep everything in the first frame: the old man standing up; the secretary at the door; the woman seated, one hand pressing on the sofa arm; cold light. The first frame is: the secretary just coming in. Action: With one hand pressing on the sofa arm and the other holding her belly, the woman struggles to her feet. Do not: No cuts. No speaking. No new characters.

2-26a Video prompt｜First frame = last frame of 2-26. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 2-26 exactly as the first frame: the woman on her feet now, standing in front of the sofa with one hand holding her belly, the old man standing, the secretary at the door. Action: Without saying anything, the woman walks slowly toward the door. Do not: No cuts. No speaking. No new characters.

P-2.27 First-frame image｜The doorway of the school reception room in Pi Town, 1969. Close shot: the woman of about thirty (look as above, belly high and round) stands in the door frame, having turned back to face into the room; behind her, the dirt yard outside the door.

2-27 Video prompt｜Re-render from the uploaded first frame P-2.27, 16:9 landscape, cinematic, late autumn 1969, the doorway of the school reception room in Pi Town, morning. 6 seconds, close shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-2.27 exactly as the first frame of the video. Do not redesign the character, the door frame or the camera position. Keep everything in the first frame: the woman in the door frame, turned back; the dirt yard outside; cold light. The first frame is: the woman looking back. Action: The woman gives a strange smile toward the room. Do not: No cuts. No new characters. No speaking.

2-27a Video prompt｜First frame = last frame of 2-27. 16:9, 8 seconds, close shot, single figure. [First-frame reference | top priority] Use the last frame of 2-27 exactly as the first frame: the woman standing in the door frame, turned back toward the room, a strange smile on her face. Action: Murmuring, the Woman at the Mirror says: “A living person — how could they vanish, just like that?” Do not: No cuts. No new characters. Only the woman speaks.

P-2.28 First-frame image｜The dirt yard outside the school reception room in Pi Town, 1969, with a dust-covered silver-grey sedan parked in it. Medium shot: the secretary in the grey Mao suit (look as above) holds the rear door open; the grey-haired old man of about sixty (look as above) is ducking his head to get into the car; far off in the frame, the man in the khaki Mao suit, about fifty (look as above), comes trotting toward the car, kicking up dust.

2-28 Video prompt｜Re-render from the uploaded first frame P-2.28, 16:9 landscape, cinematic, late autumn 1969, outside the school reception room, morning. 8 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-2.28 exactly as the first frame of the video. Do not redesign the characters, the sedan or the camera position. Keep everything in the first frame: the secretary holding the car door open; the old man ducking into the car; the man in the khaki Mao suit running up from far off; dust; cold light. The first frame is: the old man getting into the car. Action: Running, the Man in the Khaki Mao Suit calls in a thin, high voice: “Vice-Governor Song — please dine before returning to the provincial capital — the cafeteria has already prepared the meal!” The old man acts as if he hasn’t heard and ducks into the car. Do not: No cuts. No new characters. Only the Man in the Khaki Mao Suit speaks.

2-28a Video prompt｜First frame = last frame of 2-28. 16:9, 10 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 2-28 exactly as the first frame: the old man already seated in the car, the secretary standing by the car door, the man in the khaki Mao suit having run up close, dust flying. Action: The secretary shuts the car door. A puff of black smoke shoots from the back of the sedan and it lurches off, leaving the panting man standing where he is. Do not: No cuts. No new characters. No speaking.

P-2.29 First-frame image｜The dirt yard outside the school reception room in Pi Town, 1969; the dust has not yet settled; the sedan has already gone. Medium close shot: the woman of about thirty (look as above, belly high and round) stands in the reception room doorway, looking toward the left of the frame at the man in the khaki Mao suit in the yard, embarrassed and out of breath (only half of his back visible in the left foreground).

2-29 Video prompt｜Re-render from the uploaded first frame P-2.29, 16:9 landscape, cinematic, late autumn 1969, outside the school reception room, morning. 8 seconds, medium close shot. [First-frame reference | top priority] Use the uploaded first frame P-2.29 exactly as the first frame of the video. Do not redesign the characters or the camera position. Keep everything in the first frame: the woman in the doorway looking left; half of the man’s back in the left foreground; dust. The first frame is: the woman looking at him. Action: The woman eyes the man and starts to giggle. Do not: No cuts. No spoken lines. No new characters.

P-2.30 First-frame image｜The bedroom of the Purple-Tile House: a full-length floor mirror standing against the wall, an old wooden wardrobe beside it, a small window. Dim grey light. Medium shot: a woman of about thirty (look as above, hair disheveled) stands in front of the full-length mirror, clutching a towel, pressing it against the glass; her face is reflected in the mirror.

2-30 Video prompt｜Re-render from the uploaded first frame P-2.30, 16:9 landscape, cinematic, early 1970s, the bedroom of the Purple-Tile House, day. 10 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-2.30 exactly as the first frame of the video. Do not redesign the character, the mirror, the towel or the camera position. Keep everything in the first frame: the woman standing in front of the mirror, the towel pressed against the glass; her face in the mirror; hair disheveled; dim grey light. The first frame is: the towel pressed on the mirror. Action: The woman wipes the mirror with the towel, over and over. Tears run down her face and mix with the streaks of water on the glass. She does not wipe her tears; she only wipes the mirror. Do not: No cuts. No speaking. No new characters.

4. The Early 1980s · Wiping the Mirror · The Drowning

P-2.31 First-frame image｜The main room of the Purple-Tile House, a spring morning in the early 1980s; patches of wall plaster have flaked away; early-morning light slants in through a crack in the door. Medium shot: on the dining table, an empty bowl and half a steamed bun; on the wall in the background, a yellowed black-and-white group photo — a tall young man, a young woman with long braids, a small child between them — a thin film of dust on the frame’s glass; no one in the room.

2-31 Video prompt｜Re-render from the uploaded first frame P-2.31, 16:9 landscape, cinematic, early 1980s, the main room of the Purple-Tile House, spring morning. 10 seconds, medium shot pushing in to close shot. [First-frame reference | top priority] Use the uploaded first frame P-2.31 exactly as the first frame of the video. Do not redesign the objects on the table, the photo frame, the wall or the light. Keep everything in the first frame: the empty bowl and half a steamed bun in the foreground; the yellowed group photo on the wall; the flaking plaster; slanting morning light. The first frame is: the empty room. Action: The camera slowly pushes past the dining table and in toward the group photo on the wall. Do not: No cuts. No one walking through. Do not let the people in the photo move. (caption added in post: “The early 1980s”.)

2-31a Video prompt｜First frame = last frame of 2-31. 16:9, 8 seconds, close-up. [First-frame reference | top priority] Use the last frame of 2-31 exactly as the first frame: the yellowed black-and-white group photo on the wall fills the frame — the tall young man, the young woman with long braids, the small child between them — a thin film of dust on the frame’s glass, slanting morning light. Action: The camera keeps pushing in and stops on the young woman’s face in the photo. The morning light falls exactly on the small mole under her left eye. A tiny spider crawls along the edge of the frame. Do not: No cuts. No one walking through. Do not let the people in the photo move.

P-2.32 First-frame image｜The bedroom of the Purple-Tile House: a full-length floor mirror standing against the wall, an old wooden wardrobe beside it, a small window. Early morning in the early 1980s, seen through the gap of the half-open bedroom door: a woman of about thirty (look as above, her temples already grey, a pale-blue cotton smock washed almost white) stands in front of the full-length mirror, holding a towel worn through with several holes, slowly wiping the glass; her face is reflected in the mirror.

2-32 Video prompt｜Re-render from the uploaded first frame P-2.32, 16:9 landscape, cinematic, early 1980s, the bedroom of the Purple-Tile House, early morning. 10 seconds, medium shot through the door gap, locked-off. [First-frame reference | top priority] Use the uploaded first frame P-2.32 exactly as the first frame of the video. Do not redesign the character, the mirror, the towel, the door gap or the camera position. Keep everything in the first frame: the door frame blocking both sides of the frame; the woman at the mirror wiping it; grey temples; pale-blue cotton smock; her face in the mirror; early-morning light. The first frame is: the woman wiping the mirror. Action: The woman wipes very slowly, very carefully, from the top of the mirror all the way to the bottom. Do not: No cuts. No speaking. No new characters.

P-2.33 First-frame image｜The bedroom of the Purple-Tile House: a full-length floor mirror standing against the wall, an old wooden wardrobe beside it, a small window. Early morning in the early 1980s. Close shot over the woman’s shoulder toward the mirror: the woman of about thirty (look as above, her temples already grey) has her hand with the towel pressed against the glass; her face is in the mirror.

2-33 Video prompt｜Re-render from the uploaded first frame P-2.33, 16:9 landscape, cinematic, early 1980s, the bedroom of the Purple-Tile House, early morning. 6 seconds, over-the-shoulder close shot. [First-frame reference | top priority] Use the uploaded first frame P-2.33 exactly as the first frame of the video. Do not redesign the character, the mirror or the camera position. Keep everything in the first frame: the woman’s shoulder in the foreground, her hand pressing the towel on the glass; her face in the mirror; early-morning light. The first frame is: the hand pressed on the mirror. Action: The woman’s wiping hand stops. Do not: No cuts. No speaking. No new characters. No one else in the mirror.

2-33a Video prompt｜First frame = last frame of 2-33. 16:9, 8 seconds, over-the-shoulder close shot. [First-frame reference | top priority] Use the last frame of 2-33 exactly as the first frame: the woman’s hand pressing the towel, stopped on the glass, her face in the mirror, early-morning light. Action: She raises her eyes to herself in the mirror. Her gaze slowly becomes clear, as if she has suddenly seen something. Do not: No cuts. No speaking. No new characters. No one else in the mirror.

2-34 Video prompt｜First frame = last frame of 2-33a. 16:9, 8 seconds, over-the-shoulder close shot pulling back to medium shot. [First-frame reference | top priority] Use the last frame of 2-33a exactly as the first frame: the woman looking at herself in the mirror, her gaze clear. Action: The woman folds the towel neatly and sets it down in front of the mirror. Do not: No cuts. No speaking. No new characters.

2-34a Video prompt｜First frame = last frame of 2-34. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 2-34 exactly as the first frame: the folded towel in front of the mirror, the woman standing at the mirror, her face in the mirror. Action: The woman gently straightens her clothes and smooths her grey temples with her hand. Do not: No cuts. No speaking. No new characters.

2-34b Video prompt｜First frame = last frame of 2-34a. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 2-34a exactly as the first frame: the woman standing at the mirror, her clothes and temples tidied, the folded towel in front of the mirror. Action: The woman turns and walks out of the bedroom past the camera. Only the empty room is left in the mirror. Do not: No cuts. No speaking. No new characters.

P-2.35 First-frame image｜An old house in Pi Town with a purple tiled roof, a wooden threshold, a small pond in front of the door, a crabapple tree reaching under the eaves, two pots of orchids set out under the veranda eaves. A spring morning in the early 1980s; the house is run-down, the orchids long withered, the crabapple branches tangled. Medium shot from behind: the woman of about thirty (look as above, grey temples, pale-blue cotton smock), holding an enamel bowl, is stepping over the threshold with her back to the camera.

2-35 Video prompt｜Re-render from the uploaded first frame P-2.35, 16:9 landscape, cinematic, early 1980s, in front of the Purple-Tile House, early morning. 10 seconds, medium shot from behind. [First-frame reference | top priority] Use the uploaded first frame P-2.35 exactly as the first frame of the video. Do not redesign the character, the enamel bowl, the door or the camera position. Keep everything in the first frame: the woman’s back as she steps over the threshold, holding the enamel bowl; the run-down house; the pond; early-morning light. The first frame is: the woman stepping out of the door. Action: The woman walks slowly away along the dirt path by the pond and never looks back. Do not: No cuts. Do not let her turn around. No speaking. No new characters.

P-2.36 First-frame image｜A highway on the edge of Pi Town, early 1980s: an old-style long-distance bus spattered with mud parked by the road; in the distance, the small town wrapped in thin mist, only the outline of a ginkgo tree showing. A spring morning, locked-off long shot: the bus door is open; a few villagers carrying cloth bundles are boarding; at the end of the line stands the woman of about thirty (look as above, grey temples, pale-blue cotton smock), holding an enamel bowl, no luggage; the figures are very small.

2-36 Video prompt｜Re-render from the uploaded first frame P-2.36, 16:9 landscape, cinematic, early 1980s, the roadside on the edge of Pi Town, early morning. 8 seconds, long shot, locked-off. [First-frame reference | top priority] Use the uploaded first frame P-2.36 exactly as the first frame of the video. Do not redesign the bus, the characters, the town or the camera position. Keep everything in the first frame: the bus parked by the road, door open; villagers boarding; the woman at the end of the line holding the enamel bowl; the town in the mist and the outline of the ginkgo tree. The first frame is: the villagers lining up to board. Action: The villagers board one by one. The woman shuffles forward behind them to the bus door. Do not: No cuts. No speaking. Do not change the sky.

2-36a Video prompt｜First frame = last frame of 2-36. 16:9, 8 seconds, long shot, locked-off. [First-frame reference | top priority] Use the last frame of 2-36 exactly as the first frame: all the villagers aboard, the woman standing at the bus door holding the enamel bowl, the town in the mist and the outline of the ginkgo tree in the distance. Action: The woman pauses at the bus door and looks back once at the town in the mist. Do not: No cuts. No speaking. Do not change the sky.

2-36b Video prompt｜First frame = last frame of 2-36a. 16:9, 8 seconds, long shot, locked-off. [First-frame reference | top priority] Use the last frame of 2-36a exactly as the first frame: the woman standing at the bus door, her head turned toward the town in the mist, the bus door open. Action: The woman turns and gets on the bus. The door closes and the bus drives off. Do not: No cuts. No speaking. Do not change the sky.

P-2.37 First-frame image｜Black-and-white. A river in a city, the water flowing slowly, a few willow trees along the bank, a few empty small fishing boats, the early-morning mist not yet lifted, fallen leaves floating on the water. Extreme long shot; not a single person on the riverbank.

2-37 Video prompt｜Re-render from the uploaded first frame P-2.37, 16:9 landscape, cinematic, black-and-white, a river in a city, early morning. 10 seconds, extreme long shot, locked-off. [First-frame reference | top priority] Use the uploaded first frame P-2.37 exactly as the first frame of the video. Do not redesign the river, the willows, the fishing boats or the camera position. Keep everything in the first frame: black-and-white; slow-moving water; willows on the bank; empty fishing boats; mist; no people. The first frame is: the empty riverbank. Action: The mist drifts slowly. The willow branches sway gently. The empty fishing boats rock slightly on the water. Do not: No cuts. No people or human bodies. Do not turn to color.

P-2.38 First-frame image｜Black-and-white. A river in a city, the water flowing slowly, a few willow trees along the bank, a few empty small fishing boats, the early-morning mist not yet lifted, fallen leaves floating on the water. Close-up of the water’s surface: an enamel bowl floats on the water, a few fallen leaves beside it.

2-38 Video prompt｜Re-render from the uploaded first frame P-2.38, 16:9 landscape, cinematic, black-and-white, the surface of the river, early morning. 10 seconds, close-up, locked-off. [First-frame reference | top priority] Use the uploaded first frame P-2.38 exactly as the first frame of the video. Do not redesign the enamel bowl, the water or the camera position. Keep everything in the first frame: black-and-white; the enamel bowl floating in the center; fallen leaves. The first frame is: the bowl on the water. Action: The enamel bowl drifts slowly away with the current, gradually floating out of the frame, until only the water is left. Do not: No cuts. No people, human bodies or hands. Do not turn to color. (Only the sound of flowing water.)

P-2.39 First-frame image｜An old house in Pi Town with a purple tiled roof, a wooden threshold, a small pond in front of the door, a crabapple tree reaching under the eaves, two pots of orchids set out under the veranda eaves. Early 1980s, dusk, cold grey light; the front door is pulled to but not shut; no one in front of the house; the pond is calm, reflecting the purple-grey tiled roof.

2-39 Video prompt｜Re-render from the uploaded first frame P-2.39, 16:9 landscape, cinematic, early 1980s, in front of the Purple-Tile House, dusk. 10 seconds, medium-long shot, locked-off. [First-frame reference | top priority] Use the uploaded first frame P-2.39 exactly as the first frame of the video. Do not redesign the house, the pond, the crabapple tree or the camera position. Keep everything in the first frame: the front door pulled to; no one in front of the house; the pond reflecting the tiled roof; cold grey light. The first frame is: the empty doorway. Action: A breeze passes. A leaf falls onto the pond. Ripples spread; the reflection of the tiled roof wavers, then slowly settles. The light fades. Do not: No cuts. No people.

P-2.40 First-frame image｜The bedroom of the Purple-Tile House: a full-length floor mirror standing against the wall, an old wooden wardrobe beside it, a small window. Early 1980s, dim. Close-up in front of the full-length mirror: a folded towel, worn through with holes, lies in front of the mirror; a thin layer of dust has settled on the glass, which reflects the empty bedroom.

2-40 Video prompt｜Re-render from the uploaded first frame P-2.40, 16:9 landscape, cinematic, early 1980s, the bedroom of the Purple-Tile House. 10 seconds, close-up, locked-off. [First-frame reference | top priority] Use the uploaded first frame P-2.40 exactly as the first frame of the video. Do not redesign the mirror, the towel or the light. Keep everything in the first frame: the folded towel in front of the mirror; a thin film of dust on the glass; the empty room in the mirror; dim light. The first frame is: the mirror no one wipes. Action: The last of the light from the window slowly withdraws from the glass. The image fades to complete black. Do not: No cuts. No people. No figure or shadow of anyone in the mirror.

(End of segment | 67 shots | approx. 10 min | Source: Ep. 2, Sc. 6, shots 6-1 to 6-18, supplementary shot 6-12a; Sc. 8, shots 8-1, 8-4, 8-5, 8-7 to 8-11, supplementary shots 8-1a/8-9a; Sc. 9, shots 9-1, 9-6 to 9-20; Sc. 10, shots 10-2 to 10-8, supplementary shots 10-2a (with the spider crawling along the frame edge)/10-6a)

Part 1 · Segment 3 · Autumn 1988 · Dongjiang University (approx. 12 min, 84 shots)

Source: Ep. 1, Sc. 1 (the recruitment stall), Sc. 2 (the Mid-Autumn poetry reading), Sc. 6 (the Heidegger lecture in New Building No. 4), Sc. 7 (the chance meeting at the canteen one weekend), Sc. 8 (the Law Department dormitory · recognizing Wang Sheng).

Character looks (prompts use these descriptions only, never names): - [Short-Braids Student] A nineteen-year-old female university student, two short braids, big dark eyes, delicate features, a plain light-colored checked jacket. An army-green canvas satchel over her shoulder; in December, a dark-brown scarf added. (= Gu Zheng) - [Girl in the Red Dress] A nineteen-year-old female university student, long hair, vivid and striking, confident, a red dress (in winter: a red turtleneck sweater and a long black skirt). A mechanical wristwatch on her wrist. In the September scenes she wears the red dress; in the November and December scenes, the red turtleneck sweater and long black skirt. (= Li Hong) - [Broad-Forehead Youth] A young man in his early twenties, broad forehead, slightly dark-skinned, hair a little unruly, black-framed glasses, thin, an old blue khaki jacket. One temple arm of his black-framed glasses is wrapped with white tape. (= Wang Sheng) - [Shaggy-Haired Professor] A man in his early thirties, unkempt hair falling below his ears, lean, a scholarly air, a grey wool overcoat. (= Lang Tao) - [Bespectacled Student] A twenty-one-year-old male university student, lean, short neat hair, thin-rimmed glasses, white shirt, faded blue canvas army shoes, a dog-eared poetry magazine in his hand. (= a member of the Langtaosha Literary Society, minor character)

Settings (reuse verbatim in first-frame images): - [Gymnasium Forecourt] A September afternoon in 1988, the open ground in front of the Dongjiang University gymnasium: an old Republican-era gymnasium with a glazed-tile roof; in front of it, a kindly-faced bronze bust of an overseas Chinese benefactor; crabapple trees all around, red crabapples fallen all over the ground; a row of classroom-desk stalls across the open ground, students coming and going; warm golden sunlight. - [Moonlit Grove] Mid-Autumn night, 1988, the small grove below the Foreign Languages building at Dongjiang University: a big, round moon; moonlight falling through the leaves onto the grass like a film of quicksilver; about thirty students sitting in a circle on the grass; in the middle of the circle, a small square table covered with red velvet, an old-fashioned microphone and a few poetry magazines on it; a mimeographed banner hung between two trees; cold blue-silver moonlight. - [New Building No. 4 Entrance] A November night in 1988, the entrance of New Building No. 4 at Dongjiang University: every window of the newly built teaching building lit up, figures pressed against the windows; bicycles parked every which way in front of the building, a few fallen over on the sidewalk; incandescent light pouring out of the doorway onto the steps, turning them a glaring white; the night outside a blue-black. - [Lecture Hall] A November night in 1988, the 800-seat tiered lecture hall in New Building No. 4 at Dongjiang University: row upon row of tiered seats full of students, the aisles and windowsills crammed with people too; at the front, a wooden lectern and a dark-green blackboard, a microphone on the lectern; glaring incandescent lights overhead. - [Inside the Canteen] A winter night in December 1988, inside the Dongjiang University canteen: several rows of long wooden tables, most of them already empty, water marks left on the tabletops; whitewashed walls, a ring of steam under the incandescent bulbs on the wall; fog on the window glass. - [Canteen Doorway] A winter night in December 1988, the doorway of the Dongjiang University canteen: a thick padded cotton door curtain, dim yellow light and white steam coming through from inside; a thin frost on the concrete steps outside; one street lamp; north wind. - [Law Department Dorm] A December night in 1988, a women’s dormitory room of the Law Department at Dongjiang University: six bunks in upper-and-lower tiers; the lower bunk against the wall at the far end; a thick stack of law textbooks at the head of the bed; a small desk lamp with a green plastic shade clipped to the bed rail, its light dim yellow; frost flowers on the window glass.

1. The Recruitment Stall (Ep. 1, Sc. 1)

P-3.1 First-frame image｜A September afternoon in 1988, the open ground in front of the Dongjiang University gymnasium: an old Republican-era gymnasium with a glazed-tile roof; in front of it, a kindly-faced bronze bust of an overseas Chinese benefactor; crabapple trees all around, red crabapples fallen all over the ground; a row of classroom-desk stalls across the open ground, students coming and going; warm golden sunlight. Full shot: the stalls run from the right of the frame to the left; at the far left edge of the frame, one deserted desk stall with no one queuing in front of it, a hand-drawn poster hanging down from the desk (lettering need not be legible).

3-1 Video prompt｜Re-render from the uploaded first frame P-3.1, 16:9 landscape, cinematic, September 1988, in front of the Dongjiang University gymnasium, afternoon. 10 seconds, full shot, lateral track. [First-frame reference | top priority] Use the uploaded first frame P-3.1 exactly as the first frame of the video. Do not redesign the gymnasium, the bronze bust, the crabapple trees, the stalls, the crowd or the camera position. Keep everything in the first frame: the gymnasium and its glazed tiles in the background; the bronze bust in the middle ground; crabapple trees and fallen fruit all around; the row of desk stalls from right to left, students queuing busily at the stalls on the right, the stall at the far left deserted; warm golden sunlight. The first frame is: the whole square, people walking about. Action: The camera tracks slowly from right to left, past one busy stall after another, and finally stops on the deserted stall at the far left. Do not: No cuts. Do not let anyone speak to the camera. No legible text. Do not change the light. [NARRATION] In the autumn of 1988 I was a graduate student in the Chinese Department at Dongjiang University. Gu Zheng had just been admitted that year.

P-3.2 First-frame image｜A September afternoon in 1988, in front of the Dongjiang University gymnasium, the deserted stall of the Langtaosha Literary Society. Medium close shot: an old classroom desk, on it a blank sign-up sheet, a black fountain pen and an enamel mug; behind the desk on the left sits the Bespectacled Student (look as above), head down, leafing through a poetry magazine; behind the desk on the right sits the Girl in the Red Dress (look as above), side-on with her back partly to the camera, long hair over her shoulders, writing on the sign-up sheet with a fountain pen; crabapple trees behind them, crabapples fallen on the corner of the desk; warm golden sunlight.

3-2a Video prompt｜Re-render from the uploaded first frame P-3.2, 16:9 landscape, cinematic, September 1988, in front of the Dongjiang University gymnasium, afternoon. 8 seconds, medium close two-shot. [First-frame reference | top priority] Use the uploaded first frame P-3.2 exactly as the first frame of the video. Do not redesign the characters, the desk, the sign-up sheet, the crabapple trees or the camera position. Keep everything in the first frame: the Bespectacled Student behind the desk on the left, head down over the poetry magazine; the Girl in the Red Dress behind the desk on the right, side-on with her back partly to the camera, writing, long hair over her shoulders, red dress; the blank sign-up sheet, the fountain pen and the enamel mug on the desk; warm golden light. The first frame is: both with their heads down, each absorbed. Action: The Bespectacled Student slowly turns a page of the poetry magazine. The Girl in the Red Dress keeps writing. Do not: No cuts. No speaking. Do not let the Girl in the Red Dress turn around. No new characters.

3-2b Video prompt｜First frame = last frame of 3-2a. 16:9, 8 seconds, medium close two-shot. [First-frame reference | top priority] Use the last frame of 3-2a exactly as the first frame: the Bespectacled Student head down over the open poetry magazine; the Girl in the Red Dress side-on with her back partly to the camera, writing on the sign-up sheet. Action: A crabapple leaf falls onto the sign-up sheet. The Girl in the Red Dress brushes it away with the back of her hand and keeps writing. Do not: No cuts. No speaking. Do not let the Girl in the Red Dress turn around. No new characters.

P-3.3 First-frame image｜A September afternoon in 1988, in front of the Dongjiang University gymnasium, under the crabapple trees. Medium shot, following: the Short-Braids Student (look as above) walks in from the right of the frame, both hands gripping her satchel strap, brow slightly furrowed, stepping on fallen leaves and red crabapples; in the distance, out of focus, the deserted stall of the Langtaosha Literary Society; warm golden sunlight through the crabapple leaves.

3-3a Video prompt｜Re-render from the uploaded first frame P-3.3, 16:9 landscape, cinematic, September 1988, in front of the Dongjiang University gymnasium, afternoon. 8 seconds, medium shot, following. [First-frame reference | top priority] Use the uploaded first frame P-3.3 exactly as the first frame of the video. Do not redesign the character, the crabapple trees, the fallen fruit or the camera position. Keep everything in the first frame: the Short-Braids Student on the right of the frame, three-quarter front view, light checked jacket, army-green canvas satchel, both hands gripping the strap; fallen leaves and crabapples underfoot; the out-of-focus stall in the distance on the left of the frame; warm golden light. The first frame is: her first step. Action: The Short-Braids Student walks slowly toward the stall, her steps hesitant. The camera follows. Do not: No cuts. No speaking. No new characters approaching her. [NARRATION] She had applied to the Chinese Department. Once she was through the gate, the university reassigned her to Law.

3-3b Video prompt｜First frame = last frame of 3-3a. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 3-3a exactly as the first frame: the Short-Braids Student walking under the crabapple trees, both hands gripping her satchel strap, the stall out of focus in the distance. Action: She stops a few steps from the stall and looks down at a crabapple by her foot. Do not: No cuts. No speaking. No new characters approaching her.

3-3c Video prompt｜First frame = last frame of 3-3b. 16:9, 8 seconds, medium shot, following. [First-frame reference | top priority] Use the last frame of 3-3b exactly as the first frame: the Short-Braids Student standing still, looking down at the crabapple by her foot. Action: She raises her head and walks on toward the stall. The camera follows. Do not: No cuts. No speaking. No new characters approaching her.

P-3.4 First-frame image｜A September afternoon in 1988, in front of the Dongjiang University gymnasium, the Langtaosha Literary Society stall. Medium shot, three figures: the Short-Braids Student (look as above) stands in front of the desk on the left of the frame, side-on to the camera; behind the desk, the Bespectacled Student (look as above) has just looked up at her, the poetry magazine half closed in his hand; behind the desk on the right, the Girl in the Red Dress (look as above) is still side-on with her back partly to the camera, head down, writing; a sign-up sheet on the desk has been pushed in front of the Short-Braids Student; crabapple trees in the background, warm golden sunlight.

3-4 Video prompt｜Re-render from the uploaded first frame P-3.4, 16:9 landscape, cinematic, September 1988, in front of the Dongjiang University gymnasium, afternoon. 8 seconds, medium shot, three figures. [First-frame reference | top priority] Use the uploaded first frame P-3.4 exactly as the first frame of the video. Do not redesign the three characters, the desk, the sign-up sheet or the camera position. Keep everything in the first frame: the Short-Braids Student in front of the desk on the left; the Bespectacled Student behind the desk on the left, looking up; the Girl in the Red Dress behind the desk on the right, side-on with her back partly to the camera; the sign-up sheet in front of the Short-Braids Student; warm golden light. The first frame is: the Bespectacled Student looking her over. Action: Sizing up the Short-Braids Student, the Bespectacled Student says: “Which department are you?” Do not: No cuts. Only the Bespectacled Student speaks; no one else speaks. Do not let the Girl in the Red Dress turn around.

3-5 Video prompt｜First frame = last frame of 3-4. 16:9, 10 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 3-4 exactly as the first frame: the Bespectacled Student looking at the Short-Braids Student; the Short-Braids Student has picked up a fountain pen and is about to fill in the form; the Girl in the Red Dress still with her back to them. Action: The pen the Short-Braids Student was about to write with stops. The Short-Braids Student says quietly: “Law.” Do not: No cuts. Only the Short-Braids Student speaks. Do not let the Girl in the Red Dress turn around.

3-6a Video prompt｜First frame = last frame of 3-5. 16:9, 8 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 3-5 exactly as the first frame: the Short-Braids Student’s pen stopped above the sign-up sheet; the Girl in the Red Dress behind the desk on the right, side-on with her back partly to the camera. Action: The Girl in the Red Dress stops writing and slowly turns around, showing her face full-on for the first time. Do not: No cuts. No speaking. Do not swap the characters’ positions.

3-6b Video prompt｜First frame = last frame of 3-6a. 16:9, 6 seconds, medium shot, three figures. [First-frame reference | top priority] Use the last frame of 3-6a exactly as the first frame: the Girl in the Red Dress has turned around, her face toward the Short-Braids Student; the Short-Braids Student’s pen still stopped. Action: The Girl in the Red Dress looks the Short-Braids Student up and down, from above. The Girl in the Red Dress says: “Law?” Do not: No cuts. Only the Girl in the Red Dress speaks. Do not swap the characters’ positions.

P-3.7 First-frame image｜A September afternoon in 1988, in front of the Dongjiang University gymnasium. Over-the-shoulder close shot: over the shoulder of the Short-Braids Student (look as above), facing the Girl in the Red Dress (look as above) behind the desk; she is sitting, face full-on, long hair over her shoulders, red dress, mechanical watch on her wrist, a scrutinizing look in her eyes; crabapple trees out of focus behind her; warm golden sunlight.

3-7 Video prompt｜Re-render from the uploaded first frame P-3.7, 16:9 landscape, cinematic, September 1988, in front of the Dongjiang University gymnasium, afternoon. 8 seconds, over-the-shoulder close shot. [First-frame reference | top priority] Use the uploaded first frame P-3.7 exactly as the first frame of the video. Do not redesign the characters, the costumes or the camera position. Keep everything in the first frame: the Short-Braids Student’s shoulder and short braid out of focus in the left foreground; the Girl in the Red Dress in medium shot on the right of the frame, face full-on, a scrutinizing look; crabapple trees in the background; warm golden light. The first frame is: the Girl in the Red Dress looking at her. Action: The Girl in the Red Dress lifts her chin slightly. The Girl in the Red Dress says: “Do you have… any work?” Do not: No cuts. Only the Girl in the Red Dress speaks. No new characters.

P-3.8 First-frame image｜A September afternoon in 1988, in front of the Dongjiang University gymnasium. Close-up above an old classroom desk: the hand of the Short-Braids Student (look as above) pulls a slightly creased stack of white manuscript paper out of her army-green canvas satchel, a few lines of blue fountain-pen writing on it (writing need not be legible); on the other side of the frame, the hand of the Girl in the Red Dress (look as above) rests on the desk, a mechanical watch on her wrist; warm golden sunlight.

3-8 Video prompt｜Re-render from the uploaded first frame P-3.8, 16:9 landscape, cinematic, September 1988, in front of the Dongjiang University gymnasium, afternoon. 10 seconds, close-up, slow motion. [First-frame reference | top priority] Use the uploaded first frame P-3.8 exactly as the first frame of the video. Do not redesign the hands, the manuscript paper, the satchel or the camera position. Keep everything in the first frame: the Short-Braids Student’s hand and the manuscript pages on the left of the frame, the cuff of her checked jacket; the hand of the Girl in the Red Dress and her mechanical watch on the desk on the right of the frame; warm golden light. The first frame is: the pages just pulled out of the satchel. Action: In slow motion, without a word, the Short-Braids Student hands the pages across. The Girl in the Red Dress takes them with both hands. Do not: No cuts. No speaking. No faces. No legible text.

P-3.9 First-frame image｜A September afternoon in 1988, in front of the Dongjiang University gymnasium. Medium close shot: the Girl in the Red Dress (look as above) sits behind the desk, holding a few pages of white manuscript paper in both hands, head down, reading; the Bespectacled Student (look as above) beside her tilts his head to read too; in the out-of-focus foreground, the back of the Short-Braids Student (look as above) and her satchel strap; crabapple leaves drifting down, warm golden sunlight.

3-9a Video prompt｜Re-render from the uploaded first frame P-3.9, 16:9 landscape, cinematic, September 1988, in front of the Dongjiang University gymnasium, afternoon. 8 seconds, medium close shot. [First-frame reference | top priority] Use the uploaded first frame P-3.9 exactly as the first frame of the video. Do not redesign the characters, the manuscript pages, the crabapple trees or the camera position. Keep everything in the first frame: the Girl in the Red Dress centered behind the desk, head down, reading; the Bespectacled Student on her left with his head tilted; the Short-Braids Student’s back out of focus in the foreground; crabapple leaves drifting down; warm golden light. The first frame is: the Girl in the Red Dress reading. Action: The eyes of the Girl in the Red Dress move down line by line, to the end of the last page. Do not: No cuts. No speaking. Do not let the Short-Braids Student turn around.

3-9b Video prompt｜First frame = last frame of 3-9a. 16:9, 10 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 3-9a exactly as the first frame: the Girl in the Red Dress looking down at the end of the manuscript, the Bespectacled Student beside her with his head tilted, the Short-Braids Student’s back in the foreground. Action: The Girl in the Red Dress reads aloud softly. The Girl in the Red Dress says: “Set ringing the records pressed from those rings… but records are not round… a blank remains, that cannot be filled in…” Do not: No cuts. Only the Girl in the Red Dress speaks. Do not let the Short-Braids Student turn around.

3-10a Video prompt｜First frame = last frame of 3-9b. 16:9, 10 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 3-9b exactly as the first frame: the Girl in the Red Dress holding the manuscript, the Bespectacled Student beside her, the Short-Braids Student’s back in the foreground. Action: The Girl in the Red Dress lifts her face and looks the Short-Braids Student in the eye for the first time. Her eyes turn bright and warm. The Girl in the Red Dress says: “What a line! ‘Records are not round; a blank remains, that cannot be filled in!’” Do not: No cuts. Only the Girl in the Red Dress speaks. No new characters.

3-10b Video prompt｜First frame = last frame of 3-10a. 16:9, 6 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 3-10a exactly as the first frame: the Girl in the Red Dress looking up at the Short-Braids Student, eyes warm, the manuscript in her hands. Action: The Girl in the Red Dress goes on: “There’s a touch of Shu Ting in this…” Do not: No cuts. Only the Girl in the Red Dress speaks. No new characters.

P-3.11 First-frame image｜A September afternoon in 1988, in front of the Dongjiang University gymnasium. Reverse close shot: the Short-Braids Student (look as above) stands in front of the desk, face full-on, both hands gripping her satchel strap, eyes slightly lowered; behind her, out of focus, the crabapple trees and the busy crowds at the stalls in the distance; warm golden sunlight.

3-11 Video prompt｜Re-render from the uploaded first frame P-3.11, 16:9 landscape, cinematic, September 1988, in front of the Dongjiang University gymnasium, afternoon. 10 seconds, close shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-3.11 exactly as the first frame of the video. Do not redesign the character, the costume, the background or the camera position. Keep everything in the first frame: the Short-Braids Student centered, face full-on, both hands gripping her satchel strap; out-of-focus crabapple trees and crowd behind her; warm golden light. The first frame is: her eyes slightly lowered. Action: The Short-Braids Student raises her eyes, a little gladness she cannot hide at the corners of her mouth. The Short-Braids Student says: “Really?” Do not: No cuts. Only the Short-Braids Student speaks. No new characters.

3-12a Video prompt｜Re-render from the uploaded first frame P-3.7, 16:9 landscape, cinematic, September 1988, in front of the Dongjiang University gymnasium, afternoon. 6 seconds, over-the-shoulder close shot. (reuse P-3.7 first-frame image) [First-frame reference | top priority] Use the uploaded first frame P-3.7 exactly as the first frame of the video, except that the Girl in the Red Dress is holding the manuscript pages and her expression is warm. Everything else as in P-3.7: the Short-Braids Student’s shoulder out of focus in the left foreground, the Girl in the Red Dress face full-on on the right. The first frame is: the Girl in the Red Dress looking at her. Action: The Girl in the Red Dress nods earnestly. The Girl in the Red Dress says: “Yes.” Do not: No cuts. Only the Girl in the Red Dress speaks.

3-12b Video prompt｜First frame = last frame of 3-12a. 16:9, 6 seconds, over-the-shoulder close shot. [First-frame reference | top priority] Use the last frame of 3-12a exactly as the first frame: the Girl in the Red Dress holding the manuscript, face full-on, having just nodded. Action: The Girl in the Red Dress goes on to ask: “You must love Shu Ting, right?” Do not: No cuts. Only the Girl in the Red Dress speaks.

3-13 Video prompt｜Re-render from the uploaded first frame P-3.11, 16:9 landscape, cinematic, September 1988, in front of the Dongjiang University gymnasium, afternoon. 10 seconds, close shot, single figure. (reuse P-3.11 first-frame image) [First-frame reference | top priority] Use the uploaded first frame P-3.11 exactly as the first frame of the video: the Short-Braids Student centered, face full-on, both hands gripping her satchel strap, background out of focus. Action: The Short-Braids Student hesitates a moment. The Short-Braids Student says: “I do — The Double-Masted Ship…” Do not: No cuts. Only the Short-Braids Student speaks.

P-3.14 First-frame image｜A September afternoon in 1988, in front of the Dongjiang University gymnasium. Medium shot: the Girl in the Red Dress (look as above) has stood up from behind the desk, face full-on, her hands just clapped together, a childlike smile on her face; behind her, the bronze bust of the benefactor and the crabapple trees; at the left edge of the frame, half the profile of the Short-Braids Student (look as above); warm golden sunlight.

3-14 Video prompt｜Re-render from the uploaded first frame P-3.14, 16:9 landscape, cinematic, September 1988, in front of the Dongjiang University gymnasium, afternoon. 10 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-3.14 exactly as the first frame of the video. Do not redesign the characters, the bronze bust, the crabapple trees or the camera position. Keep everything in the first frame: the Girl in the Red Dress standing in the middle of the frame, face full-on, hands clapped together; the bronze bust and crabapple trees in the background; half the profile of the Short-Braids Student at the left edge; warm golden light. The first frame is: she has just clapped her hands. Action: Excited, the Girl in the Red Dress says: “What a coincidence — I love that poem too!” Do not: No cuts. Only the Girl in the Red Dress speaks. Do not swap positions.

3-15a Video prompt｜First frame = last frame of 3-14. 16:9, 10 seconds, medium shot, held like a still. [First-frame reference | top priority] Use the last frame of 3-14 exactly as the first frame: the Girl in the Red Dress standing, the bronze bust and crabapple trees behind her, half the profile of the Short-Braids Student on the left. Action: The Girl in the Red Dress recites with deep feeling, like a professional broadcaster. The Girl in the Red Dress says: “Mist has dampened both my wings; yet the wind allows no further hesitation.” The camera does not move. Do not: No cuts. Only the Girl in the Red Dress speaks. Do not let the Short-Braids Student speak or turn around.

3-15b Video prompt｜First frame = last frame of 3-15a. 16:9, 10 seconds, medium shot, held like a still. [First-frame reference | top priority] Use the last frame of 3-15a exactly as the first frame: the Girl in the Red Dress standing, reciting, the bronze bust and crabapple trees behind her, half the profile of the Short-Braids Student on the left. Action: The Girl in the Red Dress recites on: “O shore, beloved shore — only yesterday I bade you farewell, and today you are here again…” The camera does not move. Do not: No cuts. Only the Girl in the Red Dress speaks. Do not let the Short-Braids Student speak or turn around.

3-16a Video prompt｜First frame = last frame of 3-15b. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 3-15b exactly as the first frame: the Girl in the Red Dress standing, having finished reciting, half the profile of the Short-Braids Student on the left. Action: The Girl in the Red Dress exchanges a glance with someone out of frame behind the desk, then turns to face the Short-Braids Student. Speaking quickly, the Girl in the Red Dress says: “Congratulations — you’re accepted!” Do not: No cuts. Only the Girl in the Red Dress speaks. No new characters.

3-16b Video prompt｜First frame = last frame of 3-16a. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 3-16a exactly as the first frame: the Girl in the Red Dress facing the Short-Braids Student, smiling. Action: The Girl in the Red Dress goes on: “You’re really gifted; I can hardly believe you’re a Law student!” Do not: No cuts. Only the Girl in the Red Dress speaks. No new characters.

P-3.17 First-frame image｜A September afternoon in 1988, in front of the Dongjiang University gymnasium. Side-on medium two-shot: the Girl in the Red Dress (look as above) on the right of the frame, half a head taller than the Short-Braids Student, holding out her right hand to the left; the Short-Braids Student (look as above) on the left of the frame, facing right; a corner of the desk between them; the bronze bust and crabapple trees in the background, leaves drifting down, warm golden sunlight.

3-17a Video prompt｜Re-render from the uploaded first frame P-3.17, 16:9 landscape, cinematic, September 1988, in front of the Dongjiang University gymnasium, afternoon. 8 seconds, side-on medium two-shot. [First-frame reference | top priority] Use the uploaded first frame P-3.17 exactly as the first frame of the video. Do not redesign the two characters, their height difference, the bronze bust or the camera position. Keep everything in the first frame: the Girl in the Red Dress on the right, hand held out; the Short-Braids Student on the left; the bronze bust and crabapple trees in the background; warm golden light. The first frame is: the hand of the Girl in the Red Dress held out in midair. Action: The Girl in the Red Dress says: “Let’s introduce ourselves — I’m Li Hong…” Do not: No cuts. Only the Girl in the Red Dress speaks. Do not swap the two characters’ positions.

3-17b Video prompt｜First frame = last frame of 3-17a. 16:9, 8 seconds, side-on medium two-shot. [First-frame reference | top priority] Use the last frame of 3-17a exactly as the first frame: the hand of the Girl in the Red Dress still held out in midair, the Short-Braids Student on the left looking at her. Action: The Short-Braids Student holds out her hand. The two hands clasp. Do not: No cuts. No speaking. Do not swap the two characters’ positions. No hugging.

P-3.17c First-frame image｜A September afternoon in 1988, the open ground in front of the Dongjiang University gymnasium: an old Republican-era gymnasium with a glazed-tile roof; in front of it, a kindly-faced bronze bust of an overseas Chinese benefactor; crabapple trees all around, red crabapples fallen all over the ground; a row of classroom-desk stalls across the open ground, students coming and going; warm golden sunlight. Three in the afternoon; the sun is slanting, and the reflections on the glazed tiles have turned orange. Locked-off extreme full shot, camera at the far end of the open ground: the bronze bust in the center of the frame, a crabapple leaf on its shoulder; the other stalls are being packed up one after another, fewer people now; at the edge of the frame, the Langtaosha Literary Society desk stall is empty; the Bespectacled Student (look as above) stands alone behind the desk, reaching to pull the pins out of the poster; a tin box on the desk.

3-17c Video prompt｜Re-render from the uploaded first frame P-3.17c, 16:9 landscape, cinematic, September 1988, in front of the Dongjiang University gymnasium, three in the afternoon. 10 seconds, extreme full shot, locked-off. (supplementary shot, source: Ep. 1, Sc. 1 ◆ 1-14a) [First-frame reference | top priority] Use the uploaded first frame P-3.17c exactly as the first frame of the video. Do not redesign the gymnasium, the bronze bust, the crabapple trees, the stalls, the character or the camera position. Keep everything in the first frame: the bronze bust in the center, a crabapple leaf on its shoulder; the open ground being cleared; the Langtaosha stall and the Bespectacled Student at the edge of the frame; slanting sun, orange reflections on the glazed tiles. The first frame is: him reaching to pull out a pin. Action: The Bespectacled Student pulls the pins out of the poster one by one and drops them into the tin box. Do not: No cuts. No speaking. Do not show the Girl in the Red Dress or the Short-Braids Student. No legible text.

2. The Mid-Autumn Poetry Reading (Ep. 1, Sc. 2)

P-3.18 First-frame image｜Mid-Autumn night, 1988, the small grove below the Foreign Languages building at Dongjiang University: a big, round moon; moonlight falling through the leaves onto the grass like a film of quicksilver; about thirty students sitting in a circle on the grass; in the middle of the circle, a small square table covered with red velvet, an old-fashioned microphone and a few poetry magazines on it; a mimeographed banner hung between two trees; cold blue-silver moonlight. Overhead extreme long shot, looking down from an upstairs window; the banner lettering need not be legible.

3-18 Video prompt｜Re-render from the uploaded first frame P-3.18, 16:9 landscape, cinematic, Mid-Autumn night 1988, the small grove at Dongjiang University. 10 seconds, overhead extreme long shot. [First-frame reference | top priority] Use the uploaded first frame P-3.18 exactly as the first frame of the video. Do not redesign the grove, the moon, the crowd, the square table or the camera position. Keep everything in the first frame: the students in an uneven circle; the red-velvet table and microphone in the center of the circle; the banner behind the circle; the moon at the top of the frame; cold blue-silver moonlight. The first frame is: the whole scene, still, students talking quietly. Action: The leaves sway gently in the wind; the dappled moonlight on the ground shifts. The camera descends very slowly toward the crowd. Do not: No cuts. Do not let anyone speak. Do not change the sky. [NARRATION] Li Hong was from the city. Her father was director of a large state-owned enterprise. She wrote poetry, and fiction too, and she was president of the Langtaosha Literary Society.

P-3.19 First-frame image｜Mid-Autumn night, 1988, the small grove below the Foreign Languages building at Dongjiang University. Side-on medium close shot: the Girl in the Red Dress (look as above, red dress, hair gathered into a loose knot hanging at the back of her head) stands at the small red-velvet table, facing the old-fashioned microphone; the moonlight comes from behind her, the left half of her face lit, the right half in shadow; in the background, the seated students and tree trunks; cold blue-silver moonlight.

3-19a Video prompt｜Re-render from the uploaded first frame P-3.19, 16:9 landscape, cinematic, Mid-Autumn night 1988, the small grove at Dongjiang University. 8 seconds, side-on medium close shot. [First-frame reference | top priority] Use the uploaded first frame P-3.19 exactly as the first frame of the video. Do not redesign the character, the microphone, the square table or the camera position. Keep everything in the first frame: the Girl in the Red Dress standing side-on at the microphone, left side of her face lit, right side dark; students and tree trunks behind her; cold blue-silver moonlight. The first frame is: she raises one hand for quiet. Action: The Girl in the Red Dress lowers her hand, looks around the circle, and speaks into the microphone. The Girl in the Red Dress says: “Friends of Langtaosha — tonight is the Mid-Autumn Festival.” Do not: No cuts. Only the Girl in the Red Dress speaks. No new characters.

3-19b Video prompt｜First frame = last frame of 3-19a. 16:9, 6 seconds, side-on medium close shot. [First-frame reference | top priority] Use the last frame of 3-19a exactly as the first frame: the Girl in the Red Dress standing side-on at the microphone, half in light, half in shadow. Action: The Girl in the Red Dress says: “The moon is full.” Do not: No cuts. Only the Girl in the Red Dress speaks.

3-19c Video prompt｜First frame = last frame of 3-19b. 16:9, 6 seconds, side-on medium close shot. [First-frame reference | top priority] Use the last frame of 3-19b exactly as the first frame: the Girl in the Red Dress standing side-on at the microphone, half in light, half in shadow. Action: The Girl in the Red Dress says: “Our reading begins now.” Do not: No cuts. Only the Girl in the Red Dress speaks.

3-20 Video prompt｜First frame = last frame of 3-19c. 16:9, 10 seconds, side-on medium close shot. [First-frame reference | top priority] Use the last frame of 3-19c exactly as the first frame: the Girl in the Red Dress standing side-on at the microphone, half in light, half in shadow. Action: The Girl in the Red Dress says: “The first poem is To the Oak, by Shu Ting. I will recite it.” Do not: No cuts. Only the Girl in the Red Dress speaks.

P-3.21 First-frame image｜Mid-Autumn night, 1988, the small grove below the Foreign Languages building at Dongjiang University. Medium shot: under a tree at the outermost edge of the audience, the Short-Braids Student (look as above) sits on the grass; beside her lies a guzheng zither in a dark-blue velvet cover, one of her hands resting on the cover; she is looking up toward the center of the circle, out of frame; the profiles of a few students around her; moonlight falls through the leaves onto her face; cold blue-silver moonlight.

3-21 Video prompt｜Re-render from the uploaded first frame P-3.21, 16:9 landscape, cinematic, Mid-Autumn night 1988, the small grove at Dongjiang University. 10 seconds, medium shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-3.21 exactly as the first frame of the video. Do not redesign the character, the zither, the tree or the camera position. Keep everything in the first frame: the Short-Braids Student sitting under the tree, just left of center; the zither in its dark-blue velvet cover lying beside her; her hand on the cover; her gaze toward the right of the frame; dappled moonlight. The first frame is: her looking toward the center of the circle. Action: Her fingers slowly trace the outline of the zither cover once, then stop. Her eyes stay on the center of the circle, full of admiration and a little curiosity. Do not: No cuts. No speaking. Do not stand up.

P-3.22 First-frame image｜Mid-Autumn night, 1988, the small grove below the Foreign Languages building at Dongjiang University. Medium close shot, slightly low angle: the Girl in the Red Dress (look as above, red dress, hair gathered at the back of her head) stands at the microphone, leaning slightly forward; moonlight spills through the leaves behind her; in the background, the night sky and the tree canopy; cold blue-silver moonlight.

3-22 Video prompt｜Re-render from the uploaded first frame P-3.22, 16:9 landscape, cinematic, Mid-Autumn night 1988, the small grove at Dongjiang University. 10 seconds, medium close shot, slightly low angle, slow motion. [First-frame reference | top priority] Use the uploaded first frame P-3.22 exactly as the first frame of the video. Do not redesign the character, the costume, the canopy or the camera position. Keep everything in the first frame: the Girl in the Red Dress centered, leaning forward; hands hanging at her sides; moonlight behind her; cold blue-silver. The first frame is: her leaning slightly forward, just before she begins. Action: In slow motion, as she recites, the Girl in the Red Dress raises both arms high, all ten fingers spread wide, like a slender tree standing tall. The Girl in the Red Dress says: “I must be a kapok tree beside you, standing with you as a tree.” Moonlight shines through her fingers. Do not: No cuts. Only the Girl in the Red Dress speaks. No new characters.

P-3.22a First-frame image｜Mid-Autumn night, 1988, the small grove below the Foreign Languages building at Dongjiang University: a big, round moon; moonlight falling through the leaves onto the grass like a film of quicksilver; about thirty students sitting in a circle on the grass; in the middle of the circle, a small square table covered with red velvet, an old-fashioned microphone and a few poetry magazines on it; a mimeographed banner hung between two trees; cold blue-silver moonlight. Close shot, side-on, slightly low camera: at the outermost edge of the audience, the Bespectacled Student (look as above) sits cross-legged on the grass, a poetry magazine open on his knee, one hand pinching the corner of a half-turned page; two small white patches of moonlight on his glasses, his mouth slightly open; beside him, two female students huddle under one coat, shoulder to shoulder, both facing the same direction out of frame; dappled moonlight on the ground.

3-22a Video prompt｜Re-render from the uploaded first frame P-3.22a, 16:9 landscape, cinematic, Mid-Autumn night 1988, the small grove at Dongjiang University. 8 seconds, close shot. (supplementary shot, listener reaction, source: Ep. 1, Sc. 2 ◆ 2-7a) [First-frame reference | top priority] Use the uploaded first frame P-3.22a exactly as the first frame of the video. Do not redesign the characters, the poetry magazine, the coat or the camera position. Keep everything in the first frame: the Bespectacled Student sitting cross-legged, the poetry magazine on his knee, his hand pinching the page corner; the moonlight on his glasses; the two female students beside him huddled under one coat, facing the same direction; dappled moonlight. The first frame is: him forgetting to turn the page. Action: He does not move. A leaf falls onto the page of the poetry magazine. No one brushes it away. Do not: No cuts. No speaking. Do not turn the page. No new characters.

P-3.23 First-frame image｜Mid-Autumn night, 1988, the small grove below the Foreign Languages building at Dongjiang University. Medium shot: a low wooden stool in front of the small red-velvet table; the Short-Braids Student (look as above) sits on the stool; in front of her lies a dark rosewood guzheng zither, its strings like a row of silver threads in the moonlight; the dark-blue velvet cover, taken off, lies heaped at the foot of the stool; her hands hover above the strings; the seated audience out of focus behind her; cold blue-silver moonlight.

3-23a Video prompt｜Re-render from the uploaded first frame P-3.23, 16:9 landscape, cinematic, Mid-Autumn night 1988, the small grove at Dongjiang University. 6 seconds, medium shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-3.23 exactly as the first frame of the video. Do not redesign the character, the zither, the low stool or the camera position. Keep everything in the first frame: the Short-Braids Student centered on the low stool; the zither lying in front of her; her hands hovering above the strings; the velvet cover heaped at the foot of the stool; the audience out of focus; moonlight. The first frame is: her hands not yet lowered. Action: Her fingers lightly pluck the first string: one clear, bright note. Do not: No cuts. No speaking. Do not let the audience stand up or move about.

3-23b Video prompt｜First frame = last frame of 3-23a. 16:9, 10 seconds, medium shot pushing in. [First-frame reference | top priority] Use the last frame of 3-23a exactly as the first frame: the Short-Braids Student sitting at the zither, her fingers just lifted from the first string, the audience out of focus. Action: She begins to play. Her look slowly changes from shy to focused and calm. The camera pushes in slowly. Do not: No cuts. No speaking. Do not let the audience stand up or move about.

P-3.23c First-frame image｜Mid-Autumn night, 1988, the small grove below the Foreign Languages building at Dongjiang University: a big, round moon; moonlight falling through the leaves onto the grass like a film of quicksilver; about thirty students sitting in a circle on the grass; in the middle of the circle, a small square table covered with red velvet, an old-fashioned microphone and a few poetry magazines on it; a mimeographed banner hung between two trees; cold blue-silver moonlight. The moon has risen to directly above the tree canopy. Locked-off medium shot from the edge of the grove toward the red-velvet table: the music has just stopped; the Short-Braids Student (look as above) is still sitting on the low stool, both hands resting on the strings; the Bespectacled Student (look as above) stands at the red-velvet table, bending over, holding the microphone cable; the audience around them is starting to get up.

3-23c Video prompt｜Re-render from the uploaded first frame P-3.23c, 16:9 landscape, cinematic, Mid-Autumn night 1988, the small grove at Dongjiang University. 10 seconds, medium shot, locked-off. (supplementary shot, source: Ep. 1, Sc. 2 ◆ 2-9b) [First-frame reference | top priority] Use the uploaded first frame P-3.23c exactly as the first frame of the video. Do not redesign the grove, the square table, the zither, the characters or the camera position. Keep everything in the first frame: the Short-Braids Student sitting on the low stool, hands on the strings; the Bespectacled Student at the red-velvet table holding the cable; the audience around them starting to get up; the moon directly above the canopy; cold blue-silver moonlight. The first frame is: the moment the gathering breaks up. Action: The Bespectacled Student unplugs the microphone and winds up the cable, loop by loop. Behind him, students stand up one after another, brushing bits of grass off their clothes. Do not: No cuts. No speaking. Do not change the sky.

P-3.24 First-frame image｜Mid-Autumn night, 1988, the small grove below the Foreign Languages building at Dongjiang University. Long shot, silhouettes: the reading is over and the grass is empty; the Girl in the Red Dress (look as above) and the Short-Braids Student (look as above) sit side by side under a tree with their backs to the camera, heads tilted up toward the big round moon above the canopy; beside them lies the zither, back in its velvet cover; cold blue-silver moonlight.

3-24 Video prompt｜Re-render from the uploaded first frame P-3.24, 16:9 landscape, cinematic, Mid-Autumn night 1988, the small grove at Dongjiang University. 10 seconds, long shot. [First-frame reference | top priority] Use the uploaded first frame P-3.24 exactly as the first frame of the video. Do not redesign the two characters, the tree, the zither, the moon or the camera position. Keep everything in the first frame: the Girl in the Red Dress on the right, the Short-Braids Student on the left, sitting side by side under the tree with their backs to the camera; the zither beside them; the moon above the canopy; cold blue-silver. The first frame is: the two with their heads tilted up, still. Action: Neither of them speaks. They look at the moon. The camera slowly pulls back; the two become two small silhouettes in the moonlit grove. The image fades to black. Do not: No cuts. No speaking. Do not turn around. No new characters.

3. The Heidegger Lecture (Ep. 1, Sc. 6)

P-3.24a First-frame image｜A November night in 1988, the entrance of New Building No. 4 at Dongjiang University: every window of the newly built teaching building lit up, figures pressed against the windows; bicycles parked every which way in front of the building, a few fallen over on the sidewalk; incandescent light pouring out of the doorway onto the steps, turning them a glaring white; the night outside a blue-black. Locked-off medium-full shot from the road in front of the building toward the entrance: bicycles heaped in the foreground; the steps packed with students in dark coats pushing their way in.

3-24a Video prompt｜Re-render from the uploaded first frame P-3.24a, 16:9 landscape, cinematic, November 1988, the entrance of New Building No. 4 at Dongjiang University, night. 10 seconds, medium-full shot, locked-off. (supplementary shot, source: Ep. 1, Sc. 6 ◆ 6-1a) [First-frame reference | top priority] Use the uploaded first frame P-3.24a exactly as the first frame of the video. Do not redesign the teaching building, the windows, the bicycles, the steps, the crowd or the camera position. Keep everything in the first frame: every window upstairs lit; the bicycles parked every which way in the foreground; the steps packed with students; glaring white light from the doorway; blue-black night. The first frame is: the crowd squeezing in through the door. Action: Wave after wave of students squeeze in through the door. Someone holds a notebook up over their head. Do not: No cuts. Do not let anyone speak to the camera. No legible text.

P-3.25 First-frame image｜A November night in 1988, the 800-seat tiered lecture hall in New Building No. 4 at Dongjiang University: row upon row of tiered seats full of students, the aisles and windowsills crammed with people too; at the front, a wooden lectern and a dark-green blackboard, a microphone on the lectern; glaring incandescent lights overhead. High overhead shot of the whole hall from the back-row doorway: a dense mass of heads; on the platform, a tiny figure, the Girl in the Red Dress (look as above, red turtleneck sweater, long black skirt), bends over to adjust the microphone.

3-25a Video prompt｜Re-render from the uploaded first frame P-3.25, 16:9 landscape, cinematic, November 1988, the lecture hall at Dongjiang University, night. 8 seconds, overhead extreme full shot. [First-frame reference | top priority] Use the uploaded first frame P-3.25 exactly as the first frame of the video. Do not redesign the hall, the crowd, the lectern, the blackboard or the camera position. Keep everything in the first frame: the tiered seats full, the aisles and windowsills crammed; the lectern far off at the bottom of the frame, the Girl in the Red Dress very small on the platform; glaring incandescent light. The first frame is: the whole hall of heads stirring. Action: The crowd stirs noisily; people in the aisles push forward. The camera does not move. Do not: No cuts. Do not let anyone speak to the camera. Do not change the light.

3-25b Video prompt｜First frame = last frame of 3-25a. 16:9, 8 seconds, overhead extreme full shot. [First-frame reference | top priority] Use the last frame of 3-25a exactly as the first frame: the hall full of heads; on the platform, the Girl in the Red Dress bent over, adjusting the microphone. Action: On the platform, the Girl in the Red Dress finishes adjusting the microphone, straightens up, and looks toward the door. The camera does not move. Do not: No cuts. Do not let anyone speak to the camera. Do not change the light.

P-3.26 First-frame image｜A November night in 1988, the tiered lecture hall in New Building No. 4 at Dongjiang University, in a packed aisle. Medium close shot: the Short-Braids Student (look as above) is squeezed in on all sides, a notebook tucked under her arm, sweat on her forehead, standing on tiptoe to look toward the lectern ahead; around her, out-of-focus shoulders and the backs of heads; glaring incandescent light.

3-26a Video prompt｜Re-render from the uploaded first frame P-3.26, 16:9 landscape, cinematic, November 1988, the lecture hall at Dongjiang University, night. 6 seconds, medium close shot, handheld. [First-frame reference | top priority] Use the uploaded first frame P-3.26 exactly as the first frame of the video. Do not redesign the character, the crowd or the camera position. Keep everything in the first frame: the Short-Braids Student centered, squeezed in, notebook under her arm, on tiptoe looking ahead; out-of-focus crowd all around; incandescent light. The first frame is: her on tiptoe. Action: The Short-Braids Student raises a hand toward the lectern and waves. Calling loudly, the Short-Braids Student says: “Li Hong! Li Hong! I’m here!” Do not: No cuts. Only the Short-Braids Student speaks. No new characters coming up in front of her.

3-26b Video prompt｜First frame = last frame of 3-26a. 16:9, 8 seconds, medium close shot, handheld. [First-frame reference | top priority] Use the last frame of 3-26a exactly as the first frame: the Short-Braids Student with her hand raised, on tiptoe, squeezed by the crowd. Action: The Short-Braids Student calls again: “Where’s the seat?” It is too noisy; her voice is drowned out. Disappointment shows on her face. Do not: No cuts. Only the Short-Braids Student speaks. No new characters coming up in front of her.

3-27a Video prompt｜First frame = last frame of 3-26b. 16:9, 8 seconds, medium close shot, handheld. [First-frame reference | top priority] Use the last frame of 3-26b exactly as the first frame: the Short-Braids Student with her hand raised, squeezed by the crowd, disappointed. Action: The Short-Braids Student lowers her hand and tries to step back, but the people behind her press against her like a wall. She cannot move. Do not: No cuts. No speaking. No new characters.

3-27b Video prompt｜First frame = last frame of 3-27a. 16:9, 8 seconds, medium close shot, handheld. [First-frame reference | top priority] Use the last frame of 3-27a exactly as the first frame: the Short-Braids Student wedged in the middle of the crowd, the notebook under her arm. Action: Suddenly she stops short and turns her head, searching toward the left of the frame for a voice. (Off-screen male voice, dubbed in post: “Gu Zheng!” … “Gu — Zheng!”) Do not: No cuts. No one in the frame speaks. No new characters.

P-3.28 First-frame image｜A November night in 1988, the tiered lecture hall in New Building No. 4 at Dongjiang University, the row of seats on the left. Medium shot: the Broad-Forehead Youth (look as above) has just stood up from his seat, smiling broadly, one hand raised and waving, the other holding a thread-bound poetry collection; there is an empty seat beside him; seated students in the rows in front and behind; glaring incandescent light.

3-28 Video prompt｜Re-render from the uploaded first frame P-3.28, 16:9 landscape, cinematic, November 1988, the lecture hall at Dongjiang University, night. 10 seconds, medium shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-3.28 exactly as the first frame of the video. Do not redesign the character, the tape on the glasses, the poetry collection, the seats or the camera position. Keep everything in the first frame: the Broad-Forehead Youth standing in the middle of the frame, three-quarter front view turned slightly right, one hand raised, the other holding the poetry collection; an empty seat beside him; students in the rows in front and behind; incandescent light. The first frame is: him just standing up and waving. Action: The Broad-Forehead Youth waves toward the right of the frame and raises his voice. The Broad-Forehead Youth says: “Gu Zheng — over here, I’ve saved you a seat!” Do not: No cuts. Only the Broad-Forehead Youth speaks. Do not let the students beside him speak. [NARRATION] That night I picked her out among eight hundred people. The last time I had seen her was in Chuzhou, at a dinner her brother gave.

P-3.29 First-frame image｜A November night in 1988, the tiered lecture hall in New Building No. 4 at Dongjiang University. Close shot: the Short-Braids Student (look as above) in the packed aisle, face turned toward the left of the frame, staring blankly, her eyes hesitant; the out-of-focus crowd around her; glaring incandescent light.

3-29 Video prompt｜Re-render from the uploaded first frame P-3.29, 16:9 landscape, cinematic, November 1988, the lecture hall at Dongjiang University, night. 10 seconds, close shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-3.29 exactly as the first frame of the video. Do not redesign the character or the camera position. Keep everything in the first frame: the Short-Braids Student centered, face turned left, hesitant; out-of-focus crowd; incandescent light. The first frame is: her staring blankly. Action: The Short-Braids Student does not move. Hesitantly, the Short-Braids Student says: “You’re…?” Do not: No cuts. Only the Short-Braids Student speaks.

3-30a Video prompt｜Re-render from the uploaded first frame P-3.28, 16:9 landscape, cinematic, November 1988, the lecture hall at Dongjiang University, night. 6 seconds, medium shot, single figure. (reuse P-3.28 first-frame image) [First-frame reference | top priority] Use the uploaded first frame P-3.28 exactly as the first frame of the video, except that the Broad-Forehead Youth has lowered his hand and holds the poetry collection against his chest. Everything else as in P-3.28. The first frame is: him standing, grinning. Action: Grinning, the Broad-Forehead Youth says: “Don’t you remember me?” Do not: No cuts. Only the Broad-Forehead Youth speaks.

3-30b Video prompt｜First frame = last frame of 3-30a. 16:9, 10 seconds, medium shot, single figure. [First-frame reference | top priority] Use the last frame of 3-30a exactly as the first frame: the Broad-Forehead Youth standing, the poetry collection against his chest, smiling. Action: The Broad-Forehead Youth goes on: “I’m Wang Sheng — Zong Tianyi’s friend… we even talked about Bian Zhilin’s poetry together!” Do not: No cuts. Only the Broad-Forehead Youth speaks.

3-31a Video prompt｜Re-render from the uploaded first frame P-3.29, 16:9 landscape, cinematic, November 1988, the lecture hall at Dongjiang University, night. 8 seconds, close shot, single figure. (reuse P-3.29 first-frame image) [First-frame reference | top priority] Use the uploaded first frame P-3.29 exactly as the first frame of the video: the Short-Braids Student in the aisle, face turned left. Action: Her eyes slowly light up, and a faint, quiet smile appears. The Short-Braids Student says: “So it’s you, Wang Sheng…” Do not: No cuts. Only the Short-Braids Student speaks.

3-31b Video prompt｜First frame = last frame of 3-31a. 16:9, 6 seconds, close shot, single figure. [First-frame reference | top priority] Use the last frame of 3-31a exactly as the first frame: the Short-Braids Student facing left, smiling. Action: A little surprised, the Short-Braids Student asks: “How did you end up… here?” Do not: No cuts. Only the Short-Braids Student speaks.

3-31c Video prompt｜First frame = last frame of 3-31b. 16:9, 8 seconds, close shot, single figure. [First-frame reference | top priority] Use the last frame of 3-31b exactly as the first frame: the Short-Braids Student facing left, the crowd all around. Action: She turns sideways and squeezes through gaps in the crowd toward the left of the frame, and out of frame. Do not: No cuts. No speaking. No new characters.

P-3.32 First-frame image｜A November night in 1988, the tiered lecture hall in New Building No. 4 at Dongjiang University, the row of seats on the left. Medium two-shot: the Broad-Forehead Youth (look as above) sits in the aisle seat, turned sideways toward the right; the Short-Braids Student (look as above) has just sat down in the empty seat on his right, still catching her breath, the notebook on her knees; the rows in front and behind full of students; the glaring incandescent light catches the white tape on the temple arm of his glasses.

3-32 Video prompt｜Re-render from the uploaded first frame P-3.32, 16:9 landscape, cinematic, November 1988, the lecture hall at Dongjiang University, night. 10 seconds, medium two-shot. [First-frame reference | top priority] Use the uploaded first frame P-3.32 exactly as the first frame of the video. Do not redesign the two characters, the seats or the camera position. Keep everything in the first frame: the Broad-Forehead Youth on the left, the Short-Braids Student on the right, sitting side by side; students in the rows in front and behind; incandescent light; the white tape on his glasses. The first frame is: her just sitting down. Action: With a barely perceptible pride in his eyes, the Broad-Forehead Youth says: “Oh — I tested into the graduate program in Chinese Lit at Dongjiang University.” Do not: No cuts. Only the Broad-Forehead Youth speaks. Do not swap the two characters’ positions. No physical contact.

P-3.33 First-frame image｜A November night in 1988, the tiered lecture hall in New Building No. 4 at Dongjiang University. Low-angle medium shot: on the platform stands the Shaggy-Haired Professor (look as above); his grey wool overcoat is off and draped over one corner of the lectern; underneath he wears a dark sweater; his left hand rests lightly on the lectern, his right hand is in his trouser pocket, one leg slightly bent; the dark-green blackboard behind him; glaring incandescent light from above; at the side of the lectern stands the Girl in the Red Dress (look as above, red turtleneck sweater, long black skirt), looking up at him.

3-33 Video prompt｜Re-render from the uploaded first frame P-3.33, 16:9 landscape, cinematic, November 1988, the lecture hall at Dongjiang University, night. 10 seconds, low-angle medium shot. [First-frame reference | top priority] Use the uploaded first frame P-3.33 exactly as the first frame of the video. Do not redesign the characters, the overcoat, the lectern, the blackboard or the camera position. Keep everything in the first frame: the Shaggy-Haired Professor centered behind the lectern, left hand on the lectern, right hand in his pocket; the overcoat draped over one corner of the lectern; the Girl in the Red Dress at the side of the lectern on the right of the frame, looking up at him; the dark-green blackboard; incandescent light. The first frame is: him having just taken his place. Action: Off-screen, applause swells like a tide (added in post). Like a conductor, the Shaggy-Haired Professor raises both hands and presses them gently downward. The applause dies away; the whole hall goes quiet. Do not: No cuts. No speaking. Do not let the Girl in the Red Dress move.

3-34 Video prompt｜First frame = last frame of 3-33. 16:9, 10 seconds, low-angle medium shot, slow push-in. [First-frame reference | top priority] Use the last frame of 3-33 exactly as the first frame: the Shaggy-Haired Professor having just lowered his hands, the hall quiet, the Girl in the Red Dress at the side of the lectern looking up. Action: Without looking at any notes, the Shaggy-Haired Professor says: “Heidegger asks: ‘In an age of impoverishment, of the world’s night — what are poets for?’ This was Hölderlin’s question — and it is the question for all of us.” As he speaks, the camera pushes in very slowly. Do not: No cuts. Only the Shaggy-Haired Professor speaks. Do not change the light.

P-3.34a First-frame image｜A November night in 1988, the 800-seat tiered lecture hall in New Building No. 4 at Dongjiang University: row upon row of tiered seats full of students, the aisles and windowsills crammed with people too; at the front, a wooden lectern and a dark-green blackboard, a microphone on the lectern; glaring incandescent lights overhead. Close shot: in the row of seats on the left, the Short-Braids Student (look as above) sits facing the lectern ahead, listening intently, her eyes moist and shining; the shoulder of the Broad-Forehead Youth beside her out of focus at the left edge of the frame; several rows of students behind her out of focus.

3-34a Video prompt｜Re-render from the uploaded first frame P-3.34a, 16:9 landscape, cinematic, November 1988, the lecture hall at Dongjiang University, night. 8 seconds, close shot, single figure. (supplementary shot, listener reaction, source: Ep. 1, Sc. 6 ◆ 6-17h) [First-frame reference | top priority] Use the uploaded first frame P-3.34a exactly as the first frame of the video. Do not redesign the character or the camera position. Keep everything in the first frame: the Short-Braids Student centered, facing the lectern ahead; her moist eyes; the out-of-focus shoulder at the left edge; the out-of-focus students behind; incandescent light. The first frame is: her listening. Action: She listens without blinking. The moisture in her eyes catches the light for a moment; she does not notice it herself. Do not: No cuts. No speaking. No audible crying. No new characters.

P-3.35 First-frame image｜A November night in 1988, the tiered lecture hall in New Building No. 4 at Dongjiang University. Close shot at the side of the lectern: the Girl in the Red Dress (look as above, red turtleneck sweater, long black skirt) stands by the lectern, holding a stack of lecture notes against her chest with both arms, looking up toward the center of the lectern out of frame, her eyes shining; in the background, a corner of the dark-green blackboard; glaring incandescent light.

3-35 Video prompt｜Re-render from the uploaded first frame P-3.35, 16:9 landscape, cinematic, November 1988, the lecture hall at Dongjiang University, night. 10 seconds, close shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-3.35 exactly as the first frame of the video. Do not redesign the character, the lecture notes or the camera position. Keep everything in the first frame: the Girl in the Red Dress centered, hugging the lecture notes, looking up toward the upper left of the frame; a corner of the dark-green blackboard; incandescent light. The first frame is: her looking up. Action: She gazes without blinking. Her hands around the lecture notes slowly tighten. Do not: No cuts. No speaking. No new characters.

P-3.36 First-frame image｜A November night in 1988, the tiered lecture hall in New Building No. 4 at Dongjiang University, the row of seats on the left. Medium close two-shot: the Broad-Forehead Youth (look as above) sits on the left, frowning, the corners of his mouth turned down, his head tilted slightly toward the right; the Short-Braids Student (look as above) sits on the right, facing the lectern ahead, listening intently; the backs of the heads of two female students in the row in front at the bottom of the frame; glaring incandescent light.

3-36a Video prompt｜Re-render from the uploaded first frame P-3.36, 16:9 landscape, cinematic, November 1988, the lecture hall at Dongjiang University, night. 10 seconds, medium close two-shot. [First-frame reference | top priority] Use the uploaded first frame P-3.36 exactly as the first frame of the video. Do not redesign the two characters, the seats or the camera position. Keep everything in the first frame: the Broad-Forehead Youth on the left, frowning, head tilted; the Short-Braids Student on the right, looking ahead; the two heads in the row in front; incandescent light. The first frame is: her listening to the lecture. Action: Muttering under his breath, the Broad-Forehead Youth says: “Heidegger was actually a despicable little man — no philosophical king, not nearly as noble as he was made out to be…” Do not: No cuts. Only the Broad-Forehead Youth speaks. Do not swap positions.

3-36b Video prompt｜First frame = last frame of 3-36a. 16:9, 6 seconds, medium close two-shot. [First-frame reference | top priority] Use the last frame of 3-36a exactly as the first frame: the Broad-Forehead Youth frowning, head tilted; the Short-Braids Student looking ahead. Action: The Short-Braids Student is startled. She turns her face to look at him, frowning slightly. Do not: No cuts. No speaking. Do not swap positions.

3-37a Video prompt｜First frame = last frame of 3-36b. 16:9, 8 seconds, medium close two-shot. [First-frame reference | top priority] Use the last frame of 3-36b exactly as the first frame: the Short-Braids Student turned toward the Broad-Forehead Youth, frowning. Action: The two female students in the row in front turn around, glare at the Broad-Forehead Youth with displeasure, and turn back. Do not: No cuts. No speaking. Do not swap positions.

3-37b Video prompt｜First frame = last frame of 3-37a. 16:9, 8 seconds, medium close two-shot. [First-frame reference | top priority] Use the last frame of 3-37a exactly as the first frame: the two heads in front have turned back; the Short-Braids Student is still looking at the Broad-Forehead Youth. Action: The Broad-Forehead Youth notices nothing. Head down, he scribbles hurriedly with a fountain pen on a small slip of paper on his knee. Do not: No cuts. No speaking. No legible text.

3-38a Video prompt｜First frame = last frame of 3-37b. 16:9, 6 seconds, medium close two-shot. [First-frame reference | top priority] Use the last frame of 3-37b exactly as the first frame: the Broad-Forehead Youth has finished writing, head down, the folded slip of paper between his fingers; the Short-Braids Student on the right. Action: The Broad-Forehead Youth holds the slip of paper out in front of the Short-Braids Student and juts his chin at it, a hint of a boyish challenge at the corners of his mouth. Do not: No cuts. No speaking. No other physical contact.

3-38b Video prompt｜First frame = last frame of 3-38a. 16:9, 6 seconds, medium close two-shot. [First-frame reference | top priority] Use the last frame of 3-38a exactly as the first frame: the slip of paper held out in front of the Short-Braids Student, the Broad-Forehead Youth with a challenging look. Action: The Broad-Forehead Youth says: “Pass this up for me!” Do not: No cuts. Only the Broad-Forehead Youth speaks. No other physical contact.

3-39a Video prompt｜First frame = last frame of 3-38b. 16:9, 6 seconds, medium close two-shot. [First-frame reference | top priority] Use the last frame of 3-38b exactly as the first frame: the slip of paper between the two of them, the Short-Braids Student looking at it. Action: The Short-Braids Student hesitates a moment, then takes the slip of paper. Do not: No cuts. No speaking.

3-39b Video prompt｜First frame = last frame of 3-39a. 16:9, 8 seconds, medium close two-shot. [First-frame reference | top priority] Use the last frame of 3-39a exactly as the first frame: the Short-Braids Student holding the slip of paper. Action: She folds the slip of paper, leans forward, and hands it to someone in the row in front. A hand from the row in front takes it and passes it on forward. Do not: No cuts. No speaking.

P-3.40 First-frame image｜A November night in 1988, the tiered lecture hall in New Building No. 4 at Dongjiang University. Close shot: the Broad-Forehead Youth (look as above) sits in his seat, facing the lectern ahead; the crowd is getting up; in the background, people stand and put on their coats; the glaring incandescent light shines on his glasses.

3-40 Video prompt｜Re-render from the uploaded first frame P-3.40, 16:9 landscape, cinematic, November 1988, the lecture hall at Dongjiang University, night. 10 seconds, close shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-3.40 exactly as the first frame of the video. Do not redesign the character or the camera position. Keep everything in the first frame: the Broad-Forehead Youth centered, facing ahead; the crowd getting up in the background; incandescent light on his lenses. The first frame is: him still waiting. Action: Off-screen, the closing applause and voices (added in post). The light in his bright black eyes slowly dims. He lowers his head and looks at the poetry collection in his hands. Do not: No cuts. No speaking.

P-3.41 First-frame image｜A November night in 1988, the tiered lecture hall in New Building No. 4 at Dongjiang University. High overhead shot from the back rows: the lecture is over; the dense crowd surges from the seats toward the doors; in the crowd, the Short-Braids Student (look as above) stands on tiptoe looking all around the lectern; a few rows behind her, the Broad-Forehead Youth (look as above) is carried along by the flow of people; the platform is already empty, only a microphone left; glaring incandescent light.

3-41 Video prompt｜Re-render from the uploaded first frame P-3.41, 16:9 landscape, cinematic, November 1988, the lecture hall at Dongjiang University, night. 10 seconds, overhead extreme full shot. [First-frame reference | top priority] Use the uploaded first frame P-3.41 exactly as the first frame of the video. Do not redesign the hall, the crowd, the lectern or the camera position. Keep everything in the first frame: the crowd surging toward the doors; the Short-Braids Student in the middle ground on tiptoe, looking around; the Broad-Forehead Youth a few rows behind her; the platform empty; incandescent light. The first frame is: the departing crowd beginning to flow. Action: The crowd surges toward the doors like water, sweeping the Short-Braids Student and the Broad-Forehead Youth apart; both of them disappear among the heads. The camera does not move. (In post: fade to black.) Do not: No cuts. Do not let anyone speak to the camera. Do not let anyone appear on the platform.

4. Xiangchun Street (Ep. 1, Sc. 7, 8)

P-3.41a First-frame image｜A winter night in December 1988, inside the Dongjiang University canteen: several rows of long wooden tables, most of them already empty, water marks left on the tabletops; whitewashed walls, a ring of steam under the incandescent bulbs on the wall; fog on the window glass. Locked-off medium shot from the middle of the canteen toward the tables by the wall: the Short-Braids Student (look as above, the dark-brown scarf around her neck) sits alone at the end of the long table by the wall; in front of her, a stainless-steel lunch box, and beside it a thick law textbook lying open; she holds chopsticks in one hand, head down, reading; the empty tables take up most of the frame; at a table opposite, a few male students have just finished eating.

3-41a Video prompt｜Re-render from the uploaded first frame P-3.41a, 16:9 landscape, cinematic, December 1988, the Dongjiang University canteen, winter night. 10 seconds, medium shot, locked-off. (supplementary shot, source: Ep. 1, Sc. 7 ◆ 7-1b) [First-frame reference | top priority] Use the uploaded first frame P-3.41a exactly as the first frame of the video. Do not redesign the canteen, the long tables, the characters, the lunch box, the textbook or the camera position. Keep everything in the first frame: the Short-Braids Student at the end of the long table by the wall, to one side of the frame; the lunch box and the open textbook; the empty tables taking up most of the frame; the few male students at the table opposite; the steam under the bulbs; the fog on the windows. The first frame is: her reading as she eats. Action: She reads, her chopsticks stopped in midair. The male students at the table opposite get up with their lunch boxes and walk away. Do not: No cuts. No speaking. No legible text.

P-3.42 First-frame image｜A winter night in December 1988, the doorway of the Dongjiang University canteen: a thick padded cotton door curtain, dim yellow light and white steam coming through from inside; a thin frost on the concrete steps outside; one street lamp; north wind. Medium two-shot: the Short-Braids Student (look as above, dark-brown scarf) on the left of the frame, an empty stainless-steel lunch box held against her chest; the Girl in the Red Dress (look as above, red turtleneck sweater, long black skirt) on the right of the frame, a lunch box in her hand too, leaning eagerly toward her; their breath is white.

3-42 Video prompt｜Re-render from the uploaded first frame P-3.42, 16:9 landscape, cinematic, December 1988, the doorway of the Dongjiang University canteen, winter night. 10 seconds, medium two-shot. [First-frame reference | top priority] Use the uploaded first frame P-3.42 exactly as the first frame of the video. Do not redesign the two characters, the padded door curtain, the steps, the street lamp or the camera position. Keep everything in the first frame: the Short-Braids Student on the left, holding the lunch box, dark-brown scarf; the Girl in the Red Dress on the right, holding a lunch box, leaning in; the padded curtain in the background letting through yellow light; thin frost on the steps; white breath. The first frame is: the two having just run into each other. Action: Without any preamble, the Girl in the Red Dress asks. The Girl in the Red Dress says: “This issue of Langtaosha has two reviews of Xiangchun Street. Did you see them?” Do not: No cuts. Only the Girl in the Red Dress speaks. Do not swap the two characters’ positions.

3-43 Video prompt｜First frame = last frame of 3-42. 16:9, 10 seconds, medium two-shot. [First-frame reference | top priority] Use the last frame of 3-42 exactly as the first frame: the Girl in the Red Dress on the right, leaning in and looking at her; the Short-Braids Student on the left, holding the lunch box. Action: The Short-Braids Student says: “I just got the issue the day before yesterday — haven’t had a chance.” The Girl in the Red Dress seems a little disappointed. Do not: No cuts. Only the Short-Braids Student speaks.

P-3.44 First-frame image｜A winter night in December 1988, the doorway of the Dongjiang University canteen. Close shot: the Girl in the Red Dress (look as above, red turtleneck sweater, long black skirt), face full-on, a stainless-steel lunch box in her hand, her face eager; behind her, someone has lifted a corner of the padded door curtain, and the yellow light from inside falls on her face; her breath is white; in the left foreground, out of focus, the dark-brown scarf of the Short-Braids Student.

3-44a Video prompt｜Re-render from the uploaded first frame P-3.44, 16:9 landscape, cinematic, December 1988, the doorway of the Dongjiang University canteen, winter night. 8 seconds, close shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-3.44 exactly as the first frame of the video. Do not redesign the character, the door curtain or the camera position. Keep everything in the first frame: the Girl in the Red Dress just right of center, face full-on; yellow light from the door curtain; white breath; the out-of-focus scarf in the foreground. The first frame is: her about to speak. Action: With great interest, the Girl in the Red Dress says: “One of the reviews is reprinted from Literary Gazette — by a noted critic, Ye Xiaoyan;” Do not: No cuts. Only the Girl in the Red Dress speaks.

3-44b Video prompt｜First frame = last frame of 3-44a. 16:9, 8 seconds, close shot, single figure. [First-frame reference | top priority] Use the last frame of 3-44a exactly as the first frame: the Girl in the Red Dress face full-on, eager, yellow light from the door curtain, white breath. Action: The Girl in the Red Dress goes on: “The other I picked from unsolicited submissions — a scathing critique of Xiangchun Street —” Do not: No cuts. Only the Girl in the Red Dress speaks.

3-44c Video prompt｜First frame = last frame of 3-44b. 16:9, 8 seconds, close shot, single figure. [First-frame reference | top priority] Use the last frame of 3-44b exactly as the first frame: the Girl in the Red Dress face full-on, in full flow. Action: The Girl in the Red Dress goes on: “The author is a graduate student in Chinese Lit — extraordinarily sharp, every bit Ye Xiaoyan’s equal…” Do not: No cuts. Only the Girl in the Red Dress speaks.

P-3.44d First-frame image｜A winter night in December 1988, the doorway of the Dongjiang University canteen: a thick padded cotton door curtain, dim yellow light and white steam coming through from inside; a thin frost on the concrete steps outside; one street lamp; north wind. Close shot from the front and to the side: the Short-Braids Student (look as above, dark-brown scarf) stands beside the padded door curtain, the empty lunch box held against her chest, her eyes on the person speaking out of frame, brow slightly furrowed, lips pressed together, her breath a white cloud; the north wind has blown the short braid by her ear against her cheek; the padded curtain at the edge of the frame.

3-44d Video prompt｜Re-render from the uploaded first frame P-3.44d, 16:9 landscape, cinematic, December 1988, the doorway of the Dongjiang University canteen, winter night. 8 seconds, close shot, single figure. (supplementary shot, listener reaction, source: Ep. 1, Sc. 7 ◆ 7-4a) [First-frame reference | top priority] Use the uploaded first frame P-3.44d exactly as the first frame of the video. Do not redesign the character, the lunch box, the door curtain or the camera position. Keep everything in the first frame: the Short-Braids Student beside the padded curtain, holding the empty lunch box; slightly furrowed brow, pressed lips; white breath; the short braid against her cheek; the curtain at the edge of the frame. The first frame is: her listening. Action: Her fingers slowly rub along the rim of the lunch box. The curtain is lifted and dropped again by people going in and out; the yellow light from inside flashes across her face again and again. Do not: No cuts. No speaking. Do not show the faces of the people going in and out.

3-45a Video prompt｜Re-render from the uploaded first frame P-3.42, 16:9 landscape, cinematic, December 1988, the doorway of the Dongjiang University canteen, winter night. 6 seconds, medium two-shot. (reuse P-3.42 first-frame image) [First-frame reference | top priority] Use the uploaded first frame P-3.42 exactly as the first frame of the video, except that the Girl in the Red Dress is now standing straight, the lunch box tucked under her arm. Everything else as in P-3.42. The first frame is: the Girl in the Red Dress looking at her with a solemn face. Action: The Short-Braids Student hesitates, then has no choice but to say. The Short-Braids Student says: “Alright — I’ll read it tonight.” Do not: No cuts. Only the Short-Braids Student speaks. Do not swap positions.

P-3.45b First-frame image｜A winter night in December 1988, the doorway of the Dongjiang University canteen: a thick padded cotton door curtain, dim yellow light and white steam coming through from inside; a thin frost on the concrete steps outside; one street lamp; north wind. Locked-off long shot from the canteen steps toward the road outside: the street lamp in the center of the frame, the road surface under it white with a thin frost; bare plane trees along the road; the Girl in the Red Dress (look as above) to the left of the lamp, walking toward the left of the frame; the Short-Braids Student (look as above, dark-brown scarf, lunch box held against her chest) to the right of the lamp, walking toward the right of the frame; their shadows fall on the frosted ground.

3-45b Video prompt｜Re-render from the uploaded first frame P-3.45b, 16:9 landscape, cinematic, December 1988, outside the Dongjiang University canteen, winter night. 10 seconds, long shot, locked-off. (supplementary shot, source: Ep. 1, Sc. 7 ◆ 7-6a) [First-frame reference | top priority] Use the uploaded first frame P-3.45b exactly as the first frame of the video. Do not redesign the street lamp, the frosted ground, the plane trees, the two characters or the camera position. Keep everything in the first frame: the street lamp in the center; the Girl in the Red Dress on the left walking left; the Short-Braids Student on the right walking right; the frosted ground white; bare plane trees; north wind. The first frame is: the two having just parted. Action: The two walk farther and farther apart in opposite directions. Their shadows on the frosted ground, one long and one short, stretch farther and farther apart, into the darkness at either end. Do not: No cuts. No speaking. Do not let either of them look back.

P-3.46 First-frame image｜A December night in 1988, a women’s dormitory room of the Law Department at Dongjiang University: six bunks in upper-and-lower tiers; the lower bunk against the wall at the far end; a thick stack of law textbooks at the head of the bed; a small desk lamp with a green plastic shade clipped to the bed rail, its light dim yellow; frost flowers on the window glass. Medium shot: the Short-Braids Student (look as above, jacket off, the dark-brown scarf draped over the bed rail) sits cross-legged on the lower bunk, a thin printed magazine open on her knees, head down, reading; the other bunks in the dimness.

3-46a Video prompt｜Re-render from the uploaded first frame P-3.46, 16:9 landscape, cinematic, December 1988, the Law Department women’s dormitory at Dongjiang University, night. 8 seconds, medium shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-3.46 exactly as the first frame of the video. Do not redesign the character, the bunks, the desk lamp, the textbooks or the camera position. Keep everything in the first frame: the Short-Braids Student sitting on the lower bunk against the wall at the far end, just right of center; the magazine on her knees; the green-shaded lamp the only light; frost flowers on the window; the other bunks dim. The first frame is: her head down, turning the magazine’s pages. Action: She turns the pages one by one, into the back half of the magazine, and stops. Do not: No cuts. No speaking. No legible text. No other people.

3-46b Video prompt｜First frame = last frame of 3-46a. 16:9, 8 seconds, medium shot, slow push-in. [First-frame reference | top priority] Use the last frame of 3-46a exactly as the first frame: the Short-Braids Student sitting cross-legged on the lower bunk, the magazine open to its back half, dim yellow lamplight. Action: Her finger moves slowly down the lines of print. The camera pushes in slowly. Do not: No cuts. No speaking. No legible text. No other people.

P-3.47 First-frame image｜A December night in 1988, the Law Department women’s dormitory at Dongjiang University, the lower bunk. Extreme close-up, overhead: under the green-shaded lamp, a printed page; one line of bold headline, and below it a small line of byline; the byline is pressed under the Short-Braids Student’s thumb; the texture of the paper is clear; dim yellow light.

3-47 Video prompt｜Re-render from the uploaded first frame P-3.47, 16:9 landscape, cinematic, December 1988, the Law Department women’s dormitory at Dongjiang University, night. 10 seconds, extreme close-up. [First-frame reference | top priority] Use the uploaded first frame P-3.47 exactly as the first frame of the video. Do not redesign the page, the thumb or the camera position. Keep everything in the first frame: a page of print centered, the headline at the top, the byline under the thumb; dim yellow light. The first frame is: the thumb pressing the byline. Action: The thumb slowly moves away, revealing the line of byline below the headline. The camera holds. Do not: No cuts. No faces. Do not generate legible text (close-up lettering overlaid in post: “Wang Sheng, Graduate Student, Chinese Department, Class of 1986”).

P-3.48 First-frame image｜A December night in 1988, the Law Department women’s dormitory at Dongjiang University, the lower bunk. Close shot: the face of the Short-Braids Student (look as above), head slightly lowered; the light of the green-shaded lamp slants up from below, lighting her chin, the corners of her mouth and one cheek; the magazine at the bottom edge of the frame on her knees; the wall behind her dim; frost flowers on the window.

3-48a Video prompt｜Re-render from the uploaded first frame P-3.48, 16:9 landscape, cinematic, December 1988, the Law Department women’s dormitory at Dongjiang University, night. 8 seconds, close shot, single figure. [First-frame reference | top priority] Use the uploaded first frame P-3.48 exactly as the first frame of the video. Do not redesign the character, the desk lamp or the camera position. Keep everything in the first frame: the Short-Braids Student centered, head lowered; lamplight slanting up from below; the magazine at the bottom edge; frost flowers on the window. The first frame is: her looking at the byline. Action: Something stirs faintly in her eyes. A calm smile surfaces at the corners of her mouth. Do not: No cuts. No speaking. No other people. No dramatic look of surprise.

3-48b Video prompt｜First frame = last frame of 3-48a. 16:9, 6 seconds, close shot, single figure. [First-frame reference | top priority] Use the last frame of 3-48a exactly as the first frame: the Short-Braids Student with her head lowered, a calm smile at the corners of her mouth, the magazine on her knees. Action: She slowly closes the magazine. Do not: No cuts. No speaking. No other people.

3-48c Video prompt｜First frame = last frame of 3-48b. 16:9, 10 seconds, close shot, single figure. [First-frame reference | top priority] Use the last frame of 3-48b exactly as the first frame: the magazine closed, the Short-Braids Student with her head lowered, lamplight slanting up from below. Action: She raises her head and looks toward the frost-covered window on the right of the frame. Her eyes grow distant and dreamy. The image fades out. Do not: No cuts. No speaking. No other people. No dramatic expressions. [NARRATION] At the brick factory everyone called me Wang Cheng. That night, the one she recognized was that Wang Cheng.

(End of segment | 84 shots | approx. 12 min | Source: Ep. 1, Sc. 1, 2, 6, 7, 8)

Part 1 · Segment 4 · The Good Girl Restaurant (approx. 8 min, 55 shots)

Source: Ep. 4, Sc. 8 (College Road · outside the Good Girl Restaurant), Sc. 9 (taking seats · Du Wei recognized · flashback to Juzhen Garden, 1983), Sc. 10 (the humiliation of the name “Wang Cheng”), Sc. 11 (parting).

Character looks (prompts use these descriptions only, never names): - [Short-Braids Student] A nineteen-year-old female university student. Two short braids, a pair of large, very dark eyes, delicate features, a plain light-colored checked jacket. A canvas satchel held against her chest, a dark brown scarf. (= Gu Zheng) - [Broad-Forehead Youth] A young man in his early twenties. Broad forehead, slightly dark complexion, somewhat untidy hair, black-framed glasses, thin, an old blue khaki jacket. One temple arm of the black-framed glasses is wrapped in white tape. (= Wang Sheng) - [Long-Haired Hawk-Eyed Man] A man of twenty-five or twenty-six. Shoulder-length hair, sharp eyes like a hawk’s, a black leather jacket, a camera hanging on his chest. A little stubble on his chin. (= Du Wei; the same look in the 1983 flashback) - [Cashier] A young woman in her early twenties. Long hair pinned up, delicate features, quiet, a red string around her wrist. (= Good Girl, minor character) - 1983 · [Broad-Forehead Youth · 1983] A nineteen-year-old young man. Broad forehead, slightly dark complexion, black-framed glasses, thin, a washed-out blue cotton jacket, a stiff, reserved manner. (= Wang Sheng at the teachers’ college) - 1983 · [Young Man in a Suit] A young man in his early twenties. Tall and thin, short hair, a gloomy face, an ill-fitting old Western suit. He wears a tie, his leather shoes polished to a shine, a faint mustache on his upper lip. (= Zong Tianyi) - 1983 · [Pigtailed Girl] A fourteen-year-old girl. Two pigtails sticking out at the sides, finely made features, a pair of melancholy eyes, a faded checked cotton shirt. (= Gu Zheng as a girl)

Settings (reuse verbatim in first-frame images): - [Dongjiang University Gate] Winter 1988, the gate of Dongjiang University: two concrete gateposts, the university’s name on them weathered and flaking; just outside the gate is College Road; two streetlamps at the gate; dim yellow light from the window of the gatekeeper’s lodge. - [Outside the Good Girl Restaurant] Winter 1988, dusk, College Road outside the Dongjiang University gate: a narrow street lined on both sides with old timber-framed houses, moss-covered eaves, small restaurants and second-hand bookshops one next to another; above the door of the Good Girl Restaurant hangs a plank signboard of raw wood, and under the signboard a golden light bulb in a tin shade; wisps of steam drift out of the half-open glass door; every table inside is full; blue dusk. - [Good Girl Restaurant, Table by the Wall] The same dusk, inside the Good Girl Restaurant: a small, packed restaurant, steam rolling under the light bulbs; a square table against the wall with a plastic tablecloth; on it a dish of fried peanuts, a dish of spicy radish, a bottle of beer, a bottle of cola, four glasses, and a glass also set at the empty side of the table; far back, behind the cash counter, sits the [Cashier]; on the wall behind her, a large color photo of a long-haired film actress torn from a film magazine; golden light. - [Outside Juzhen Garden] Spring 1983, noon, an old street in Chuzhou: a Republican-era gate tower with red walls and grey tiles, a row of red lanterns under the eaves, two stone lions at the door; white spring light. - [Juzhen Garden, Private Room] Spring 1983, a private room on the second floor of Juzhen Garden: a red-lacquered square table for eight, four carved rosewood chairs, an old-fashioned milk-white glass pendant lamp overhead, white light through a wooden lattice window, a bead curtain over the doorway; on the table a bottle of baijiu, a glass bottle of cola, several small cups, a dish of sunflower seeds; warm amber light.

1. College Road (Ep. 4, Sc. 8)

P-4.0a First-frame image｜Winter 1988, the gate of Dongjiang University: two concrete gateposts, the university’s name on them weathered and flaking; just outside the gate is College Road; two streetlamps at the gate; dim yellow light from the window of the gatekeeper’s lodge. Blue dusk, the sky deep blue; the first lamp on College Road outside the gate has just come on. Static medium-wide shot from the College Road side, facing the gate: the Short-Braids Student (look as above) is walking out through the gate, holding her canvas satchel; the lettering on the gateposts need not be legible.

4-0a Video prompt｜Re-render from the uploaded first frame P-4.0a, 16:9 landscape, cinematic, winter 1988, Dongjiang University gate, dusk. 10 seconds, static medium-wide shot. (Supplementary shot, source: Ep. 4, Sc. 8 ◆8-1a) [First-frame reference | top priority] Use the uploaded first frame P-4.0a exactly as the first frame of the video. Do not redesign the gate, gateposts, streetlamps, gatekeeper’s lodge, character or camera position. Keep everything in the first frame: the gate in the center of the frame; the Short-Braids Student inside the gate, walking out, holding her satchel; the dim yellow light of the lodge window; the deep blue sky; the first streetlamp just lit. The first frame is: she steps out through the gate. Action: The Short-Braids Student walks out of the gate, stops at the entrance for a moment, and looks off toward College Road. Do not: No cuts. No speech. No legible text. Do not change the sky.

P-4.1 First-frame image｜Winter 1988, dusk, College Road outside the Dongjiang University gate: a narrow street lined on both sides with old timber-framed houses, moss-covered eaves, small restaurants and second-hand bookshops one next to another; above the door of the Good Girl Restaurant hangs a plank signboard of raw wood, and under the signboard a golden light bulb in a tin shade; wisps of steam drift out of the half-open glass door; every table inside is full; blue dusk. Medium shot: the Short-Braids Student (look as above) stands with her back to the camera, three steps short of the restaurant’s front steps, holding her canvas satchel, looking up at the signboard (the signboard text need not be legible).

4-1a Video prompt｜Re-render from the uploaded first frame P-4.1, 16:9 landscape, cinematic, winter 1988, outside the Good Girl Restaurant on College Road, dusk. 8 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-4.1 exactly as the first frame of the video. Do not redesign the character, street, signboard, light bulb, glass door or camera position. Keep everything in the first frame: the Short-Braids Student with her back to the camera in the lower middle of the frame, holding her satchel; the signboard and the golden bulb at the top of the frame; the half-open glass door with steam coming out; the timber houses on both sides; blue dusk. The first frame is: she stands looking at the signboard. Action: The Short-Braids Student climbs the steps and stops in front of the half-open glass door. Do not: No cuts. Do not let the character turn toward the camera. No speech. No legible text.

4-1b Video prompt｜First frame = last frame of 4-1a. 16:9, 10 seconds, over-the-shoulder push-in. [First-frame reference | top priority] Use the last frame of 4-1a exactly as the first frame: the Short-Braids Student stands with her back to the camera in front of the glass door, steam coming out of the doorway, the golden bulb above. Action: The camera passes over her shoulder, pushes through the steam in the doorway into the restaurant, and moves toward a table against the far wall: at the table a young man in black-framed glasses, seen in profile, is talking; across from him a long-haired man sits with his back to the camera, gesturing and laughing loudly. Do not: No cuts. Do not let the characters turn toward the camera. No speech. No legible text.

P-4.2 First-frame image｜The same dusk, inside the Good Girl Restaurant: a small, packed restaurant, steam rolling under the light bulbs; a square table against the wall with a plastic tablecloth; on it a dish of fried peanuts, a dish of spicy radish, a bottle of beer, a bottle of cola, four glasses, and a glass also set at the empty side of the table; far back, behind the cash counter, sits the Cashier; on the wall behind her, a large color photo of a long-haired film actress torn from a film magazine; golden light. Medium shot: the Broad-Forehead Youth (look as above) sits on the left side of the table, looking up toward the doorway at frame right; the Long-Haired Hawk-Eyed Man (look as above) sits on the right side of the table with his back to the camera — only his long hair and the back of his leather jacket are visible.

4-2a Video prompt｜Re-render from the uploaded first frame P-4.2, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 8 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-4.2 exactly as the first frame of the video. Do not redesign the characters, square table, items on the table, cash counter or camera position. Keep everything in the first frame: the Broad-Forehead Youth seated on the left, looking toward the doorway; the Long-Haired Hawk-Eyed Man on the right with his back to the camera; peanuts, radish, beer, cola and four glasses on the table; the Cashier and the actress photo in the far background; steam; golden light. The first frame is: the Broad-Forehead Youth has seen someone at the door. Action: The Broad-Forehead Youth immediately stands up, raises a hand and waves, and says, his voice slightly raised: “Gu Zheng!” Do not: No cuts. Only the Broad-Forehead Youth speaks. Do not show the face of the Long-Haired Hawk-Eyed Man.

4-2b Video prompt｜First frame = last frame of 4-2a. 16:9, 6 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 4-2a exactly as the first frame: the Broad-Forehead Youth standing, one hand raised in the air; the Long-Haired Hawk-Eyed Man seated with his back to the camera. Action: The long-haired man across the table, his back to the camera, turns his head at the call and looks toward the door; his face is still not visible. Do not: No cuts. No speech. Do not show the face of the Long-Haired Hawk-Eyed Man.

P-4.2c First-frame image｜The same dusk, inside the Good Girl Restaurant: a small, packed restaurant, steam rolling under the light bulbs; a square table against the wall with a plastic tablecloth; on it a dish of fried peanuts, a dish of spicy radish, a bottle of beer, a bottle of cola, four glasses, and a glass also set at the empty side of the table; far back, behind the cash counter, sits the Cashier; on the wall behind her, a large color photo of a long-haired film actress torn from a film magazine; golden light. High-angle close-up of the cash-counter top: an open film magazine, its page showing a black-and-white still of a film actress; beside it an old abacus with glossy, oil-dark beads; a tin cash box, its lid open a crack; a glass of toothpicks; one hand of the Cashier (look as above) resting on the magazine, the red string on her wrist.

4-2c Video prompt｜Re-render from the uploaded first frame P-4.2c, 16:9 landscape, cinematic, winter 1988, the cash counter of the Good Girl Restaurant, dusk. 8 seconds, high-angle close-up. (Supplementary shot, source: Ep. 4, Sc. 8 ◆8-4a) [First-frame reference | top priority] Use the uploaded first frame P-4.2c exactly as the first frame of the video. Do not redesign the magazine, abacus, cash box, toothpick glass, hand or camera position. Keep everything in the first frame: the magazine in the center of the frame; the abacus, cash box and toothpick glass beside it; the hand resting on the magazine and the red string; golden light. The first frame is: the hand rests on the magazine. Action: The hand turns a page of the magazine; the fingertips pause on the paper for a moment. Do not: No cuts. No faces. No speech. No legible text.

P-4.2d First-frame image｜The same dusk, inside the Good Girl Restaurant: a small, packed restaurant, steam rolling under the light bulbs; a square table against the wall with a plastic tablecloth; on it a dish of fried peanuts, a dish of spicy radish, a bottle of beer, a bottle of cola, four glasses, and a glass also set at the empty side of the table; far back, behind the cash counter, sits the Cashier; on the wall behind her, a large color photo of a long-haired film actress torn from a film magazine; golden light. Reverse angle from the table by the wall, medium shot: the Short-Braids Student (look as above) has just come in from the door and stands sideways between two tables crowded with diners, her canvas satchel held to her chest, her eyes toward the camera; beside her a waiter carrying a plate of food; in the left foreground, the standing profile of the Broad-Forehead Youth (look as above), one hand half raised; in the right foreground, the back of the head and long hair of the Long-Haired Hawk-Eyed Man (look as above), out of focus.

4-2d Video prompt｜Re-render from the uploaded first frame P-4.2d, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 10 seconds, medium reverse shot. (Supplementary shot, source: Ep. 4, Sc. 8 ◆8-6a) [First-frame reference | top priority] Use the uploaded first frame P-4.2d exactly as the first frame of the video. Do not redesign the characters, tables, waiter, steam or camera position. Keep everything in the first frame: the Short-Braids Student in the middle ground, holding her satchel; the waiter beside her; the profile of the Broad-Forehead Youth in the left foreground; the back of the head of the Long-Haired Hawk-Eyed Man out of focus in the right foreground; the packed diners; steam; golden light. The first frame is: she stands between two tables. Action: The Short-Braids Student turns sideways to let the waiter with the plate pass, slips through the gap between the two tables, and walks toward the camera. In the foreground, the half-raised hand of the Broad-Forehead Youth comes down. Do not: No cuts. No speech. Do not show the face of the Long-Haired Hawk-Eyed Man.

2. Taking Seats · Lao Wei (Ep. 4, Sc. 9)

P-4.3 First-frame image｜The same dusk, inside the Good Girl Restaurant: a small, packed restaurant, steam rolling under the light bulbs; a square table against the wall with a plastic tablecloth; on it a dish of fried peanuts, a dish of spicy radish, a bottle of beer, a bottle of cola, four glasses, and a glass also set at the empty side of the table; far back, behind the cash counter, sits the Cashier; on the wall behind her, a large color photo of a long-haired film actress torn from a film magazine; golden light. Shot from the empty side of the table, close shot of three people: the Broad-Forehead Youth (look as above) sits on the left, leaning forward, both hands on the edge of the table; the Long-Haired Hawk-Eyed Man (look as above) sits on the right, leaning against the wall, one arm draped over an empty stool; the Short-Braids Student (look as above) has just sat down on the side facing the camera, her back very straight, her canvas satchel held in her arms; in the foreground, on the table edge, the unused glass.

4-3 Video prompt｜Re-render from the uploaded first frame P-4.3, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 10 seconds, close shot, three people. [First-frame reference | top priority] Use the uploaded first frame P-4.3 exactly as the first frame of the video. Do not redesign the three characters, seats, items on the table or camera position. Keep everything in the first frame: the Broad-Forehead Youth on the left; the Long-Haired Hawk-Eyed Man on the right against the wall; the Short-Braids Student in the middle facing the camera, holding her satchel; the empty glass in the foreground; steam; golden light. The first frame is: the three sit at one table for the first time; no one speaks. Action: The Long-Haired Hawk-Eyed Man slowly turns his face around; his hawk-like eyes fix on the Short-Braids Student without blinking. The Short-Braids Student keeps her eyes on the dishes of cold appetizers on the table. Do not: No cuts. No speech. Do not swap the three people’s positions.

4-4a Video prompt｜First frame = last frame of 4-3. 16:9, 8 seconds, close shot, three people. [First-frame reference | top priority] Use the last frame of 4-3 exactly as the first frame: the Long-Haired Hawk-Eyed Man staring at the Short-Braids Student, the Broad-Forehead Youth on the left, the Short-Braids Student in the middle. Action: The Broad-Forehead Youth points to the Long-Haired Hawk-Eyed Man on the right and, in a plain voice, the Broad-Forehead Youth says to the Short-Braids Student: “Lao Wei — you remember, don’t you?” Do not: No cuts. Only the Broad-Forehead Youth speaks. Do not swap positions.

P-4.4b First-frame image｜The same dusk, the Good Girl Restaurant, table by the wall, extreme close-up: part of the face of the Short-Braids Student (look as above), brows slightly knitted, eyes looking across the table; at the bottom of the frame one of her hands rests on the table edge, her index finger pressed on the plastic tablecloth, which has a small hole burned by a cigarette; light from the bulb falls from above and casts a small shadow under her lashes; at the edge of the frame, the chin and stubble of the Long-Haired Hawk-Eyed Man out of focus across the table.

4-4b Video prompt｜Re-render from the uploaded first frame P-4.4b, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 8 seconds, extreme close-up. (Supplementary shot, listener reaction, source: Ep. 4, Sc. 9 ◆9-3a) [First-frame reference | top priority] Use the uploaded first frame P-4.4b exactly as the first frame of the video. Do not redesign the character, hand, tablecloth or camera position. Keep everything in the first frame: her brows and eyes and her hand on the table edge in the same frame; the small burn hole in the tablecloth; the shadow under her lashes; the out-of-focus chin and stubble across the table; golden light. The first frame is: she is frowning, thinking. Action: Her index finger absently traces back and forth twice on the plastic tablecloth, then stops. Her eyes are still searching across the table. Do not: No cuts. No speech. Do not show the face of the person across the table.

P-4.5 First-frame image｜The same dusk, the Good Girl Restaurant, table by the wall, single close shot: the Long-Haired Hawk-Eyed Man (look as above) sits leaning against the wall, his face turned toward frame left, a faint self-mocking smile at the corner of his mouth, the camera on his chest; behind him the wall and steam, golden light; out of focus in the left foreground, the short braids of the Short-Braids Student.

4-5 Video prompt｜Re-render from the uploaded first frame P-4.5, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 10 seconds, single close shot. [First-frame reference | top priority] Use the uploaded first frame P-4.5 exactly as the first frame of the video. Do not redesign the character, camera or camera position. Keep everything in the first frame: the Long-Haired Hawk-Eyed Man on the right of the frame against the wall, face turned left; the camera on his chest; steam; the out-of-focus braids in the foreground. The first frame is: he is looking at her. Action: The Long-Haired Hawk-Eyed Man shrugs and, with self-mocking humor, the Long-Haired Hawk-Eyed Man says: “Looks like you’ve forgotten me. I once took your photograph …” Do not: No cuts. Only the Long-Haired Hawk-Eyed Man speaks.

P-4.6 First-frame image｜The same dusk, the Good Girl Restaurant, table by the wall, single close shot: the Broad-Forehead Youth (look as above) sits leaning forward, face turned toward frame right, the white tape on his glasses’ arm gleaming under the light; behind him steam and the packed diners in the distance, golden light.

4-6 Video prompt｜Re-render from the uploaded first frame P-4.6, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 10 seconds, single close shot. [First-frame reference | top priority] Use the uploaded first frame P-4.6 exactly as the first frame of the video. Do not redesign the character, glasses or camera position. Keep everything in the first frame: the Broad-Forehead Youth on the left of the frame, leaning forward, face turned right; the white tape; steam and distant diners; golden light. The first frame is: he is about to cut in. Action: The Broad-Forehead Youth cuts in and says: “Lao Wei — and there’s me too! That time, your brother treated us at Juzhen Garden to a great meal …” (Post: the image slowly dissolves to amber at the end.) Do not: No cuts. Only the Broad-Forehead Youth speaks.

3. 1983 · Juzhen Garden (Ep. 4, Sc. 9 flashback)

P-4.7 First-frame image｜Spring 1983, noon, an old street in Chuzhou: a Republican-era gate tower with red walls and grey tiles, a row of red lanterns under the eaves, two stone lions at the door; white spring light. Medium-wide shot: the Young Man in a Suit (look as above) stands on the front steps, one hand in his trouser pocket, a cigarette held between the fingers of the other hand, looking off toward frame left; in the lower left corner of the frame, the Broad-Forehead Youth · 1983 (look as above) is walking up from the street, a little nervous.

4-7a Video prompt｜Re-render from the uploaded first frame P-4.7, 16:9 landscape, cinematic, spring 1983, outside Juzhen Garden in Chuzhou, noon. 8 seconds, medium-wide shot. [First-frame reference | top priority] Use the uploaded first frame P-4.7 exactly as the first frame of the video. Do not redesign the gate tower, lanterns, stone lions, the two characters or camera position. Keep everything in the first frame: the gate tower centered; the Young Man in a Suit on the steps, one hand in his pocket, a cigarette between the fingers of the other; the Broad-Forehead Youth · 1983 walking up in the lower left corner; white spring light. The first frame is: the Young Man in a Suit is looking out for someone. Action: The Young Man in a Suit sees the newcomer and raises a hand from a distance in greeting. Do not: No cuts. No speech. No close-up of smoking or exhaling smoke. Do not add other people approaching. [NARRATION] In the spring of 1983, Zong Tianyi gave a dinner at Juzhen Garden in Chuzhou. That was the first time I met Du Wei.

4-7b Video prompt｜First frame = last frame of 4-7a. 16:9, 10 seconds, medium-wide shot. [First-frame reference | top priority] Use the last frame of 4-7a exactly as the first frame: the Young Man in a Suit on the steps with his hand raised in greeting, the Broad-Forehead Youth · 1983 in the lower left corner. Action: The Broad-Forehead Youth · 1983 reaches the foot of the steps, and the two of them turn and go in through the door together. Do not: No cuts. No speech. No close-up of smoking or exhaling smoke. Do not add other people approaching.

P-4.8 First-frame image｜Spring 1983, a private room on the second floor of Juzhen Garden: a red-lacquered square table for eight, four carved rosewood chairs, an old-fashioned milk-white glass pendant lamp overhead, white light through a wooden lattice window, a bead curtain over the doorway; on the table a bottle of baijiu, a glass bottle of cola, several small cups, a dish of sunflower seeds; warm amber light. Medium shot: the Long-Haired Hawk-Eyed Man (look as above) is already seated on the right side of the table, leaning back in his chair; the Young Man in a Suit (look as above) has just sat down at the head of the table, one hand pointing toward frame left; the Broad-Forehead Youth · 1983 (look as above) stands on the left side of the table, hands at his sides.

4-8 Video prompt｜Re-render from the uploaded first frame P-4.8, 16:9 landscape, cinematic, spring 1983, private room at Juzhen Garden, noon. 10 seconds, medium shot, three people. [First-frame reference | top priority] Use the uploaded first frame P-4.8 exactly as the first frame of the video. Do not redesign the private room, square table, pendant lamp, bead curtain, the three characters or camera position. Keep everything in the first frame: the Long-Haired Hawk-Eyed Man seated on the right; the Young Man in a Suit seated at the head of the table, pointing left; the Broad-Forehead Youth · 1983 standing on the left; baijiu, cola, cups and sunflower seeds on the table; amber light. The first frame is: the three have just met. Action: The Young Man in a Suit points at the Long-Haired Hawk-Eyed Man and, to the Broad-Forehead Youth · 1983 on the left, the Young Man in a Suit says: “This is Du Wei — also my friend …” Do not: No cuts. Only the Young Man in a Suit speaks. Do not swap positions.

4-9 Video prompt｜First frame = last frame of 4-8. 16:9, 10 seconds, medium shot, three people. [First-frame reference | top priority] Use the last frame of 4-8 exactly as the first frame: the Young Man in a Suit has finished the introduction; the Long-Haired Hawk-Eyed Man stares fixedly at the Broad-Forehead Youth · 1983 on the left. Action: Made a little stiff by those hawk eyes, the Broad-Forehead Youth · 1983 says: “My name is Wang Sheng — I’m at Chuzhou Teachers College …” Do not: No cuts. Only the Broad-Forehead Youth · 1983 speaks.

P-4.10 First-frame image｜Spring 1983, the second-floor private room at Juzhen Garden, single close shot: the Long-Haired Hawk-Eyed Man (look as above) sits in a rosewood chair, leaning forward, face turned toward frame left, grinning, his gaze aggressive; behind him the white light of the lattice window and the pendant lamp, warm amber light.

4-10 Video prompt｜Re-render from the uploaded first frame P-4.10, 16:9 landscape, cinematic, spring 1983, private room at Juzhen Garden, noon. 10 seconds, single close shot. [First-frame reference | top priority] Use the uploaded first frame P-4.10 exactly as the first frame of the video. Do not redesign the character, camera, window or camera position. Keep everything in the first frame: the Long-Haired Hawk-Eyed Man on the right, leaning forward, face turned left, grinning; the camera on his chest; the white light of the lattice window; amber light. The first frame is: he cuts the other man off. Action: Teasing, the Long-Haired Hawk-Eyed Man snatches the conversation away and says: “You mean ‘Wang Cheng’ — from Heroic Sons and Daughters? A pleasure, a pleasure!” Do not: No cuts. Only the Long-Haired Hawk-Eyed Man speaks.

P-4.11 First-frame image｜Spring 1983, the second-floor private room at Juzhen Garden, single close shot: the Broad-Forehead Youth · 1983 (look as above) stands by the square table, face turned toward frame right, his gaze stiff and reserved; behind him the bead curtain, warm amber light.

4-11 Video prompt｜Re-render from the uploaded first frame P-4.11, 16:9 landscape, cinematic, spring 1983, private room at Juzhen Garden, noon. 10 seconds, single close shot. [First-frame reference | top priority] Use the uploaded first frame P-4.11 exactly as the first frame of the video. Do not redesign the character, bead curtain or camera position. Keep everything in the first frame: the Broad-Forehead Youth · 1983 on the left, face turned right; the bead curtain behind; amber light. The first frame is: he is taken aback. Action: His face flushes faintly; he lowers his head and says nothing. Do not: No cuts. No speech. No exaggerated expressions. [NARRATION] Wang Cheng was the name my father gave me.

P-4.12 First-frame image｜Spring 1983, the second-floor private room at Juzhen Garden, looking from the square table toward the doorway, medium shot: the bead curtain is pushed aside; the Young Man in a Suit (look as above) stands in the doorway, and behind him follows the Pigtailed Girl (look as above), half of her hidden behind her brother; in the foreground at the table, the shoulders of the Long-Haired Hawk-Eyed Man and the Broad-Forehead Youth · 1983, out of focus; warm amber light.

4-12a Video prompt｜Re-render from the uploaded first frame P-4.12, 16:9 landscape, cinematic, spring 1983, private room at Juzhen Garden, noon. 10 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-4.12 exactly as the first frame of the video. Do not redesign the characters, bead curtain or camera position. Keep everything in the first frame: the Young Man in a Suit centered in the doorway; the Pigtailed Girl half hidden behind him; two out-of-focus shoulders in the foreground; amber light. The first frame is: the two have just come in. Action: The Young Man in a Suit steps aside to bring his sister forward and says: “This is my sister, Gu Zheng — attending Chuzhou Middle School.” Do not: No cuts. Only the Young Man in a Suit speaks. Do not let the girl speak.

4-12b Video prompt｜First frame = last frame of 4-12a. 16:9, 6 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 4-12a exactly as the first frame: the Young Man in a Suit turned sideways, the Pigtailed Girl standing beside him in full view, two out-of-focus shoulders in the foreground. Action: The Pigtailed Girl glances up quickly toward frame left, then shyly lowers her eyelids. Do not: No cuts. No speech.

P-4.13 First-frame image｜Spring 1983, the second-floor private room at Juzhen Garden, static medium-wide shot: the square table in the center of the frame; the Long-Haired Hawk-Eyed Man (look as above) has just stood up and, with both hands, moves a carved rosewood chair to the right side of the table next to his own; the Young Man in a Suit (look as above) pulls out a chair on the left side of the table and sits down; the Broad-Forehead Youth · 1983 (look as above) sits at the head of the table; the Pigtailed Girl (look as above) stands in front of the bead curtain at the door; warm amber light.

4-13 Video prompt｜Re-render from the uploaded first frame P-4.13, 16:9 landscape, cinematic, spring 1983, private room at Juzhen Garden, noon. 10 seconds, static medium-wide shot. [First-frame reference | top priority] Use the uploaded first frame P-4.13 exactly as the first frame of the video. Do not redesign the private room, the four characters, the chairs or camera position. Keep everything in the first frame: the Long-Haired Hawk-Eyed Man on the right, his hand on the empty chair he has just moved; the Young Man in a Suit sitting down on the left; the Broad-Forehead Youth · 1983 at the head; the Pigtailed Girl at the door; amber light. The first frame is: the empty chair stands next to the Long-Haired Hawk-Eyed Man. Action: The Long-Haired Hawk-Eyed Man pats the chair and warmly calls to the girl. The Long-Haired Hawk-Eyed Man says: “I’ve been waiting for you — come — sit here.” Do not: No cuts. Only the Long-Haired Hawk-Eyed Man speaks. Do not swap positions.

4-14a Video prompt｜First frame = last frame of 4-13. 16:9, 10 seconds, static medium-wide shot. [First-frame reference | top priority] Use the last frame of 4-13 exactly as the first frame: the Long-Haired Hawk-Eyed Man with his hand on the empty chair, the Pigtailed Girl at the door. Action: The Pigtailed Girl comes in from the door and walks toward the table; she reaches the empty chair, goes around it, and slowly sits down on the left side of the table beside her brother. The camera does not move. Do not: No cuts. No speech. Do not let the girl touch a wine cup.

4-14b Video prompt｜First frame = last frame of 4-14a. 16:9, 8 seconds, static medium-wide shot. [First-frame reference | top priority] Use the last frame of 4-14a exactly as the first frame: the girl seated on the left beside her brother; the chair next to the Long-Haired Hawk-Eyed Man empty. Action: The face of the Long-Haired Hawk-Eyed Man shows a moment of awkwardness; then he laughs loudly and picks up the baijiu bottle. Do not: No cuts. No speech. Do not let the girl touch a wine cup.

P-4.15 First-frame image｜Spring 1983, the second-floor private room at Juzhen Garden, close-up at tabletop height: the hand of the Broad-Forehead Youth · 1983 (look as above) holds a glass bottle of cola, beaded with condensation, pouring into a glass; on the other side of the frame, one small hand of the Pigtailed Girl (look as above) rests on the table edge; the red lacquer of the square table, warm amber light.

4-15a Video prompt｜Re-render from the uploaded first frame P-4.15, 16:9 landscape, cinematic, spring 1983, private room at Juzhen Garden, noon. 6 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-4.15 exactly as the first frame of the video. Do not redesign the hands, cola bottle, glass or camera position. Keep everything in the first frame: the pouring hand on the left; the girl’s hand on the table edge on the right; the red-lacquered tabletop; amber light. The first frame is: the cola has just started pouring into the glass. Action: The brown cola fizzes up to the rim of the glass; the bottle is withdrawn. Do not: No cuts. No faces. No speech.

4-15b Video prompt｜First frame = last frame of 4-15a. 16:9, 8 seconds, close-up. [First-frame reference | top priority] Use the last frame of 4-15a exactly as the first frame: a glass of cola filled to the rim on the left, the girl’s hand on the table edge on the right. Action: The hand pushes the glass across the table to the girl’s hand. The girl’s hand waits until the glass has come to rest, then reaches out two fingers and touches the side of the glass. Do not: No cuts. No faces. No speech.

P-4.16 First-frame image｜Spring 1983, the second-floor private room at Juzhen Garden, medium close shot: the Long-Haired Hawk-Eyed Man (look as above) sits on the right side of the table, his face flushed red with drink, both hands raising the camera from his chest and aiming it toward frame left; on the left of the frame the Pigtailed Girl (look as above) sits turned sideways, eyes looking out of the lattice window; between them a corner of the square table; warm amber light and white light from the window.

4-16 Video prompt｜Re-render from the uploaded first frame P-4.16, 16:9 landscape, cinematic, spring 1983, private room at Juzhen Garden, noon. 10 seconds, medium close two-shot. [First-frame reference | top priority] Use the uploaded first frame P-4.16 exactly as the first frame of the video. Do not redesign the two characters, camera, window or camera position. Keep everything in the first frame: the Long-Haired Hawk-Eyed Man on the right raising the camera; the Pigtailed Girl on the left turned sideways, looking out of the window; a corner of the square table; amber light and window light. The first frame is: the camera is aimed at her. Action: In a warm, familiar voice, the Long-Haired Hawk-Eyed Man says: “Little sister — let me take one of you.” Do not: No cuts. Only the Long-Haired Hawk-Eyed Man speaks. Do not let the girl speak.

4-17 Video prompt｜First frame = last frame of 4-16. 16:9, 10 seconds, medium close two-shot. [First-frame reference | top priority] Use the last frame of 4-16 exactly as the first frame: the camera aimed at the girl, who sits turned sideways. Action: The Pigtailed Girl does not smile; out of politeness she keeps her sideways pose, her eyes still on the window. The shutter clicks, the flash fires, the image instantly blows out to white, then slowly returns. Do not: No cuts. No speech. Do not let the girl turn toward the camera. [NARRATION] That was the first time I saw him raise his camera.

P-4.17a First-frame image｜Spring 1983, a private room on the second floor of Juzhen Garden: a red-lacquered square table for eight, four carved rosewood chairs, an old-fashioned milk-white glass pendant lamp overhead, white light through a wooden lattice window, a bead curtain over the doorway; on the table a bottle of baijiu, a glass bottle of cola, several small cups, a dish of sunflower seeds; warm amber light. Close shot from one corner of the room: on the red-lacquered tabletop in the foreground, a black camera has just been set back down by a pair of hands (the Long-Haired Hawk-Eyed Man, hands only), the lens cap not yet on; in the middle ground, the Pigtailed Girl (look as above) holds her sideways pose, looking toward the window, the light from the lattice window on half her face; diagonally across from her, the Broad-Forehead Youth · 1983 (look as above) sits with his glass of cola stopped in midair.

4-17a Video prompt｜Re-render from the uploaded first frame P-4.17a, 16:9 landscape, cinematic, spring 1983, private room at Juzhen Garden, noon. 8 seconds, close shot. (Supplementary shot, source: Ep. 4, Sc. 9 ◆9-8a) [First-frame reference | top priority] Use the uploaded first frame P-4.17a exactly as the first frame of the video. Do not redesign the camera, tabletop, the two characters or camera position. Keep everything in the first frame: the camera and the pair of hands in the foreground; the girl turned sideways in the middle ground, window light on half her face; the Broad-Forehead Youth · 1983 diagonally across, holding up his glass of cola; amber light and window light. The first frame is: after the flash, the camera has just been set down. Action: The hands withdraw from the camera, out of frame. The girl blinks once and stays still, turned sideways; the glass of cola stays in midair. Do not: No cuts. No speech. Do not let the girl turn toward the camera. Do not let the girl touch a wine cup.

4. 1988 · That Name (Ep. 4, Sc. 9–10)

4-18a1 Video prompt｜Re-render from the uploaded first frame P-4.3, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 8 seconds, close shot, three people. (reuse P-4.3 first-frame image) [First-frame reference | top priority] Use the uploaded first frame P-4.3 exactly as the first frame of the video: the Broad-Forehead Youth on the left, the Long-Haired Hawk-Eyed Man on the right, the Short-Braids Student in the middle facing the camera, the empty glass in the foreground, golden light. The first frame is: the image dissolves back from amber into golden lamplight. Action: The Long-Haired Hawk-Eyed Man slaps his own forehead and, to the Broad-Forehead Youth on the left, the Long-Haired Hawk-Eyed Man says: “Right, right — how could I have forgotten you, the literary one!” Do not: No cuts. Only the Long-Haired Hawk-Eyed Man speaks. Do not swap positions.

4-18a2 Video prompt｜First frame = last frame of 4-18a1. 16:9, 6 seconds, close shot, three people. [First-frame reference | top priority] Use the last frame of 4-18a1 exactly as the first frame: the hand of the Long-Haired Hawk-Eyed Man has just come down from his forehead, his face turned to the Broad-Forehead Youth on the left; the three in the same positions as before. Action: The Long-Haired Hawk-Eyed Man goes on and says: “You were at Chuzhou Teachers College then.” Do not: No cuts. Only the Long-Haired Hawk-Eyed Man speaks. Do not swap positions.

4-18b1 Video prompt｜First frame = last frame of 4-18a2. 16:9, 10 seconds, close shot, three people. [First-frame reference | top priority] Use the last frame of 4-18a2 exactly as the first frame: the Long-Haired Hawk-Eyed Man has finished speaking; the three in the same positions as before. Action: The Long-Haired Hawk-Eyed Man turns to the Short-Braids Student and says: “You were still at Chuzhou Middle School at the time. Quiet. I never imagined you’d be a top student at Dongjiang University now. The three of us — fellow alumni …” Do not: No cuts. Only the Long-Haired Hawk-Eyed Man speaks. Do not swap positions.

4-18b2 Video prompt｜First frame = last frame of 4-18b1. 16:9, 6 seconds, close shot, three people. [First-frame reference | top priority] Use the last frame of 4-18b1 exactly as the first frame: the Long-Haired Hawk-Eyed Man facing the Short-Braids Student; the Short-Braids Student holding her satchel, facing the camera. Action: A light slowly comes into the eyes of the Short-Braids Student. Do not: No cuts. No speech. Do not swap positions.

P-4.19 First-frame image｜The same dusk, the Good Girl Restaurant, table by the wall, single close shot: the Short-Braids Student (look as above) sits facing the camera, her canvas satchel held in her arms, a light just coming into her eyes; behind her steam and the out-of-focus cash counter in the distance, golden light.

4-19 Video prompt｜Re-render from the uploaded first frame P-4.19, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 10 seconds, single close shot. [First-frame reference | top priority] Use the uploaded first frame P-4.19 exactly as the first frame of the video. Do not redesign the character, satchel or camera position. Keep everything in the first frame: the Short-Braids Student centered, facing the camera, holding her satchel; steam and the out-of-focus cash counter; golden light. The first frame is: she remembers. Action: She smiles, a little embarrassed. The Short-Braids Student says: “So it was you. The photograph you took of me was wonderful. I’ve kept it in my album all this time. But I seem to remember you were called — Du … Wei!” Do not: No cuts. Only the Short-Braids Student speaks.

4-20a Video prompt｜Re-render from the uploaded first frame P-4.6, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 10 seconds, single close shot. (reuse P-4.6 first-frame image) [First-frame reference | top priority] Use the uploaded first frame P-4.6 exactly as the first frame of the video: the Broad-Forehead Youth on the left, leaning forward, face turned right, the white tape. Action: In earnest, the Broad-Forehead Youth explains. The Broad-Forehead Youth says: “He is called Du Wei. ‘Lao Wei’ is his pen name when he publishes.” Do not: No cuts. Only the Broad-Forehead Youth speaks.

4-20b Video prompt｜First frame = last frame of 4-20a. 16:9, 10 seconds, single close shot. [First-frame reference | top priority] Use the last frame of 4-20a exactly as the first frame: the Broad-Forehead Youth leaning forward, face turned right, in mid-speech. Action: The Broad-Forehead Youth goes on and says: “Lao Wei is now a famous young photographer in Chuzhou — admitted to Dongjiang University’s photography class. He’s just registered, and he’s already treating you to dinner — a man of feeling, isn’t he?” Do not: No cuts. Only the Broad-Forehead Youth speaks.

4-21 Video prompt｜Re-render from the uploaded first frame P-4.19, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 10 seconds, single close shot. (reuse P-4.19 first-frame image) [First-frame reference | top priority] Use the uploaded first frame P-4.19 exactly as the first frame of the video: the Short-Braids Student centered, facing the camera, holding her satchel. Action: Something suddenly occurs to her; she turns her face toward frame left and, intently, the Short-Braids Student says: “That review of Xiangchun Street in Langtaosha — was that yours?” Do not: No cuts. Only the Short-Braids Student speaks.

4-22a Video prompt｜Re-render from the uploaded first frame P-4.6, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 6 seconds, single close shot. (reuse P-4.6 first-frame image) [First-frame reference | top priority] Use the uploaded first frame P-4.6 exactly as the first frame of the video: the Broad-Forehead Youth on the left, face turned right. Action: Something flickers in his eyes; he slowly lowers his head, then raises it again. Do not: No cuts. No speech.

4-22b Video prompt｜First frame = last frame of 4-22a. 16:9, 10 seconds, single close shot. [First-frame reference | top priority] Use the last frame of 4-22a exactly as the first frame: the Broad-Forehead Youth has just raised his head, face turned right. Action: He answers like a prisoner under interrogation. The Broad-Forehead Youth says: “Yes. It wasn’t well-written — purely a heartfelt impulse — sending it to Langtaosha was a momentary whim …” Do not: No cuts. Only the Broad-Forehead Youth speaks.

4-23 Video prompt｜Re-render from the uploaded first frame P-4.5, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 10 seconds, single close shot. (reuse P-4.5 first-frame image) [First-frame reference | top priority] Use the uploaded first frame P-4.5 exactly as the first frame of the video: the Long-Haired Hawk-Eyed Man sitting against the wall, face turned left, his face already slightly flushed. Action: With drunken excitement, the Long-Haired Hawk-Eyed Man cuts in and says: “You know — the three of us are rather like characters from a movie.” Do not: No cuts. Only the Long-Haired Hawk-Eyed Man speaks.

4-24 Video prompt｜Re-render from the uploaded first frame P-4.19, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 8 seconds, single close shot. (reuse P-4.19 first-frame image) [First-frame reference | top priority] Use the uploaded first frame P-4.19 exactly as the first frame of the video: the Short-Braids Student centered, facing the camera. Action: She looks up. The Short-Braids Student says: “A movie?” Do not: No cuts. Only the Short-Braids Student speaks.

4-25a Video prompt｜Re-render from the uploaded first frame P-4.3, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 10 seconds, close shot, three people. (reuse P-4.3 first-frame image) [First-frame reference | top priority] Use the uploaded first frame P-4.3 exactly as the first frame of the video: the three in the same positions as before; the face of the Long-Haired Hawk-Eyed Man already flushed. Action: The Long-Haired Hawk-Eyed Man cackles with laughter and says: “What — you’ve forgotten? Wang Cheng — Wang Fang — and the comrade who died with the brother and sister! Ha-ha!” Do not: No cuts. Only the Long-Haired Hawk-Eyed Man speaks. Do not swap positions.

4-25b Video prompt｜First frame = last frame of 4-25a. 16:9, 8 seconds, close shot, three people. [First-frame reference | top priority] Use the last frame of 4-25a exactly as the first frame: the Long-Haired Hawk-Eyed Man still laughing; the three in the same positions as before; the unused empty glass in the foreground. Action: The Long-Haired Hawk-Eyed Man picks up the beer bottle, leans across and fills the glass at the empty side of the table in the foreground, then puts the bottle down. Do not: No cuts. No speech. Do not swap positions.

4-26a Video prompt｜First frame = last frame of 4-25b. 16:9, 8 seconds, close shot, three people. [First-frame reference | top priority] Use the last frame of 4-25b exactly as the first frame: the glass in the foreground full of beer, the foam settling; the Long-Haired Hawk-Eyed Man putting down the bottle. Action: The Long-Haired Hawk-Eyed Man points at the Broad-Forehead Youth on the left and says: “This fellow — this time he wouldn’t even drink at all!” Do not: No cuts. Only the Long-Haired Hawk-Eyed Man speaks.

4-26b Video prompt｜First frame = last frame of 4-26a. 16:9, 6 seconds, close shot, three people. [First-frame reference | top priority] Use the last frame of 4-26a exactly as the first frame: the finger of the Long-Haired Hawk-Eyed Man pointing left; a glass of cola in front of the Broad-Forehead Youth. Action: The Broad-Forehead Youth lowers his head slightly and looks at the glass of cola in front of him. Do not: No cuts. No speech. Do not swap positions.

4-27 Video prompt｜Re-render from the uploaded first frame P-4.19, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 10 seconds, single close shot. (reuse P-4.19 first-frame image) [First-frame reference | top priority] Use the uploaded first frame P-4.19 exactly as the first frame of the video: the Short-Braids Student centered, facing the camera. Action: She glances toward frame left, then turns toward frame right, and thoughtfully the Short-Braids Student says: “Wang Sheng — Wang Cheng — the name reminds me of a movie I saw when I was a child …” Do not: No cuts. Only the Short-Braids Student speaks.

4-28 Video prompt｜Re-render from the uploaded first frame P-4.5, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 10 seconds, single close shot. (reuse P-4.5 first-frame image) [First-frame reference | top priority] Use the uploaded first frame P-4.5 exactly as the first frame of the video: the Long-Haired Hawk-Eyed Man sitting against the wall, face flushed, turned left. Action: The Long-Haired Hawk-Eyed Man lurches forward and, quick and loud, gets the answer in first. The Long-Haired Hawk-Eyed Man says: “You mean Heroic Sons and Daughters? The one who shouted ‘Fire on me!’ — that Volunteer Army soldier — his name was Wang Cheng!” Do not: No cuts. Only the Long-Haired Hawk-Eyed Man speaks.

4-29 Video prompt｜First frame = last frame of 4-28. 16:9, 10 seconds, single close shot. [First-frame reference | top priority] Use the last frame of 4-28 exactly as the first frame: the Long-Haired Hawk-Eyed Man leaning forward, face turned left. Action: He glances toward frame left and, teasing, the Long-Haired Hawk-Eyed Man says: “Your dad — why did he give you such a name — did he especially hope you’d become a hero?” Do not: No cuts. Only the Long-Haired Hawk-Eyed Man speaks.

P-4.29a First-frame image｜The same dusk, the Good Girl Restaurant, table by the wall, extremely low-angle close-up from the empty side of the table, looking under the table: on the concrete floor a few bits of broken peanut shell and a puddle of water; on the left of the frame, a pair of old leather shoes (the Broad-Forehead Youth) pressed close together, toes pointing in under the table; on the right of the frame, a pair of white sneakers (the Long-Haired Hawk-Eyed Man), one resting on the crossbar of a stool, the other stretched out to the middle under the table, its laces undone; at the bottom of the frame, a pair of black cloth strap shoes (the Short-Braids Student); the edge of the tablecloth hangs at the top of the frame; it is dim under the table; golden light leaks down past the table edge.

4-29a Video prompt｜Re-render from the uploaded first frame P-4.29a, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 8 seconds, extremely low-angle close-up. (Supplementary shot, listener reaction, source: Ep. 4, Sc. 10 ◆10-6a) [First-frame reference | top priority] Use the uploaded first frame P-4.29a exactly as the first frame of the video. Do not redesign the three pairs of shoes, the floor or camera position. Keep everything in the first frame: the old leather shoes pressed together on the left; the white sneakers on the right, one on the crossbar and one stretched out; the black cloth shoes at the bottom; the peanut shells and puddle; the golden light leaking past the table edge. The first frame is: three pairs of shoes under the table. Action: The heel of one of the old leather shoes on the left slowly lifts, then sets down again. Do not: No cuts. No faces or upper bodies. No speech.

P-4.30 First-frame image｜The same dusk, the Good Girl Restaurant, table by the wall, close-up: the face of the Broad-Forehead Youth (look as above), head slightly lowered, his eyes behind the glasses looking at the glass of cola in front of him; golden light falling from above; steam out of focus behind.

4-30 Video prompt｜Re-render from the uploaded first frame P-4.30, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 10 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-4.30 exactly as the first frame of the video. Do not redesign the character, glasses or camera position. Keep everything in the first frame: the face of the Broad-Forehead Youth centered, head lowered, looking at the glass; the white tape; golden light; steam behind. The first frame is: he does not move. Action: He does not make a sound. Red slowly spreads from the roots of his ears to his cheeks, until his whole face is flushed. The camera does not move. Do not: No cuts. No speech. No exaggerated expressions. No new characters.

P-4.31 First-frame image｜The same dusk, inside the Good Girl Restaurant: a small, packed restaurant, steam rolling under the light bulbs; a square table against the wall with a plastic tablecloth; on it a dish of fried peanuts, a dish of spicy radish, a bottle of beer, a bottle of cola, four glasses, and a glass also set at the empty side of the table; far back, behind the cash counter, sits the Cashier; on the wall behind her, a large color photo of a long-haired film actress torn from a film magazine; golden light. Shot from the empty side of the table, close shot of three people: the Broad-Forehead Youth (look as above) sits on the left, head lowered, his whole face flushed, an empty cola glass in front of him; the Long-Haired Hawk-Eyed Man (look as above) sits on the right, leaning against the wall, a glass of beer in his hand; the Short-Braids Student (look as above) sits on the side facing the camera, gazing blankly at the Broad-Forehead Youth on the left, one hand reaching for the cola bottle on the table; in the foreground on the table edge, the glass filled with beer.

4-31a Video prompt｜Re-render from the uploaded first frame P-4.31, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 10 seconds, close shot, three people. [First-frame reference | top priority] Use the uploaded first frame P-4.31 exactly as the first frame of the video. Do not redesign the three characters, seats, items on the table or camera position. Keep everything in the first frame: the Broad-Forehead Youth on the left, head lowered, face red, an empty cola glass in front of him; the Long-Haired Hawk-Eyed Man on the right against the wall holding a beer; the Short-Braids Student in the middle facing the camera, her hand reaching for the cola bottle; the full glass of beer in the foreground; the Cashier and the photo in the distance; golden light. The first frame is: her hand has just touched the cola bottle. Action: The Short-Braids Student picks up the cola bottle, fills the empty glass of the Broad-Forehead Youth with a steady hand, and sets the bottle back on the table. Do not: No cuts. No speech. Do not swap positions. No physical contact.

4-31b Video prompt｜First frame = last frame of 4-31a. 16:9, 8 seconds, close shot, three people. [First-frame reference | top priority] Use the last frame of 4-31a exactly as the first frame: the cola bottle back on the table, the glass in front of the Broad-Forehead Youth full, the Long-Haired Hawk-Eyed Man holding his beer against the wall. Action: The Broad-Forehead Youth raises his head and looks at her, saying nothing. For a moment the Long-Haired Hawk-Eyed Man says nothing either; his eyes move once between the two of them. Do not: No cuts. No speech. Do not swap positions. No physical contact.

P-4.31c First-frame image｜The same dusk, inside the Good Girl Restaurant: a small, packed restaurant, steam rolling under the light bulbs; a square table against the wall with a plastic tablecloth; on it a dish of fried peanuts, a dish of spicy radish, a bottle of beer, a bottle of cola, four glasses, and a glass also set at the empty side of the table; far back, behind the cash counter, sits the Cashier; on the wall behind her, a large color photo of a long-haired film actress torn from a film magazine; golden light. Reverse medium-wide shot from behind the cash counter, over the shoulder of the Cashier (look as above), toward the table by the wall: the Cashier out of focus in the foreground, in profile, a film magazine in her hands, stopped at a page; above her head on the wall, a corner of the color photo of the long-haired actress; at the table by the wall in the distance, the three: the Broad-Forehead Youth with his head raised, the hand of the Short-Braids Student just leaving the cola bottle, the Long-Haired Hawk-Eyed Man against the wall holding his glass.

4-31c Video prompt｜Re-render from the uploaded first frame P-4.31c, 16:9 landscape, cinematic, winter 1988, the Good Girl Restaurant, dusk. 10 seconds, medium-wide reverse shot. (Supplementary shot, source: Ep. 4, Sc. 10 ◆10-9a) [First-frame reference | top priority] Use the uploaded first frame P-4.31c exactly as the first frame of the video. Do not redesign the Cashier, magazine, photo, the three characters, table or camera position. Keep everything in the first frame: the Cashier out of focus in profile in the foreground, holding the magazine; a corner of the photo above her head; the three at the far table by the wall in the same positions as before; the packed diners; steam; golden light. The first frame is: she is looking down at the magazine. Action: The Cashier lifts her eyes from the magazine; her gaze rests on that table for one second, then drops again. Do not: No cuts. No speech. No legible text. Do not let the three in the distance stand up.

5. Parting (Ep. 4, Sc. 11)

P-4.32 First-frame image｜Winter 1988, dusk, College Road outside the Dongjiang University gate: a narrow street lined on both sides with old timber-framed houses, moss-covered eaves, small restaurants and second-hand bookshops one next to another; above the door of the Good Girl Restaurant hangs a plank signboard of raw wood, and under the signboard a golden light bulb in a tin shade; wisps of steam drift out of the half-open glass door; every table inside is full; it is now fully dark, and the little shops on both sides have their lights on. Wide shot: at the restaurant door, the Long-Haired Hawk-Eyed Man (look as above) and the Broad-Forehead Youth (look as above) walk side by side toward frame left; the Short-Braids Student (look as above) walks alone up the street toward frame right.

4-32a Video prompt｜Re-render from the uploaded first frame P-4.32, 16:9 landscape, cinematic, winter 1988, College Road, night. 10 seconds, static wide shot. [First-frame reference | top priority] Use the uploaded first frame P-4.32 exactly as the first frame of the video. Do not redesign the street, signboard, lights, the three characters or camera position. Keep everything in the first frame: the restaurant door in the center of the frame; the Long-Haired Hawk-Eyed Man and the Broad-Forehead Youth on the left, walking left; the Short-Braids Student on the right, walking right; the little shops on both sides lit; night. The first frame is: the three have just parted. Action: The two men walk off to the left and disappear at the corner. On the right, the Short-Braids Student walks slowly on. Do not: No cuts. No speech. Do not let the Short-Braids Student look back. No legible text.

4-32b Video prompt｜First frame = last frame of 4-32a. 16:9, 10 seconds, static wide shot. [First-frame reference | top priority] Use the last frame of 4-32a exactly as the first frame: the two men on the left are gone; the Short-Braids Student walks on the right holding her satchel; the restaurant door in the center; the little shops on both sides lit. Action: The Short-Braids Student, holding her satchel, walks to the right through the busy street, growing smaller and smaller, and does not look back. The lights along both sides of the street shine one after another. Do not: No cuts. No speech. Do not let the Short-Braids Student look back. No legible text.

P-4.32c First-frame image｜Winter 1988, the gate of Dongjiang University: two concrete gateposts, the university’s name on them weathered and flaking; just outside the gate is College Road; two streetlamps at the gate; dim yellow light from the window of the gatekeeper’s lodge. Night; the tree-lined road inside the gate has only a few scattered streetlamps, and the tree shadows on the road are black; in the distance, the windows of the dormitory buildings are lit, block after block. Static wide shot from the College Road side outside the gate, looking in: the Short-Braids Student (look as above), her back to the camera, is just walking into the lamplight at the gate, holding her canvas satchel; the lettering on the gateposts need not be legible.

4-32c Video prompt｜Re-render from the uploaded first frame P-4.32c, 16:9 landscape, cinematic, winter 1988, Dongjiang University gate, night. 10 seconds, static wide shot. (Supplementary shot, source: Ep. 4, Sc. 11 ◆11-4a) [First-frame reference | top priority] Use the uploaded first frame P-4.32c exactly as the first frame of the video. Do not redesign the gate, gateposts, streetlamps, gatekeeper’s lodge, tree-lined road or camera position. Keep everything in the first frame: the gate in the center of the frame; the Short-Braids Student with her back to the camera under the lamp at the gate; the scattered lamps along the tree-lined road inside; the lit windows of the distant dormitories; night. The first frame is: she reaches the gate. Action: The Short-Braids Student walks in through the gate and on along the tree-lined road; her figure lights up for a moment under one lamp, disappears into the next stretch of darkness, appears again under the next lamp, and goes farther and farther away. Do not: No cuts. No speech. Do not let the Short-Braids Student look back. No legible text. No new characters.

(End of segment | 55 shots | approx. 8 min | Source: Ep. 4, Sc. 8, 9, 10, 11)

Part 1 · Segment 5 · Where Du Wei Came From (approx. 6 min, 42 shots)

Source: Ep. 14 Part 2, Sc. 2 (flashback · Du Wei and his godfather · “conquer women, use women” · Jiang Lili), Sc. 3 (Du Wei and his godfather, cont. · the mother · that door).

Character looks (prompts use these descriptions only, never names): - [Long-Haired Hawk-Eyed Man] A man of twenty-five or twenty-six. Shoulder-length hair, sharp eyes like a hawk’s, a black leather jacket, a camera hanging on his chest. (= Du Wei, 1988) - Flashback · [Short-Haired Hawk-Eyed Youth] A young man of about twenty. Short hair, sharp eyes like a hawk’s, an old grey jacket over a faded red shirt, no camera. (= Du Wei as a young adult) - Flashback · [Middle-Aged Man in a Mao Suit] A man of about forty. Stocky build, hair combed straight back, a dark grey Mao suit open at the collar, a string of Buddhist prayer beads on his wrist, short thick fingers; there is something sly in his smile. (= Wu Bozhong, twenty years younger than the [Boss in the Tang Jacket] of 2006; use this look in both flashbacks) - Flashback · [Crew-Cut Boy] A boy of eight or nine. Crew cut, white undershirt, blue cotton shorts, barefoot, an old satchel slung across his body. (= Du Wei as a child) - Flashback · [Woman in the Doorway] A woman in her thirties. Blue cotton jacket and trousers, hair pinned up. Show only her back, her profile and her hands; never her face. (= Du Wei’s mother)

Settings (reuse verbatim in first-frame images): - [Campus Tree-Lined Road] Winter 1988, afternoon, a tree-lined road on the Dongjiang University campus: two rows of bare plane trees, dead leaves on the road, cold white daylight. - [Chuzhou Alley] Flashback, an old alley in Chuzhou: single-story grey-brick houses on both sides, the plaster peeling, coal briquettes and broken baskets piled along the foot of the walls, a utility pole covered in small paper ads, an old wooden door deep in the alley; grey-yellow tones, no sun. - [Du Wei’s Home] Flashback, the plain room of Du Wei’s home in Chuzhou: an old square table with most of its lacquer worn away, a few wooden chairs, an old New Year print on the wall, a small window letting in grey-yellow light; grey-yellow tones. - [Corridor at Night] Flashback, the corridor of Du Wei’s home, night: a tamped-earth floor, two wooden doors facing each other; a thin line of dim yellow lamplight leaks from under one door, the gap under the other door is dark; at the end of the corridor a small window lets in a little grey-blue moonlight.

Censorship handling: this segment shows only dialogue and looks. The original script’s Sc. 3 detail (“comes out of the mother’s bedroom in the middle of the night wearing only a pair of baggy undershorts”) is changed to: the middle-aged man, fully dressed (Mao suit open at the collar), comes out through the door opposite; no bedroom interior and no description of the body. The hand-copied book in the original prologue and Sc. 2 is shown only as “a thin hand-copied notebook” — no title, no content.

1. 1988 · Campus

P-5.1 First-frame image｜Winter 1988, afternoon, a tree-lined road on the Dongjiang University campus: two rows of bare plane trees, dead leaves on the road, cold white daylight. Medium shot: the Long-Haired Hawk-Eyed Man (look as above) stands alone in the middle of the road, turned sideways, looking into the distance toward frame right, one hand in the pocket of his leather jacket, the camera on his chest with the lens cap on.

5-1 Video prompt｜Re-render from the uploaded first frame P-5.1, 16:9 landscape, cinematic, winter 1988, tree-lined road at Dongjiang University, afternoon. 10 seconds, medium shot pushing in to a close shot. [First-frame reference | top priority] Use the uploaded first frame P-5.1 exactly as the first frame of the video. Do not redesign the character, camera, plane trees or camera position. Keep everything in the first frame: the Long-Haired Hawk-Eyed Man standing slightly left of center, turned to the right, one hand in his pocket; the camera on his chest with the lens cap on; the two rows of bare plane trees; dead leaves; cold white light. The first frame is: he stands looking into the distance. Action: The wind stirs his long hair and the dead leaves on the ground; he stands motionless, gazing into the distance. The camera slowly pushes in to a close shot; his eyes narrow. Do not: No cuts. No speech. Do not add other people approaching. [NARRATION] Back then I did not know who had taught Du Wei to be what he was.

2. The Mother Leaning in the Doorway (Ep. 14 Part 2, Sc. 3)

P-5.2 First-frame image｜Flashback, an old alley in Chuzhou: single-story grey-brick houses on both sides, the plaster peeling, coal briquettes and broken baskets piled along the foot of the walls, a utility pole covered in small paper ads, an old wooden door deep in the alley; grey-yellow tones, no sun. Wide shot from the mouth of the alley looking in: the Crew-Cut Boy (look as above) walks alone down the alley, scraping a stick along the wall; in the frame of the wooden door deep in the alley, the Woman in the Doorway (look as above) leans against the doorframe, a distant profile, her face turned toward the other end of the alley.

5-2 Video prompt｜Re-render from the uploaded first frame P-5.2, 16:9 landscape, cinematic, flashback, an old alley in Chuzhou, afternoon after school. 10 seconds, wide shot. [First-frame reference | top priority] Use the uploaded first frame P-5.2 exactly as the first frame of the video. Do not redesign the alley, wooden door, the two characters or camera position. Keep everything in the first frame: the Crew-Cut Boy in the middle ground with his back to the camera, walking deeper into the alley, scraping the stick along the wall; the Woman in the Doorway far off in the doorframe, in profile, her face turned toward the other end of the alley; grey-yellow tones. The first frame is: the boy is walking. Action: The boy drags the stick along the wall, leaving a long white scratch, and walks slowly toward the door. The woman in the doorframe keeps gazing toward the other end of the alley and never looks the way the child is coming. Do not: No cuts. No speech. Do not let the woman turn toward the camera. Do not show her face.

P-5.3 First-frame image｜Flashback, the wooden doorframe of Du Wei’s home in Chuzhou, close-up from the side: the wood of the doorframe is worn shiny, with the scrap of a faded Spring Festival couplet stuck to it; a shoulder in blue cotton leans against the doorframe (the Woman in the Doorway, look as above, only her shoulder and hand); one hand hangs at her side, fingers pinching the corner of a pale blue handkerchief washed almost white; outside the door, the grey-yellow light of the alley; inside, the darkness of the room; grey-yellow tones.

5-3 Video prompt｜Re-render from the uploaded first frame P-5.3, 16:9 landscape, cinematic, flashback, the door of Du Wei’s home in Chuzhou, afternoon. 10 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-5.3 exactly as the first frame of the video. Do not redesign the doorframe, couplet scrap, shoulder, handkerchief or camera position. Keep everything in the first frame: the doorframe in the center of the frame; the blue cotton shoulder leaning on it; the hand pinching the pale blue handkerchief; grey-yellow light outside the door, darkness inside. The first frame is: the hand holds the handkerchief, still. Action: The fingers slowly roll the handkerchief up, then unroll it. The shoulder stays against the doorframe without moving. A sparrow lands on the eave above the door. Do not: No cuts. No faces. No speech. [NARRATION] Only much later did Du Wei learn that the man his mother waited for, leaning in that doorway, was his godfather, Wu Bozhong.

P-5.3a First-frame image｜Flashback, the plain room of Du Wei’s home in Chuzhou: an old square table with most of its lacquer worn away, a few wooden chairs, an old New Year print on the wall, a small window letting in grey-yellow light; grey-yellow tones. Today the room is a little brighter than usual. Close shot at tabletop height: a clean checked tablecloth has been spread on the square table; on it a plate of red-braised pork, a plate of scrambled eggs, a plate of green vegetables, a dish of peanuts, two sets of bowls and chopsticks, two small wine cups, a bottle of baijiu at the corner of the table; the old New Year print on the wall has been wiped and its colors are a little brighter; at the edge of the frame, the Woman in the Doorway (look as above; today she has changed into a dark red top of better cloth than usual and black trousers; shown only from the waist down) stands by the table, one hand reaching out over the tabletop.

5-3a Video prompt｜Re-render from the uploaded first frame P-5.3a, 16:9 landscape, cinematic, flashback, Du Wei’s home in Chuzhou, the day the godfather is coming. 10 seconds, close shot. (Supplementary shot, source: Ep. 14 Part 2 ◆B3-1b) [First-frame reference | top priority] Use the uploaded first frame P-5.3a exactly as the first frame of the video. Do not redesign the square table, tablecloth, dishes, bowls and chopsticks, New Year print, character or camera position. Keep everything in the first frame: the checked tablecloth and the four dishes in the center of the frame; two sets of bowls and chopsticks, two wine cups, the baijiu at the corner of the table; the hem of the dark red top and the black trousers at the edge of the frame; the New Year print in the background; grey-yellow light, a little brighter than usual. The first frame is: her hand pauses above the table. Action: The hand straightens one wine cup, then lines up the two pairs of chopsticks, one pair after the other. Do not: No cuts. No faces. No speech. No new characters.

3. That Door (Ep. 14 Part 2, Sc. 3)

P-5.3b First-frame image｜Flashback, the corridor of Du Wei’s home, night: a tamped-earth floor, two wooden doors facing each other; a thin line of dim yellow lamplight leaks from under one door, the gap under the other door is dark; at the end of the corridor a small window lets in a little grey-blue moonlight. Extremely low-angle empty shot from one end of the corridor, showing the floor and the two doors; no one there.

5-3b Video prompt｜Re-render from the uploaded first frame P-5.3b, 16:9 landscape, cinematic, flashback, the corridor of Du Wei’s home, late at night. 8 seconds, extremely low-angle empty shot. (Supplementary shot, source: Ep. 14 Part 2 ◆B3-2a) [First-frame reference | top priority] Use the uploaded first frame P-5.3b exactly as the first frame of the video. Do not redesign the floor, the two doors, the lamplight under the door, the small window or camera position. Keep everything in the first frame: the dim yellow line of light under one door; darkness under the other door; the grey-blue moonlight at the end of the corridor; the earth floor; no one there. The first frame is: the corridor is utterly still. Action: The thin line of dim yellow light under the door wavers slightly, then steadies. The moonlight at the end of the corridor does not move. Do not: No cuts. No characters. Do not open the doors. No speech.

P-5.4 First-frame image｜Flashback, the corridor of Du Wei’s home, night: a tamped-earth floor, two wooden doors facing each other; a thin line of dim yellow lamplight leaks from under one door, the gap under the other door is dark; at the end of the corridor a small window lets in a little grey-blue moonlight. Extremely low angle: a pair of small bare feet (the Crew-Cut Boy, look as above) steps out from beside the dark door onto the earth floor and stops in front of the thin line of dim yellow light.

5-4a Video prompt｜Re-render from the uploaded first frame P-5.4, 16:9 landscape, cinematic, flashback, the corridor of Du Wei’s home, late at night. 6 seconds, extremely low-angle close-up. [First-frame reference | top priority] Use the uploaded first frame P-5.4 exactly as the first frame of the video. Do not redesign the floor, the two doors, the lamplight under the door or camera position. Keep everything in the first frame: the dim yellow line of light under the door in the middle of the frame; the pair of small bare feet stopped in front of it; the other door dark; grey-blue moonlight. The first frame is: the small feet stop. Action: The toes of the small feet slowly curl. Do not: No cuts. No upper body. No speech.

5-4b Video prompt｜First frame = last frame of 5-4a. 16:9, 8 seconds, extremely low-angle close-up. [First-frame reference | top priority] Use the last frame of 5-4a exactly as the first frame: the small feet with toes curled, stopped in front of the dim yellow line of light under the door. Action: The light under the door is suddenly blocked by a shadow and goes dark. Do not: No cuts. No upper body. No speech. Do not open the door.

P-5.5 First-frame image｜Flashback, the corridor of Du Wei’s home, night, low-angle shot looking up from a child’s height: the wooden door opposite is open, and dim yellow lamplight from inside floods out onto the corridor floor; the Middle-Aged Man in a Mao Suit (look as above) has just stepped over the threshold and stands in the doorway, his face flushed and shining, his Mao suit open at the collar; his shadow falls across the corridor floor; a little grey-blue moonlight at the end of the corridor.

5-5 Video prompt｜Re-render from the uploaded first frame P-5.5, 16:9 landscape, cinematic, flashback, the corridor of Du Wei’s home, late at night. 10 seconds, low-angle medium shot. [First-frame reference | top priority] Use the uploaded first frame P-5.5 exactly as the first frame of the video. Do not redesign the character, costume, door, lighting or camera position. Keep everything in the first frame: the Middle-Aged Man in a Mao Suit standing centered in the doorway, fully dressed, his Mao suit open at the collar, his face flushed and glowing; the dim yellow light from inside; the low angle; grey-blue moonlight. The first frame is: he has just stepped over the threshold. Action: The man looks down, sees the child at the bottom of the frame, and stops. Their eyes meet. Do not: No cuts. No speech. Do not show the inside of the room. Do not let him walk toward the camera.

P-5.6 First-frame image｜Flashback, the corridor of Du Wei’s home, night, close shot: the Crew-Cut Boy (look as above) stands in the corridor, face tilted up toward the upper right of the frame; the dim yellow light from the doorway lights half his face, the other half is in darkness; his eyes are wide open; behind him, the dark door.

5-6 Video prompt｜Re-render from the uploaded first frame P-5.6, 16:9 landscape, cinematic, flashback, the corridor of Du Wei’s home, late at night. 10 seconds, single close shot. [First-frame reference | top priority] Use the uploaded first frame P-5.6 exactly as the first frame of the video. Do not redesign the character or camera position. Keep everything in the first frame: the Crew-Cut Boy centered, face tilted up toward the upper right; half his face lit, half dark; the dark door behind him. The first frame is: his face is tilted up. Action: The boy stares at the man. The Crew-Cut Boy says: “What were you doing in my mom’s room?” Do not: No cuts. Only the boy speaks. No new characters.

P-5.7 First-frame image｜Flashback, the corridor of Du Wei’s home, night, slightly low-angle medium close shot: the Middle-Aged Man in a Mao Suit (look as above) stands in the doorway, looking down toward the lower left of the frame, his face flushed and shining; the dim yellow light from inside shines out from behind him, half his face in shadow; prayer beads on his wrist.

5-7 Video prompt｜Re-render from the uploaded first frame P-5.7, 16:9 landscape, cinematic, flashback, the corridor of Du Wei’s home, late at night. 10 seconds, single medium close shot. [First-frame reference | top priority] Use the uploaded first frame P-5.7 exactly as the first frame of the video. Do not redesign the character, costume, the light from the door or camera position. Keep everything in the first frame: the Middle-Aged Man in a Mao Suit on the right of the frame, looking down to the lower left; the dim yellow light from the room behind him; the prayer beads. The first frame is: he is looking down at the child. Action: The man avoids the child’s eyes and gives a sly smile. The Middle-Aged Man in a Mao Suit says: “You guess …” Do not: No cuts. Only the Middle-Aged Man in a Mao Suit speaks.

5-8 Video prompt｜Re-render from the uploaded first frame P-5.6, 16:9 landscape, cinematic, flashback, the corridor of Du Wei’s home, late at night. 10 seconds, single close shot. (reuse P-5.6 first-frame image) [First-frame reference | top priority] Use the uploaded first frame P-5.6 exactly as the first frame of the video: the Crew-Cut Boy, face tilted up toward the upper right, half his face lit. Action: The boy stubbornly twists his neck. The Crew-Cut Boy says: “I can’t!” Do not: No cuts. Only the boy speaks.

5-9a Video prompt｜Re-render from the uploaded first frame P-5.7, 16:9 landscape, cinematic, flashback, the corridor of Du Wei’s home, late at night. 10 seconds, single medium close shot. (reuse P-5.7 first-frame image) [First-frame reference | top priority] Use the uploaded first frame P-5.7 exactly as the first frame of the video: the Middle-Aged Man in a Mao Suit in the doorway, looking down to the lower left. Action: The man chuckles; a suggestive, ambiguous expression spreads across his face. The Middle-Aged Man in a Mao Suit says: “You’re too young — of course you can’t figure it out. When you grow up, you’ll know!” Do not: No cuts. Only the Middle-Aged Man in a Mao Suit speaks. Do not show the inside of the room.

5-9b Video prompt｜First frame = last frame of 5-9a. 16:9, 8 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 5-9a exactly as the first frame: the Middle-Aged Man in a Mao Suit in the doorway, the ambiguous smile still on his face, the dim yellow light of the room behind him. Action: The man turns and walks out of frame to the right. The light from the room stays on the corridor floor; the doorway is empty. Do not: No cuts. No speech. Do not show the inside of the room. Do not let him look back.

5-10 Video prompt｜Re-render from the uploaded first frame P-5.6, 16:9 landscape, cinematic, flashback, the corridor of Du Wei’s home, late at night. 10 seconds, single close shot. (reuse P-5.6 first-frame image) [First-frame reference | top priority] Use the uploaded first frame P-5.6 exactly as the first frame of the video: the Crew-Cut Boy, face tilted up, half his face lit. Action: The boy does not move. His gaze slowly drops from above to the line of light from the door on the floor. His mouth is shut, the corners turned down. Do not: No cuts. No speech. No new characters.

4. The Godfather (Ep. 14 Part 2, Sc. 2)

P-5.11 First-frame image｜Flashback, an old alley in Chuzhou: single-story grey-brick houses on both sides, the plaster peeling, coal briquettes and broken baskets piled along the foot of the walls, a utility pole covered in small paper ads, an old wooden door deep in the alley; grey-yellow tones, no sun. Wide shot from the mouth of the alley looking in: the Middle-Aged Man in a Mao Suit (look as above), seen from behind, walks into the alley from its mouth, carrying a string bag with two bottles of liquor and a paper-wrapped parcel in it.

5-11 Video prompt｜Re-render from the uploaded first frame P-5.11, 16:9 landscape, cinematic, flashback, some years later, an old alley in Chuzhou, dusk. 10 seconds, wide shot. [First-frame reference | top priority] Use the uploaded first frame P-5.11 exactly as the first frame of the video. Do not redesign the alley, wooden door, character or camera position. Keep everything in the first frame: the back of the Middle-Aged Man in a Mao Suit in the center foreground, walking deeper into the alley with the string bag; the wooden door deep in the alley; grey-yellow tones. The first frame is: he has just entered the mouth of the alley. Action: The man walks unhurriedly up to the wooden door, pushes it open and goes in. In the alley a dog raises its head and glances over. Do not: No cuts. No speech. Do not let the man look back.

P-5.11a First-frame image｜Flashback, the plain room of Du Wei’s home in Chuzhou: an old square table with most of its lacquer worn away, a few wooden chairs, an old New Year print on the wall, a small window letting in grey-yellow light; grey-yellow tones. High-angle close-up of the tabletop: a glass with a little baijiu left in it; a tin ashtray heaped with cigarette butts, a lit cigarette resting on its rim, sending up a thin thread of smoke; an opened pack of cigarettes and a box of matches; at the corner of the table, an old leather camera case with its clasp undone; at the edge of the frame, on the far side of the table, a pair of black ankle boots (the Short-Haired Hawk-Eyed Youth, look as above, feet only), toes pointing at the table.

5-11a Video prompt｜Re-render from the uploaded first frame P-5.11a, 16:9 landscape, cinematic, flashback, Du Wei’s home in Chuzhou, dusk. 8 seconds, high-angle close-up. (Supplementary shot, source: Ep. 14 Part 2 ◆B2-1a) [First-frame reference | top priority] Use the uploaded first frame P-5.11a exactly as the first frame of the video. Do not redesign the glass, ashtray, cigarettes, matches, camera case, ankle boots, tabletop or camera position. Keep everything in the first frame: the positions of the objects on the table; the smoking cigarette on the rim of the ashtray; the ankle boots motionless at the edge of the frame; grey-yellow light. The first frame is: the tabletop is still; the cigarette smokes. Action: A short, thick hand (prayer beads on the wrist) reaches in from the top of the frame, picks up the cigarette between its fingers, taps it lightly on the rim of the ashtray so a length of ash drops in, and withdraws out the top of the frame with the cigarette between its fingers. The ankle boots do not move. Do not: No cuts. No faces. No close-up of smoking or exhaling smoke. No speech.

P-5.12 First-frame image｜Flashback, the plain room of Du Wei’s home in Chuzhou: an old square table with most of its lacquer worn away, a few wooden chairs, an old New Year print on the wall, a small window letting in grey-yellow light; grey-yellow tones. Medium shot: the Middle-Aged Man in a Mao Suit (look as above) sits in a wooden chair on the left side of the square table, legs crossed, a cigarette between his fingers; the Short-Haired Hawk-Eyed Youth (look as above) stands on the right side of the table, looking miserable; on the table a glass, a tin ashtray, and an old leather camera case at the corner.

5-12a Video prompt｜Re-render from the uploaded first frame P-5.12, 16:9 landscape, cinematic, flashback, Du Wei’s home in Chuzhou, dusk. 6 seconds, medium two-shot. [First-frame reference | top priority] Use the uploaded first frame P-5.12 exactly as the first frame of the video. Do not redesign the two characters, square table, items on the table, New Year print or camera position. Keep everything in the first frame: the Middle-Aged Man in a Mao Suit seated on the left, a cigarette between his fingers; the Short-Haired Hawk-Eyed Youth standing on the right, looking miserable; the glass, ashtray, camera case; the grey-yellow light of the small window. The first frame is: the two face each other across the table. Action: The middle-aged man rests the cigarette on the ashtray and raises his eyes to the standing young man. Do not: No cuts. No speech. No close-up of smoking or exhaling smoke. Do not swap positions.

5-12b Video prompt｜First frame = last frame of 5-12a. 16:9, 10 seconds, medium two-shot. [First-frame reference | top priority] Use the last frame of 5-12a exactly as the first frame: the cigarette resting on the ashtray, the middle-aged man seated on the left looking at the young man, the young man standing on the right. Action: The Middle-Aged Man in a Mao Suit says: “First answer me one question. In your heart, which matters more — becoming a photographer, or marrying a beautiful wife?” Do not: No cuts. Only the Middle-Aged Man in a Mao Suit speaks. Do not swap positions.

5-13 Video prompt｜First frame = last frame of 5-12b. 16:9, 10 seconds, medium two-shot. [First-frame reference | top priority] Use the last frame of 5-12b exactly as the first frame: the middle-aged man seated, looking at the young man; the young man standing on the right. Action: Without thinking, the Short-Haired Hawk-Eyed Youth says: “Both!” Do not: No cuts. Only the Short-Haired Hawk-Eyed Youth speaks.

5-14 Video prompt｜First frame = last frame of 5-13. 16:9, 10 seconds, medium two-shot. [First-frame reference | top priority] Use the last frame of 5-13 exactly as the first frame: the young man standing after speaking, the middle-aged man seated. Action: The middle-aged man wags his head. The Middle-Aged Man in a Mao Suit says: “You cannot have both the fish and the bear’s paw. You can choose only one.” Do not: No cuts. Only the Middle-Aged Man in a Mao Suit speaks.

5-15 Video prompt｜First frame = last frame of 5-14. 16:9, 10 seconds, medium two-shot. [First-frame reference | top priority] Use the last frame of 5-14 exactly as the first frame: the two across the table, the middle-aged man has just finished speaking. Action: The Short-Haired Hawk-Eyed Youth clenches his fists and says loudly: “I want to be a photographer!” Do not: No cuts. Only the Short-Haired Hawk-Eyed Youth speaks.

P-5.15a First-frame image｜Flashback, the plain room of Du Wei’s home in Chuzhou: an old square table with most of its lacquer worn away, a few wooden chairs, an old New Year print on the wall, a small window letting in grey-yellow light; grey-yellow tones. Extreme close-up: the lower half of the face of the Middle-Aged Man in a Mao Suit (look as above), from the nose down to the collar; do not show the eyes; the corners of the mouth are level; the flesh of the chin bulges slightly; the dark grey Mao suit is open at the collar, showing a white round-necked undershirt with a yellowed neckband underneath; behind, the grey-yellow wall and the lower half of the old New Year print.

5-15a Video prompt｜Re-render from the uploaded first frame P-5.15a, 16:9 landscape, cinematic, flashback, Du Wei’s home in Chuzhou, dusk. 6 seconds, extreme close-up. (Supplementary shot, source: Ep. 14 Part 2 ◆B2-1c) [First-frame reference | top priority] Use the uploaded first frame P-5.15a exactly as the first frame of the video. Do not redesign the character, costume, New Year print or camera position. Keep everything in the first frame: only the nose down to the collar; the open collar of the Mao suit and the undershirt; the grey-yellow wall and the lower half of the New Year print; grey-yellow light. The first frame is: the corners of the mouth are level. Action: One corner of the mouth slowly pulls aside into a slight smile. Do not: No cuts. Do not show the eyes or the whole face. No speech.

P-5.16 First-frame image｜Flashback, the plain room of Du Wei’s home in Chuzhou: an old square table with most of its lacquer worn away, a few wooden chairs, an old New Year print on the wall, a small window letting in grey-yellow light; grey-yellow tones. Close shot: the Middle-Aged Man in a Mao Suit (look as above) sits facing frame right, the corner of his mouth just pulled into a slight smile; behind him, the lower half of the old New Year print on the wall.

5-16a Video prompt｜Re-render from the uploaded first frame P-5.16, 16:9 landscape, cinematic, flashback, Du Wei’s home in Chuzhou, dusk. 6 seconds, single close shot. [First-frame reference | top priority] Use the uploaded first frame P-5.16 exactly as the first frame of the video. Do not redesign the character, costume, New Year print or camera position. Keep everything in the first frame: the Middle-Aged Man in a Mao Suit seated on the left of the frame, facing right, smiling slightly; the open collar; the prayer beads; the New Year print behind; grey-yellow light. The first frame is: he smiles faintly. Action: The Middle-Aged Man in a Mao Suit says: “In that case, you needn’t hesitate.” Do not: No cuts. Only the Middle-Aged Man in a Mao Suit speaks.

5-16b Video prompt｜First frame = last frame of 5-16a. 16:9, 10 seconds, single close shot. [First-frame reference | top priority] Use the last frame of 5-16a exactly as the first frame: the middle-aged man seated, facing right, still smiling. Action: The middle-aged man goes on. The Middle-Aged Man in a Mao Suit says: “Court Jiang Lili properly. Only by winning her can you use her father’s connections to enter the Workers’ Cultural Palace as a photography officer.” Do not: No cuts. Only the Middle-Aged Man in a Mao Suit speaks.

5-17 Video prompt｜First frame = last frame of 5-16b. 16:9, 10 seconds, single close shot. [First-frame reference | top priority] Use the last frame of 5-16b exactly as the first frame: the middle-aged man seated, facing right. Action: The Middle-Aged Man in a Mao Suit goes on and says: “Once you have that post, you’ll be one step from becoming a photographer …” Do not: No cuts. Only the Middle-Aged Man in a Mao Suit speaks.

P-5.18 First-frame image｜Flashback, the plain room of Du Wei’s home in Chuzhou: an old square table with most of its lacquer worn away, a few wooden chairs, an old New Year print on the wall, a small window letting in grey-yellow light; grey-yellow tones. Close shot: the Short-Haired Hawk-Eyed Youth (look as above) stands facing frame left, looking miserable, the zipper of his old grey jacket half done up; the grey-yellow light from the small window falls on half his face.

5-18a Video prompt｜Re-render from the uploaded first frame P-5.18, 16:9 landscape, cinematic, flashback, Du Wei’s home in Chuzhou, dusk. 10 seconds, single close shot. [First-frame reference | top priority] Use the uploaded first frame P-5.18 exactly as the first frame of the video. Do not redesign the character, costume or camera position. Keep everything in the first frame: the Short-Haired Hawk-Eyed Youth on the right of the frame, facing left, looking miserable; the jacket half unzipped, the red shirt; window light on half his face. The first frame is: he is frowning. Action: Miserably, the Short-Haired Hawk-Eyed Youth says: “But I don’t like Jiang Lili. I can’t stand the body odor she gives off …” Do not: No cuts. Only the Short-Haired Hawk-Eyed Youth speaks.

5-18b Video prompt｜First frame = last frame of 5-18a. 16:9, 6 seconds, single close shot. [First-frame reference | top priority] Use the last frame of 5-18a exactly as the first frame: the young man facing left, brows knotted. Action: The young man goes on. The Short-Haired Hawk-Eyed Youth says: “She’s too ugly!” Do not: No cuts. Only the Short-Haired Hawk-Eyed Youth speaks.

P-5.19 First-frame image｜Flashback, the old square table in Du Wei’s home in Chuzhou, extreme close-up from above: several black-and-white photographs with deckled edges are spread on the tabletop; the top one shows, from behind, a girl with permed hair in a flowered checked jacket standing in front of the gate of a cultural palace, her face not visible; a young man’s hand (the Short-Haired Hawk-Eyed Youth) is just about to turn this photograph face down; grey-yellow light.

5-19a Video prompt｜Re-render from the uploaded first frame P-5.19, 16:9 landscape, cinematic, flashback, Du Wei’s home in Chuzhou, dusk. 8 seconds, extreme close-up. [First-frame reference | top priority] Use the uploaded first frame P-5.19 exactly as the first frame of the video. Do not redesign the photographs, tabletop or camera position. Keep everything in the first frame: the several deckle-edged black-and-white photographs; the one showing the girl from behind on top; the young hand on the right; grey-yellow light. The first frame is: the young hand is pressing on that photograph. Action: The young hand turns the photograph of the girl face down and withdraws out the right side of the frame. Do not: No cuts. No faces. No speech. No legible text.

5-19b Video prompt｜First frame = last frame of 5-19a. 16:9, 8 seconds, extreme close-up. [First-frame reference | top priority] Use the last frame of 5-19a exactly as the first frame: that photograph lying face down on the others; grey-yellow light on the tabletop. Action: A short, thick hand (prayer beads on the wrist) reaches in from the left, turns the photograph face up again, and taps twice on the girl’s back with its index finger. Do not: No cuts. No faces. No speech. No legible text.

5-20a Video prompt｜Re-render from the uploaded first frame P-5.16, 16:9 landscape, cinematic, flashback, Du Wei’s home in Chuzhou, dusk. 8 seconds, single close shot. (reuse P-5.16 first-frame image) [First-frame reference | top priority] Use the uploaded first frame P-5.16 exactly as the first frame of the video, except that the middle-aged man is no longer smiling; his face has gone cold. Everything else as in P-5.16. The first frame is: he is looking at the young man. Action: Coldly, the Middle-Aged Man in a Mao Suit says: “If you want to realize your dream, you must for the time being endure her body odor.” Do not: No cuts. Only the Middle-Aged Man in a Mao Suit speaks.

5-20b Video prompt｜First frame = last frame of 5-20a. 16:9, 8 seconds, single close shot. [First-frame reference | top priority] Use the last frame of 5-20a exactly as the first frame: the middle-aged man, his face cold, facing right. Action: The middle-aged man goes on. The Middle-Aged Man in a Mao Suit says: “Otherwise you will spend your whole life as a petty self-employed nobody.” Do not: No cuts. Only the Middle-Aged Man in a Mao Suit speaks.

P-5.20c First-frame image｜Flashback, the plain room of Du Wei’s home in Chuzhou: an old square table with most of its lacquer worn away, a few wooden chairs, an old New Year print on the wall, a small window letting in grey-yellow light; grey-yellow tones. Close shot from the far side of the table: the Short-Haired Hawk-Eyed Youth (look as above) stands in front of the square table, shown only from waist to shoulders, his face out of frame above; both hands hang at his sides, the right hand loose; the old grey jacket half unzipped, the faded red shirt underneath; along the bottom edge of the frame, a corner of the square table and the tin ashtray; the grey-yellow light of the small window on one side of the jacket.

5-20c Video prompt｜Re-render from the uploaded first frame P-5.20c, 16:9 landscape, cinematic, flashback, Du Wei’s home in Chuzhou, dusk. 6 seconds, close shot. (Supplementary shot, listener reaction, source: Ep. 14 Part 2 ◆B2-1b) [First-frame reference | top priority] Use the uploaded first frame P-5.20c exactly as the first frame of the video. Do not redesign the character, costume, square table or camera position. Keep everything in the first frame: waist to shoulders only; both hands at his sides; the jacket half open, the red shirt; the table corner and ashtray along the bottom edge; grey-yellow light. The first frame is: his hand is loose. Action: The right hand clenches into a fist, opens, clenches again, the knuckles going white. The shoulders stay rigid. Do not: No cuts. No faces. No speech.

5-21a Video prompt｜Re-render from the uploaded first frame P-5.16, 16:9 landscape, cinematic, flashback, Du Wei’s home in Chuzhou, dusk. 6 seconds, close shot pushing in to a close-up. (reuse P-5.16 first-frame image) [First-frame reference | top priority] Use the uploaded first frame P-5.16 exactly as the first frame of the video, except that the middle-aged man is not smiling; his face is cold. Everything else as in P-5.16. The first frame is: he looks at the young man with a cold face. Action: He slowly leans forward; the camera slowly pushes in to his face. Do not: No cuts. No speech.

5-21b Video prompt｜First frame = last frame of 5-21a. 16:9, 10 seconds, close-up. [First-frame reference | top priority] Use the last frame of 5-21a exactly as the first frame: close-up of the middle-aged man’s face, leaning forward, facing right. Action: Word by word, the Middle-Aged Man in a Mao Suit says: “If you wish to conquer this world and realize your ambitions, you must first learn how to conquer women and use women — rather than be destroyed by a woman’s pretty face!” Do not: No cuts. Only the Middle-Aged Man in a Mao Suit speaks.

5-22a Video prompt｜First frame = last frame of 5-21b. 16:9, 10 seconds, close-up. [First-frame reference | top priority] Use the last frame of 5-21b exactly as the first frame: close-up of the middle-aged man’s face, leaning forward. Action: He goes on. The Middle-Aged Man in a Mao Suit says: “Remember: in this world, apart from your own parents, there is no one who cannot be used.” Do not: No cuts. Only the Middle-Aged Man in a Mao Suit speaks.

5-22b Video prompt｜First frame = last frame of 5-22a. 16:9, 6 seconds, close-up. [First-frame reference | top priority] Use the last frame of 5-22a exactly as the first frame: close-up of the middle-aged man’s face, having just finished speaking, his mouth closed. Action: One corner of his mouth pulls aside into a slight smile. Do not: No cuts. No speech. [NARRATION] This was the motto his godfather gave Du Wei when he came of age.

P-5.23 First-frame image｜Flashback, the old square table in Du Wei’s home in Chuzhou, high-angle close-up: the tabletop marked with knife cuts and round burn rings; a thin hand-copied notebook with a brown kraft-paper cover lies in the center of the table, nothing written on the cover; a short, thick hand (the Middle-Aged Man in a Mao Suit, prayer beads on the wrist) presses on the cover; the table edge on the other side of the frame is empty; grey-yellow light.

5-23a Video prompt｜Re-render from the uploaded first frame P-5.23, 16:9 landscape, cinematic, flashback, Du Wei’s home in Chuzhou, dusk. 8 seconds, high-angle close-up. [First-frame reference | top priority] Use the uploaded first frame P-5.23 exactly as the first frame of the video. Do not redesign the hand-copied notebook, the hand, the tabletop or camera position. Keep everything in the first frame: the notebook centered, nothing on its cover; the short, thick hand pressing on it, the prayer beads; the knife cuts on the tabletop; grey-yellow light. The first frame is: the hand presses on the notebook. Action: The hand slowly pushes the notebook across the table to the table edge on the other side and stops. Do not: No cuts. No faces. No text and no page contents. No speech.

5-23b Video prompt｜First frame = last frame of 5-23a. 16:9, 8 seconds, high-angle close-up. [First-frame reference | top priority] Use the last frame of 5-23a exactly as the first frame: the notebook stopped at the table edge, the short, thick hand still pressing on one end of it. Action: A young hand reaches in and presses on the other end of the notebook. The two hands rest on the two ends of the notebook for one second. Do not: No cuts. No faces. No text and no page contents. No speech.

P-5.24 First-frame image｜Flashback, an old alley in Chuzhou: single-story grey-brick houses on both sides, the plaster peeling, coal briquettes and broken baskets piled along the foot of the walls, a utility pole covered in small paper ads, an old wooden door deep in the alley; grey-yellow tones, no sun. Medium shot from the mouth of the alley toward that door: the Short-Haired Hawk-Eyed Youth (look as above) has just come out through the wooden door and is stuffing a thin notebook into his jacket pocket; the door is half open behind him, dark inside.

5-24a Video prompt｜Re-render from the uploaded first frame P-5.24, 16:9 landscape, cinematic, flashback, an old alley in Chuzhou, dusk. 10 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-5.24 exactly as the first frame of the video. Do not redesign the alley, wooden door, character or camera position. Keep everything in the first frame: the Short-Haired Hawk-Eyed Youth at the door, facing the camera; the notebook going into his pocket; the door half open, dark inside; the utility pole; grey-yellow tones. The first frame is: he stands at the door. Action: He zips up his jacket, walks down the alley toward the camera, and stops beside the utility pole. Do not: No cuts. No speech. Do not let any figure appear inside the door.

5-24b Video prompt｜First frame = last frame of 5-24a. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 5-24a exactly as the first frame: the young man standing beside the utility pole, facing the camera; behind him, deep in the alley, the door half open. Action: He looks back once at the door. In the darkness inside the door stands a stocky figure, only a silhouette. Do not: No cuts. No speech. Do not let the silhouette in the doorway come out.

5-24c Video prompt｜First frame = last frame of 5-24b. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 5-24b exactly as the first frame: the young man by the utility pole, looking back; a stocky silhouette inside the door. Action: He turns his head back and walks out of frame to one side. The alley is empty; the silhouette in the doorway does not move. (Post: the image slowly shifts from grey-yellow to cold white and dissolves into the next shot.) Do not: No cuts. No speech. Do not let the silhouette in the doorway come out.

P-5.24d First-frame image｜Winter 1988, afternoon, a tree-lined road on the Dongjiang University campus: two rows of bare plane trees, dead leaves on the road, cold white daylight. Extreme close-up: the black camera on the chest of the Long-Haired Hawk-Eyed Man (look as above), the lens cap on the lens, a few scratches on the cap, the leather of the camera body worn shiny, the edges of the black nylon strap frayed; the camera hangs against the front of the black leather jacket; bare plane trees out of focus behind.

5-24d Video prompt｜Re-render from the uploaded first frame P-5.24d, 16:9 landscape, cinematic, winter 1988, tree-lined road at Dongjiang University, afternoon. 10 seconds, extreme close-up. (Supplementary shot, source: Ep. 14 Part 2 ◆B2-2c) [First-frame reference | top priority] Use the uploaded first frame P-5.24d exactly as the first frame of the video. Do not redesign the camera, lens cap, strap, leather jacket or camera position. Keep everything in the first frame: the camera in the center of the frame; the lens cap on; the front of the black leather jacket; the out-of-focus plane trees behind; cold white light. The first frame is: the camera rises and falls gently with his breathing. Action: A hand reaches over and twists off the lens cap; the glass of the lens is revealed, reflecting a small patch of bare plane trees and sky. Do not: No cuts. No faces. No speech. Do not press the shutter. [NARRATION] By the time I knew him, he was already a young photographer of some name in Chuzhou.

(End of segment | 42 shots | approx. 6 min | Source: Ep. 14 Part 2, Sc. 2, 3)

Part 1 · Segment 6 · The Christmas Dance (approx. 10 min, 69 shots)

Source: Ep. 5, Sc. 8, 9, 10, 11 (the Christmas dance at the Graduate Students’ Club; Li Hong’s early-romance flashback in Sc. 10 is not used); Ep. 6, Sc. 6, 9 (the three-family banquet: Song Qiankun’s entrance, the toasts, the anti-rightist apology, compressed into one scene). Supplementary shots from Ep. 5 supplementary shots ◆8-1a, 8-3a, 8-5a, 8-9a, 9-4b, 10-4a, 11-1a, 11-2a, and Ep. 6 supplementary shots ◆6-2a, 9-3a, 9-4a.

Character looks (prompts use these descriptions only, never names): - [Broad-Forehead Youth] A young man in his early twenties. Broad forehead, slightly dark complexion, somewhat untidy hair, black-framed glasses, thin, an old blue khaki jacket. (= Wang Sheng at university) In this segment he holds a glass of plain tea. - [Short-Braids Student] A nineteen-year-old female university student. Two short braids, a pair of large, very dark eyes, delicate features, a plain light-colored checked jacket. (= Gu Zheng at university) - [Long-Haired Hawk-Eyed Man] A man of twenty-five or twenty-six. Shoulder-length hair, sharp eyes like a hawk’s, a black leather jacket, a camera hanging on his chest. (= Du Wei) In this segment he holds a small baijiu cup and is tipsy. - [Girl in the Red Dress] A nineteen-year-old female university student. Long hair, vivid good looks, confident, a red dress (in winter: a red turtleneck sweater and a long black skirt). (= Li Hong) In this segment she wears the winter outfit. - [Shaggy-Haired Professor] A man in his early thirties. Untidy hair falling below his ears, lean, a scholarly air, a grey wool overcoat. (= Lang Tao) In this segment he habitually keeps one hand in his trouser pocket. - [White-Haired Old Man] A man of about seventy. A full head of white hair, lean and upright, a dark grey Mao suit. (= Song Qiankun, 1988) - [Short-Haired Writer] A woman of about thirty. Short hair, elegant, mature; at the dance she wears an ankle-length white evening gown; at the family banquet, a long dark beige dress. (= Song Xiaofan) - [Old Professor in a Mao Suit] A man in his fifties. Thin and gaunt, greying hair neatly combed, a pressed dark grey Mao suit, a white shirt. (= Lang Yongliang) - [President in Thick Glasses] A man close to sixty. Short, wiry, hair almost entirely white, deeply nearsighted glasses with lenses as thick as bottle bottoms perched on the tip of his nose, an old navy-blue Mao suit. (= He Shouwu) - [Librarian with Little Braids] A young woman in her twenties. Slightly dark complexion, two little braids, thin, a light blue blouse, a long black skirt. (= He Li) - [Mother with a Hair Bun] A woman in her fifties. Hair pinned up in a bun with a small hairpin, a dark red Chinese-style top. (= Qi Shizhen) - Dance crowd: male and female university students of the late 1980s in winter clothes.

Settings (reuse verbatim in first-frame images): - [Club Entrance] Christmas Eve 1988, the entrance of the Dongjiang University Graduate Students’ Club, an old two-story Soviet-style building; in front of the steps, a Christmas tree hung with colored light bulbs large and small, the lights twinkling like stars; a thin layer of snow on the ground. - [Ballroom] Christmas Eve 1988, a ballroom made from the small auditorium on the ground floor of the Graduate Students’ Club; a revolving mirror ball in the middle of the ceiling scatters colored spots of light over the wooden floor; paper streamers hang on the walls; at one side of the stage, a sound system and a standing microphone; tones of deep red, gold and green. - [Private Dining Room] A winter night in the late 1980s, a private dining room on the second floor of the reception center: a large round table with a white tablecloth, a bottle of Moutai and a bottle of imported white wine on the table, a landscape painting on the wall, a warm yellow pendant lamp. - [Corridor] A winter night in the late 1980s, the second-floor corridor of the reception center: red carpet running all the way to the head of the stairs, carved wooden doors on both sides all closed, warm yellow wall lamps.

1. The Christmas Tree

P-6.1 First-frame image｜Christmas Eve 1988, the entrance of the Dongjiang University Graduate Students’ Club, an old two-story Soviet-style building; in front of the steps, a Christmas tree hung with colored light bulbs large and small, the lights twinkling like stars; a thin layer of snow on the ground. Wide shot, the Christmas tree centered, warm light coming from the doorway of the building, university students in winter clothes walking up the steps through the snow in twos and threes.

6-1a Video prompt｜Re-render from the uploaded first frame P-6.1, 16:9 landscape, cinematic, Christmas Eve 1988, entrance of the Graduate Students’ Club, night. 10 seconds, wide shot pushing in to a medium shot. [First-frame reference | top priority] Use the uploaded first frame P-6.1 exactly as the first frame of the video. Do not redesign the old building, Christmas tree, lights, snowy ground, people or camera position. Keep everything in the first frame: the Christmas tree centered, covered in small colored bulbs; the old Soviet-style building behind it, warm light from its doorway; the small figures of a few students on the steps, seen from behind; the thin snow on the ground; deep blue night. The first frame is: the full view of the Christmas tree with its twinkling lights. Action: The camera slowly pushes in on the Christmas tree; the colored lights blink on and off irregularly. Do not: No cuts. No one speaks. Do not change the sky. [NARRATION] Christmas, 1988. The dance was Li Hong’s doing.

6-1b Video prompt｜First frame = last frame of 6-1a. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 6-1a exactly as the first frame: medium shot of the Christmas tree, the lights twinkling, a few students on the steps, seen from behind, just reaching the door of the building; everything else as in 6-1a. Action: The students on the steps push the door open and go into the building; as the door opens a gust of warm light spills out, then the door closes. Do not: No cuts. No one speaks. Do not change the sky.

P-6.1c First-frame image｜Christmas Eve 1988, the entrance of the Dongjiang University Graduate Students’ Club, an old two-story Soviet-style building; in front of the steps, a Christmas tree hung with colored light bulbs large and small, the lights twinkling like stars; a thin layer of snow on the ground. Medium-wide shot from below the steps: the Christmas tree on the right of the frame, a gold star at its top; the Short-Braids Student (look as above) walks alone from frame left to the foot of the tree, both hands in her jacket pockets; above the steps, warm light from the doorway.

6-1c Video prompt｜Re-render from the uploaded first frame P-6.1c, 16:9 landscape, cinematic, Christmas Eve 1988, entrance of the Graduate Students’ Club, night. 10 seconds, medium-wide shot. [First-frame reference | top priority] Use the uploaded first frame P-6.1c exactly as the first frame of the video. Do not redesign the character, Christmas tree, gold star or camera position. Keep everything in the first frame: the Christmas tree on the right, the gold star at its top; the Short-Braids Student under the tree in the middle of the frame, alone, hands in her pockets; the steps and the warm light of the doorway; thin snow. The first frame is: she reaches the foot of the tree. Action: The Short-Braids Student stops under the tree and tilts her head back to glance at the gold star at the top; the colored lights flicker on and off across her face. Do not: No cuts. No speech. Do not add anyone approaching her.

2. The Ballroom · Song Xiaofan and Lang Tao Arrive

P-6.2 First-frame image｜Christmas Eve 1988, a ballroom made from the small auditorium on the ground floor of the Graduate Students’ Club; a revolving mirror ball in the middle of the ceiling scatters colored spots of light over the wooden floor; paper streamers hang on the walls; at one side of the stage, a sound system and a standing microphone; tones of deep red, gold and green. Medium shot: the Girl in the Red Dress (look as above) stands behind the microphone at the edge of the stage, facing the ballroom, one hand on the microphone; university students stand around the ballroom in twos and threes, some chatting and laughing.

6-2a Video prompt｜Re-render from the uploaded first frame P-6.2, 16:9 landscape, cinematic, Christmas Eve 1988, the Graduate Students’ Club ballroom, night. 8 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-6.2 exactly as the first frame of the video. Do not redesign the character, ballroom, mirror ball or camera position. Keep everything in the first frame: the Girl in the Red Dress slightly left of center, standing behind the microphone, facing the ballroom; red turtleneck sweater, long black skirt; the sound system at one side of the stage; the revolving mirror ball on the ceiling and the colored spots of light all over the floor; students on the right of the frame and in the background. The first frame is: the Girl in the Red Dress, hand on the microphone, looks around the ballroom. Action: The mirror ball slowly turns, its spots of light sweeping over the floor and the crowd; the Girl in the Red Dress adjusts the height of the microphone. Do not: No cuts. Do not add main characters. Do not let her speak.

6-2b Video prompt｜First frame = last frame of 6-2a. 16:9, 6 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 6-2a exactly as the first frame: the Girl in the Red Dress standing behind the adjusted microphone, one hand on it; everything else as in 6-2a. Action: The Girl in the Red Dress looks up toward the ballroom door with a hostess’s smile. Do not: No cuts. Do not add main characters. Do not let her speak.

P-6.3 First-frame image｜The same ballroom, colored spots of light all over the floor, medium-wide shot from inside the ballroom toward the door: the ballroom door has just been pushed open; the Short-Haired Writer (look as above; ankle-length white evening gown, hair pinned up) is stepping over the threshold, and half a step behind her is the Shaggy-Haired Professor (look as above, one hand in his trouser pocket); students on both sides of the door and in the foreground are turning their heads to look at her.

6-3a Video prompt｜Re-render from the uploaded first frame P-6.3, 16:9 landscape, cinematic, Christmas Eve 1988, the Graduate Students’ Club ballroom, night. 10 seconds, medium-wide shot, slow motion. [First-frame reference | top priority] Use the uploaded first frame P-6.3 exactly as the first frame of the video. Do not redesign the two guests, the door, the students or camera position. Keep everything in the first frame: the Short-Haired Writer centered in the doorway in her white evening gown; the Shaggy-Haired Professor half a step behind her, hand in his trouser pocket; students in the foreground, seen from behind or in profile, facing the door; colored spots of light. The first frame is: the woman in the white evening gown has just stepped into the ballroom. Action: Slow motion: the woman walks with graceful, unhurried steps into the middle of the ballroom; the Shaggy-Haired Professor follows behind her with a casual air. Do not: No cuts. No one speaks. Do not let the two hold hands.

6-3b Video prompt｜First frame = last frame of 6-3a. 16:9, 8 seconds, medium-wide shot, slow motion. [First-frame reference | top priority] Use the last frame of 6-3a exactly as the first frame: the woman in the white evening gown standing in the middle of the ballroom, the Shaggy-Haired Professor half a step behind her, students all around; everything else as in 6-3a. Action: Slow motion: one after another the people around them stop chatting and laughing, and every gaze turns to her; the whole ballroom falls silent. Do not: No cuts. No one speaks. Do not let the two move.

P-6.3c First-frame image｜The same ballroom, low-angle close-up of the floor only: the freshly waxed wooden floor reflects colored spots of light; a pair of white high heels walks in from frame left, the hem of the white evening gown trailing behind them, its edge damp with a little snowmelt carried in from the doorway; on the right of the frame, several pairs of students’ shoes — sneakers, cloth shoes, leather shoes — stand on the floor; a hand holding a soda bottle hangs down at the top edge of the frame.

6-3c Video prompt｜Re-render from the uploaded first frame P-6.3c, 16:9 landscape, cinematic, Christmas Eve 1988, the Graduate Students’ Club ballroom, night. 8 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-6.3c exactly as the first frame of the video. Do not redesign the shoes, hem, floor or camera position. Keep everything in the first frame: the white high heels and the hem on the left; several pairs of students’ shoes on the right; the soda bottle at the top edge; the spots of light on the floor. The first frame is: the white shoes have just walked into the frame. Action: The white high heels walk steadily across the floor, step by step, the hem sweeping over the spots of light; the shoes on the right do not move; the soda bottle tilts and a drop of soda spills onto the floor. Do not: No cuts. No faces. No speech.

P-6.4 First-frame image｜The middle of the same ballroom, medium shot, two flower presentations: on the left of the frame, a male student in winter clothes hands a bouquet to the Short-Haired Writer (white evening gown); on the right of the frame, the Girl in the Red Dress (look as above) holds a bouquet in both hands out to the Shaggy-Haired Professor (look as above), who has not yet reached for it; a ring of students watching around them; colored spots of light.

6-4a Video prompt｜Re-render from the uploaded first frame P-6.4, 16:9 landscape, cinematic, Christmas Eve 1988, the Graduate Students’ Club ballroom, night. 8 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-6.4 exactly as the first frame of the video. Do not redesign the characters, bouquets, positions or camera position. Keep everything in the first frame: on the left, the male student presenting flowers to the woman in the white evening gown; on the right, the Girl in the Red Dress holding flowers in front of the Shaggy-Haired Professor; all four in the middle of the frame; students watching all around; spots of light. The first frame is: two bouquets held out at the same moment. Action: The woman in the white evening gown graciously accepts the flowers, nods and smiles. Do not: No cuts. No speech. Do not swap the characters’ positions.

6-4b Video prompt｜First frame = last frame of 6-4a. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 6-4a exactly as the first frame: the woman in the white evening gown holding her flowers, the Girl in the Red Dress still holding flowers in front of the Shaggy-Haired Professor; everything else as in 6-4a. Action: The Shaggy-Haired Professor takes his hand out of his trouser pocket and accepts the flowers from the Girl in the Red Dress; for an instant his eyes drift away, ill at ease. Do not: No cuts. No speech. Do not swap the characters’ positions.

6-4c Video prompt｜First frame = last frame of 6-4b. 16:9, 6 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 6-4b exactly as the first frame: the woman in the white evening gown and the Shaggy-Haired Professor each holding a bouquet, the Girl in the Red Dress standing empty-handed in front of the professor; everything else as in 6-4b. Action: The Girl in the Red Dress smiles with easy confidence and steps back to stand at his side. Do not: No cuts. No speech. Do not swap the characters’ positions.

6-5 Video prompt｜First frame = last frame of 6-4c. 16:9, 10 seconds, medium shot pulling back to a wide shot. [First-frame reference | top priority] Use the last frame of 6-4c exactly as the first frame: the woman in the white evening gown and the Shaggy-Haired Professor standing side by side in the middle of the ballroom, each holding a bouquet; the Girl in the Red Dress one step behind them, slightly to one side; everything else as in 6-4c. Action: The camera slowly pulls back to a wide shot: the woman in the white evening gown and the Shaggy-Haired Professor stand side by side in the middle of the spots of light, like a bride and groom; the Girl in the Red Dress one step behind them, like a bridesmaid; students form a ring all around. The three stay still. Do not: No cuts. No speech. Do not let the Girl in the Red Dress step to the front.

P-6.6 First-frame image｜The same ballroom, the mirror ball turning, colored spots of light all over the floor, wide shot: in the middle of the dance floor, the Shaggy-Haired Professor (look as above) and the Short-Haired Writer (white evening gown) take the opening tango hold, one pair of hands joined, one hand on the shoulder; university students have drawn back to the edge of the floor, some have already stopped dancing to watch.

6-6a Video prompt｜Re-render from the uploaded first frame P-6.6, 16:9 landscape, cinematic, Christmas Eve 1988, the Graduate Students’ Club ballroom, night. 10 seconds, wide shot. [First-frame reference | top priority] Use the uploaded first frame P-6.6 exactly as the first frame of the video. Do not redesign the two dancers, the watching students or camera position. Keep everything in the first frame: the two in the middle of the floor in the opening tango hold; the white evening gown, the grey wool overcoat; students around the edge of the floor; revolving spots of light. The first frame is: the two have taken their hold. Action: The two dance a tango — turns, sharp stops — the white skirt swirling open in the spots of light; their dancing is first-rate, like a performance. Do not: No cuts. No speech. Do not add other dance partners.

6-6b Video prompt｜First frame = last frame of 6-6a. 16:9, 8 seconds, wide shot. [First-frame reference | top priority] Use the last frame of 6-6a exactly as the first frame: the two still dancing the tango in the middle of the floor, students around the edge; everything else as in 6-6a. Action: The students at the edge of the floor stop one after another to watch; some clap and cheer; the two keep dancing. Do not: No cuts. No speech. Do not add other dance partners.

P-6.7 First-frame image｜The same ballroom, a corner by the wall at the edge of the dance floor, medium close shot: the Girl in the Red Dress (look as above) stands in the corner, her eyes on the middle of the dance floor at frame right; a male student in winter clothes stands in front of her, bowing slightly and holding out a hand to ask her to dance; colored spots of light sweep across her face.

6-7 Video prompt｜Re-render from the uploaded first frame P-6.7, 16:9 landscape, cinematic, Christmas Eve 1988, a corner of the Graduate Students’ Club ballroom, night. 10 seconds, medium close shot. [First-frame reference | top priority] Use the uploaded first frame P-6.7 exactly as the first frame of the video. Do not redesign the characters, the corner or camera position. Keep everything in the first frame: the Girl in the Red Dress on the left of the frame against the wall, looking right; the male student on the right, bowing with his hand out; spots of light. The first frame is: the male student holds out his hand in invitation. Action: The Girl in the Red Dress does not take her eyes off the dance floor; she just shakes her head slightly; the male student withdraws his hand and walks out of frame. Do not: No cuts. No speech. Do not let her dance.

P-6.8 First-frame image｜The same corner of the ballroom, medium close two-shot: the Girl in the Red Dress (look as above) stands against the wall; the Short-Braids Student (look as above) walks up to her from frame left and takes her hand; behind them the paper streamers on the wall; on the right of the frame, the out-of-focus dance floor with colored spots of light turning.

6-8a Video prompt｜Re-render from the uploaded first frame P-6.8, 16:9 landscape, cinematic, Christmas Eve 1988, a corner of the Graduate Students’ Club ballroom, night. 8 seconds, medium close two-shot. [First-frame reference | top priority] Use the uploaded first frame P-6.8 exactly as the first frame of the video. Do not redesign the two girls, the corner or camera position. Keep everything in the first frame: the Short-Braids Student on the left, the Girl in the Red Dress on the right, hand in hand; the paper streamers behind them; the turning spots of light on the out-of-focus dance floor at right. The first frame is: the two have just taken hands. Action: The Short-Braids Student holds the hand tight, stops short for a moment, glances down at it, then holds it tighter. Do not: No cuts. No speech. Do not swap positions.

6-8b Video prompt｜First frame = last frame of 6-8a. 16:9, 10 seconds, medium close two-shot. [First-frame reference | top priority] Use the last frame of 6-8a exactly as the first frame: the two hand in hand, side by side against the wall; everything else as in 6-8a. Action: The two stand side by side in the corner, silently watching the dance floor, neither saying a word, like two outsiders; the spots of light from the mirror ball sweep over them again and again — red, blue, green, yellow — and each time one passes, their faces light up, then go dark again. Do not: No cuts. No speech. Do not swap positions.

3. Two Invitations at Once

P-6.9 First-frame image｜The same corner of the ballroom, medium shot in thirds: the Short-Braids Student and the Girl in the Red Dress stand hand in hand against the wall in the exact center of the frame; on the left of the frame, the Broad-Forehead Youth (look as above, a glass of plain tea in his hand) has just walked into frame; on the right of the frame, the Long-Haired Hawk-Eyed Man (look as above, a small baijiu cup in his hand) has just walked into frame; the two men mirror each other left and right, walking toward the two girls at the same time.

6-9 Video prompt｜Re-render from the uploaded first frame P-6.9, 16:9 landscape, cinematic, Christmas Eve 1988, a corner of the Graduate Students’ Club ballroom, night. 10 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-6.9 exactly as the first frame of the video. Do not redesign the four characters, positions or camera position. Keep everything in the first frame: the two girls in the middle against the wall; the Broad-Forehead Youth on the left with his plain tea; the Long-Haired Hawk-Eyed Man on the right with his small cup; left-right symmetry. The first frame is: the two young men enter from both sides at the same moment. Action: As if by arrangement, the two young men arrive in front of the two girls at the same time and stop: the Broad-Forehead Youth stops in front of the Short-Braids Student, the Long-Haired Hawk-Eyed Man stops in front of the Girl in the Red Dress. Do not: No cuts. No speech. Do not swap left and right positions.

P-6.10 First-frame image｜The same corner of the ballroom, over-the-shoulder close shot: from behind the shoulder of the Short-Braids Student (look as above); in the center of the frame, the Broad-Forehead Youth (look as above), one hand holding the plain tea, the other hand held out a little, facing the camera, looking stiff and shy; colored spots of light behind him.

6-10 Video prompt｜Re-render from the uploaded first frame P-6.10, 16:9 landscape, cinematic, Christmas Eve 1988, a corner of the Graduate Students’ Club ballroom, night. 8 seconds, over-the-shoulder close shot. [First-frame reference | top priority] Use the uploaded first frame P-6.10 exactly as the first frame of the video. Do not redesign the characters or camera position. Keep everything in the first frame: the shoulder and short braid of the Short-Braids Student out of focus in the foreground; the Broad-Forehead Youth centered, black-framed glasses, plain tea in one hand, the other hand held out a little; spots of light. The first frame is: he looks at her, his hand just held out. Action: The Broad-Forehead Youth says: “May I have this dance —” Do not: No cuts. Do not let anyone else speak. Do not let him move.

P-6.11 First-frame image｜The same corner of the ballroom, over-the-shoulder close shot: from behind the shoulder of the Girl in the Red Dress (look as above); in the center of the frame, the Long-Haired Hawk-Eyed Man (look as above), raising the small baijiu cup in one hand, with a tipsy smile, facing the camera; colored spots of light behind him.

6-11 Video prompt｜Re-render from the uploaded first frame P-6.11, 16:9 landscape, cinematic, Christmas Eve 1988, a corner of the Graduate Students’ Club ballroom, night. 8 seconds, over-the-shoulder close shot. [First-frame reference | top priority] Use the uploaded first frame P-6.11 exactly as the first frame of the video. Do not redesign the characters or camera position. Keep everything in the first frame: the long hair of the Girl in the Red Dress out of focus in the foreground; the Long-Haired Hawk-Eyed Man centered, raising the small cup, smiling tipsily; spots of light. The first frame is: he raises his cup and looks at her. Action: The Long-Haired Hawk-Eyed Man lifts his cup a little higher and says: “Li Hong — a dance — yes?” Do not: No cuts. Do not let anyone else speak.

P-6.12 First-frame image｜The same corner of the ballroom, single close shot: the Short-Braids Student (look as above) against the wall, her large, very dark eyes looking ahead out of frame, a little surprised; at the edge of the frame beside her, the shoulder of the Girl in the Red Dress.

6-12 Video prompt｜Re-render from the uploaded first frame P-6.12, 16:9 landscape, cinematic, Christmas Eve 1988, a corner of the Graduate Students’ Club ballroom, night. 6 seconds, close shot. [First-frame reference | top priority] Use the uploaded first frame P-6.12 exactly as the first frame of the video. Do not redesign the character or camera position. Keep everything in the first frame: the Short-Braids Student centered against the wall, looking ahead; the shoulder of the Girl in the Red Dress at the edge of the frame; spots of light sweeping past. The first frame is: she looks at the two in front of her. Action: The eyes of the Short-Braids Student move once between the two of them. The Short-Braids Student says: “You …” Do not: No cuts. Do not let anyone else speak.

P-6.13 First-frame image｜The same corner of the ballroom, single close shot: the Girl in the Red Dress (look as above), her face turned toward the two young men in front of her at frame left, but her eyes glancing sidelong toward the middle of the dance floor far off at frame right; on the dance floor, an out-of-focus white hem swirls in the spots of light.

6-13 Video prompt｜Re-render from the uploaded first frame P-6.13, 16:9 landscape, cinematic, Christmas Eve 1988, a corner of the Graduate Students’ Club ballroom, night. 10 seconds, close shot. [First-frame reference | top priority] Use the uploaded first frame P-6.13 exactly as the first frame of the video. Do not redesign the character or camera position. Keep everything in the first frame: the Girl in the Red Dress with her face turned left, her eyes glancing sidelong to the dance floor at right; the out-of-focus white hem behind. The first frame is: her face is toward the people, her eyes are elsewhere. Action: Offhandedly, the Girl in the Red Dress says: “Wang Sheng and Du Wei are both contributors to Langtaosha. I invited them to attend.” All the while she speaks, her eyes stay fixed on the dance floor. Do not: No cuts. Do not let anyone else speak. Do not let her bring her eyes back.

P-6.14 First-frame image｜The same ballroom, wide shot from the corner looking at the dance floor: in the middle of the floor, the Shaggy-Haired Professor (look as above) and the Short-Haired Writer (white evening gown) have just finished their last step and stopped; the students around them are applauding; in the left foreground, the backs of the four in the corner (the Short-Braids Student, the Girl in the Red Dress, the Broad-Forehead Youth, the Long-Haired Hawk-Eyed Man).

6-14 Video prompt｜Re-render from the uploaded first frame P-6.14, 16:9 landscape, cinematic, Christmas Eve 1988, the Graduate Students’ Club ballroom, night. 10 seconds, wide shot. [First-frame reference | top priority] Use the uploaded first frame P-6.14 exactly as the first frame of the video. Do not redesign the characters, positions or camera position. Keep everything in the first frame: the two in the middle of the floor, held in their closing pose; students around them applauding; the four backs in the left foreground. The first frame is: the dance has just ended. Action: The two let go of each other’s hands, nod to each other, and walk off the dance floor side by side toward the other side of the ballroom. Do not: No cuts. No speech. Do not let the four in the foreground move.

P-6.15 First-frame image｜The same corner of the ballroom, single close shot: the Short-Braids Student (look as above) against the wall, looking toward the Broad-Forehead Youth in front of her at front left of frame, a little more relaxed; at the right edge of the frame beside her, the shoulder of the Girl in the Red Dress; spots of light sweeping past. (Same camera position as P-6.12.)

6-15 Video prompt｜Re-render from the uploaded first frame P-6.15, 16:9 landscape, cinematic, Christmas Eve 1988, a corner of the Graduate Students’ Club ballroom, night. 8 seconds, close shot. [First-frame reference | top priority] Use the uploaded first frame P-6.15 exactly as the first frame of the video. Do not redesign the character or camera position. Keep everything in the first frame: the Short-Braids Student centered against the wall, looking to the front left; the shoulder of the Girl in the Red Dress at the right edge; spots of light. The first frame is: she is looking at the Broad-Forehead Youth. Action: The Short-Braids Student gives the Broad-Forehead Youth in front of her a faint smile. The Short-Braids Student says: “Oh — we are fellow-townsmen …” Before she can finish, the shoulder of the Girl in the Red Dress at the edge of the frame abruptly leaves the frame. Do not: No cuts. Do not let anyone else speak.

P-6.15a First-frame image｜The same corner of the ballroom, extremely low-angle close-up of the shoes on the floor only: in the center of the frame, a scuff mark just made by a high-heel, the pair of shoes already gone; three pairs of shoes remain — a pair of black cloth strap shoes, a pair of dark leather shoes, a pair of black ankle boots — all with their toes toward frame right; spots of light moving across the floor.

6-15a Video prompt｜Re-render from the uploaded first frame P-6.15a, 16:9 landscape, cinematic, Christmas Eve 1988, a corner of the Graduate Students’ Club ballroom, night. 8 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-6.15a exactly as the first frame of the video. Do not redesign the shoes, floor or camera position. Keep everything in the first frame: the three pairs of shoes side by side and still, toes to the right; the heel scuff mark in the middle; spots of light. The first frame is: three pairs of shoes left where they were. Action: A drop of tea falls from above onto the floor beside the leather shoes; the black ankle boots shift half a step forward, then stop. Do not: No cuts. No faces. No speech.

4. Li Hong’s Run

P-6.16 First-frame image｜The same ballroom, low-angle wide shot along the diagonal of the dance floor: the Girl in the Red Dress (look as above) in the left foreground has just broken into a run, long hair flying back, both fists clenched; at the far end of the floor, the Shaggy-Haired Professor (look as above) stands at the edge of the dance floor, just turning his face around; crowds on both sides, spots of light all over the floor.

6-16 Video prompt｜Re-render from the uploaded first frame P-6.16, 16:9 landscape, cinematic, Christmas Eve 1988, the Graduate Students’ Club ballroom, night. 10 seconds, wide shot, slow motion. [First-frame reference | top priority] Use the uploaded first frame P-6.16 exactly as the first frame of the video. Do not redesign the characters, dance floor or camera position. Keep everything in the first frame: the Girl in the Red Dress starting her run in the left foreground; the Shaggy-Haired Professor at the edge of the floor at the far end; crowds on both sides; spots of light. The first frame is: she has just started to run. Action: Slow motion: the Girl in the Red Dress crosses the dance floor at the speed of a hundred-meter sprint, arms pumping, long hair streaming, heedless of everything, like someone charging into battle; the people on both sides step aside in surprise. Do not: No cuts. No speech. Do not let her fall.

P-6.17 First-frame image｜The same ballroom, at the edge of the dance floor, medium two-shot: the Girl in the Red Dress (look as above) has just stopped in front of the Shaggy-Haired Professor (look as above), breathing a little hard, looking up at him; the professor, one hand in his trouser pocket, is taken aback; crowd and spots of light behind.

6-17a Video prompt｜Re-render from the uploaded first frame P-6.17, 16:9 landscape, cinematic, Christmas Eve 1988, the Graduate Students’ Club ballroom, night. 8 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-6.17 exactly as the first frame of the video. Do not redesign the two characters or camera position. Keep everything in the first frame: the Girl in the Red Dress on the left, face tilted up to him; the professor on the right, hand in his trouser pocket, taken aback; the crowd behind. The first frame is: the two stand face to face. Action: The professor hesitates a moment, takes his hand out of his trouser pocket, and like a gentleman crooks his arm for her. Do not: No cuts. No speech. No kissing or embracing.

6-17b Video prompt｜First frame = last frame of 6-17a. 16:9, 10 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 6-17a exactly as the first frame: the professor standing on the right with his arm crooked, the Girl in the Red Dress on the left looking up at him; everything else as in 6-17a. Action: The Girl in the Red Dress takes his arm, a smile of victory on her face, and walks with him to the middle of the dance floor under everyone’s eyes. Do not: No cuts. No speech. No kissing or embracing.

P-6.17c First-frame image｜The same ballroom, medium-wide shot from beside a small table at the edge of the dance floor: in the foreground, the Short-Haired Writer (look as above, white evening gown) stands by the small table holding a glass of soda; on the table lie a bunch of white lilies and a bunch of red roses side by side; in the background, in the middle of the dance floor, the Girl in the Red Dress holding the arm of the Shaggy-Haired Professor (looks as above), the two of them seen from behind, walking into the spots of light.

6-17c Video prompt｜Re-render from the uploaded first frame P-6.17c, 16:9 landscape, cinematic, Christmas Eve 1988, the Graduate Students’ Club ballroom, night. 10 seconds, medium-wide shot. [First-frame reference | top priority] Use the uploaded first frame P-6.17c exactly as the first frame of the video. Do not redesign the characters, the small table, the bouquets or camera position. Keep everything in the first frame: the Short-Haired Writer by the small table in the foreground, holding the soda glass; the two bouquets on the table; in the background, the two figures arm in arm in the middle of the floor, seen from behind. The first frame is: she watches their backs. Action: The woman in the white evening gown watches the two figures with a very faint, unreadable smile; she sets her glass down, turns, and walks toward the other side of the ballroom, her white hem sweeping the floor. Do not: No cuts. No speech. Do not let her look back.

P-6.18 First-frame image｜The same corner of the ballroom, close shot: the Short-Braids Student (look as above) stands against the wall, her eyes fixed on the dance floor far off at frame right; at the edge of the frame beside her, the blue khaki sleeve of the Broad-Forehead Youth and a corner of the black leather jacket of the Long-Haired Hawk-Eyed Man.

6-18 Video prompt｜Re-render from the uploaded first frame P-6.18, 16:9 landscape, cinematic, Christmas Eve 1988, a corner of the Graduate Students’ Club ballroom, night. 10 seconds, close shot. [First-frame reference | top priority] Use the uploaded first frame P-6.18 exactly as the first frame of the video. Do not redesign the character or camera position. Keep everything in the first frame: the Short-Braids Student centered, looking right; the sleeve and jacket corner of the two young men at the edge of the frame. The first frame is: she is watching the dance floor. Action: The Short-Braids Student stares blankly at the dance floor, stunned, motionless; spots of light sweep across her face. Do not: No cuts. No speech.

5. Du Wei’s Invitation

P-6.19 First-frame image｜The same corner of the ballroom, medium close shot: the Long-Haired Hawk-Eyed Man (look as above) stands in front of the Short-Braids Student, imitating Broadway theater — like a gentleman, one hand on his chest, the other held out toward the front left of the frame, leaning slightly forward, his manner exaggerated; spots of light turning behind him.

6-19 Video prompt｜Re-render from the uploaded first frame P-6.19, 16:9 landscape, cinematic, Christmas Eve 1988, a corner of the Graduate Students’ Club ballroom, night. 8 seconds, medium close shot. [First-frame reference | top priority] Use the uploaded first frame P-6.19 exactly as the first frame of the video. Do not redesign the character or camera position. Keep everything in the first frame: the Long-Haired Hawk-Eyed Man centered, one hand on his chest, one hand held out; the camera on his chest; spots of light behind. The first frame is: he strikes a pose of invitation. Action: Tipsy, the Long-Haired Hawk-Eyed Man says: “Gu Zheng — may I have this dance!” Do not: No cuts. Do not let anyone else speak.

P-6.20 First-frame image｜The same corner of the ballroom, medium shot: the Short-Braids Student (look as above) stands against the wall on the left of the frame, turning her eyes as if waking from a dream; on her right, the spot where the Broad-Forehead Youth had been standing is now empty, only the paper streamers on the wall; at the right edge of the frame, the outstretched hand of the Long-Haired Hawk-Eyed Man.

6-20 Video prompt｜Re-render from the uploaded first frame P-6.20, 16:9 landscape, cinematic, Christmas Eve 1988, a corner of the Graduate Students’ Club ballroom, night. 10 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-6.20 exactly as the first frame of the video. Do not redesign the character, the empty spot or camera position. Keep everything in the first frame: the Short-Braids Student on the left; the empty spot beside her and the streamers on the wall; the outstretched hand at the right edge. The first frame is: there is no one beside her any more. Action: Without thinking, the Short-Braids Student glances at the empty spot beside her, stops short, then turns back to look at the outstretched hand. Do not: No cuts. No speech. Do not let the Broad-Forehead Youth appear.

P-6.20a First-frame image｜The same corner of the ballroom, low-angle close-up: on the floor at the foot of the wall stands a glass with half a glass of plain tea still in it, the tea leaves settled at the bottom; the glass has been set down neatly and squarely; on the wall behind, a corner of the Christmas paper streamers curls up; spots of light moving over the floor.

6-20a Video prompt｜Re-render from the uploaded first frame P-6.20a, 16:9 landscape, cinematic, Christmas Eve 1988, a corner of the Graduate Students’ Club ballroom, night. 8 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-6.20a exactly as the first frame of the video. Do not redesign the tea glass, the wall, the streamers or camera position. Keep everything in the first frame: the half glass of plain tea on the floor, centered; the curled-up paper streamer on the wall; spots of light. The first frame is: the tea glass that no one is holding. Action: The paper streamer flutters slightly in a draft; a spot of light sweeps across the glass, and the tea lights up for a moment, then goes dark again. Do not: No cuts. No people or hands. No speech.

6-21 Video prompt｜First frame = last frame of 6-20. 16:9, 10 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 6-20 exactly as the first frame: the Short-Braids Student looking at the hand reaching in from the right edge; everything else as in 6-20. Action: The Short-Braids Student hesitates a moment, then slowly gives him her hand; the hand takes hers and leads her out of the corner. Do not: No cuts. No speech. Do not let her smile.

P-6.21a First-frame image｜The same corner of the ballroom, extreme close-up at hand height, only two hands: on the right of the frame, a man’s hand reaching out from the cuff of a black leather jacket, the veins on the back of it standing out, an old wristwatch on the wrist, palm up in midair, fingers slightly spread; on the left of the frame, a girl’s hand hanging from the cuff of a light-colored checked jacket, chilblains on the fingertips; out-of-focus spots of light behind.

6-21a Video prompt｜Re-render from the uploaded first frame P-6.21a, 16:9 landscape, cinematic, Christmas Eve 1988, a corner of the Graduate Students’ Club ballroom, night. 8 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-6.21a exactly as the first frame of the video. Do not redesign the two hands, the cuffs or camera position. Keep everything in the first frame: the man’s hand on the right, palm up, waiting; the girl’s hand on the left, hanging down; the chilblained fingertips; the old wristwatch; spots of light. The first frame is: one hand is waiting. Action: The girl’s hand slowly rises, stops for one second a few centimeters from the other hand, then rests on it; the man’s fingers close around it; the girl’s fingers do not grip back, they only lie there. Do not: No cuts. No faces. No speech.

P-6.22 First-frame image｜The dance floor of the same ballroom, medium close two-shot: the Short-Braids Student (look as above) and the Long-Haired Hawk-Eyed Man (look as above) take a ballroom-dance hold, one pair of hands joined, his other hand on her back, her other hand resting lightly on his shoulder; her body is stiff, her eyes look past his shoulder; spots of light turning over them; out-of-focus dancers behind.

6-22a Video prompt｜Re-render from the uploaded first frame P-6.22, 16:9 landscape, cinematic, Christmas Eve 1988, the Graduate Students’ Club ballroom, night. 10 seconds, medium close shot. [First-frame reference | top priority] Use the uploaded first frame P-6.22 exactly as the first frame of the video. Do not redesign the two characters, the dance hold or camera position. Keep everything in the first frame: the two in a ballroom-dance hold, one pair of hands joined, one hand on her back, one hand on his shoulder; her body stiff, her eyes looking past his shoulder; his tipsy smile; out-of-focus crowd behind; spots of light. The first frame is: the dancing has not yet begun. Action: To jazz music the two slowly begin to dance; at first her steps are stiff, then gradually she finds the rhythm, but she never smiles, and her eyes stay fixed past his shoulder. Do not: No cuts. No speech. No cheek-to-cheek dancing or embracing. Do not cut to anyone else.

6-22b Video prompt｜First frame = last frame of 6-22a. 16:9, 8 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 6-22a exactly as the first frame: the two moving slowly in their dance hold, her eyes looking past his shoulder; everything else as in 6-22a. Action: He draws her slightly closer; without any show, she keeps her distance. Do not: No cuts. No speech. No cheek-to-cheek dancing or embracing. Do not cut to anyone else.

6-23 Video prompt｜First frame = last frame of 6-22b. 16:9, 10 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 6-22b exactly as the first frame: the two in their dance hold, the music near its end; everything else as in 6-22b. Action: The music stops; the Long-Haired Hawk-Eyed Man lets go of her hand, gives a slight bow, and, looking straight at her, the Long-Haired Hawk-Eyed Man says: “Thank you — Gu Zheng. You dance rather well.” Do not: No cuts. Do not let the Short-Braids Student speak.

P-6.24 First-frame image｜The same ballroom, at the edge of the dance floor, medium shot: the Long-Haired Hawk-Eyed Man (look as above) stands alone on the right of the frame, the exaggerated smile not yet gone from his face, a small baijiu cup in his hand; far off on the left of the frame, the Short-Braids Student (look as above), seen from behind, walking toward the ballroom exit; in the middle of the dance floor, an out-of-focus red figure still dancing in the spots of light.

6-24a Video prompt｜Re-render from the uploaded first frame P-6.24, 16:9 landscape, cinematic, Christmas Eve 1988, the Graduate Students’ Club ballroom, night. 8 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-6.24 exactly as the first frame of the video. Do not redesign the characters, positions or camera position. Keep everything in the first frame: the Long-Haired Hawk-Eyed Man on the right, holding the small cup; the Short-Braids Student, seen from behind at the back left, walking toward the exit; the out-of-focus red figure in the middle of the floor. The first frame is: he watches her walk away. Action: The Short-Braids Student pushes the door open and goes out; the door closes behind her. Do not: No cuts. No speech. Do not let the Short-Braids Student look back.

6-24b Video prompt｜First frame = last frame of 6-24a. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 6-24a exactly as the first frame: the Long-Haired Hawk-Eyed Man standing alone on the right holding the small cup, the exit door at the back left already closed, the out-of-focus red figure in the middle of the floor; everything else as in 6-24a. Action: The smile slowly fades from the face of the Long-Haired Hawk-Eyed Man; his eyes darken; he does not follow her; he tilts his head back and drains the baijiu in his cup. Do not: No cuts. No speech. Do not let the Short-Braids Student appear again.

6. The Three-Family Banquet

P-6.25 First-frame image｜A winter night in the late 1980s, a private dining room on the second floor of the reception center: a large round table with a white tablecloth, a bottle of Moutai and a bottle of imported white wine on the table, a landscape painting on the wall, a warm yellow pendant lamp. Medium shot: the Old Professor in a Mao Suit (look as above) and the President in Thick Glasses (look as above) stand by the door of the dining room, turned toward each other, leaning close and talking in low voices; in the background, at the round table, sit the Mother with a Hair Bun, the Librarian with Little Braids and the Shaggy-Haired Professor (looks as above).

6-25 Video prompt｜Re-render from the uploaded first frame P-6.25, 16:9 landscape, cinematic, the late 1980s, second-floor private dining room of the reception center, winter night. 10 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-6.25 exactly as the first frame of the video. Do not redesign the characters, round table, landscape painting or camera position. Keep everything in the first frame: the two old men by the door on the left of the frame, the Old Professor in a Mao Suit on the left and the President in Thick Glasses on the right, turned toward each other; the three seated at the round table in the background; the warm yellow pendant lamp. The first frame is: the two lean close, talking. Action: In a low voice, the Old Professor in a Mao Suit says: “How is it — that other family … will they be coming?” Do not: No cuts. Do not let anyone else speak. Do not let the two swap positions. [NARRATION] I was not at that dinner. I only heard about it later.

6-26 Video prompt｜First frame = last frame of 6-25. 16:9, 10 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 6-25 exactly as the first frame: the two old men still standing by the door, turned toward each other; everything else as in 6-25. Action: Sure of himself, and a little excited, the President in Thick Glasses says: “Half an hour ago he called me — definitely coming!” Do not: No cuts. Do not let anyone else speak.

6-27 Video prompt｜First frame = last frame of 6-26. 16:9, 10 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 6-26 exactly as the first frame: the two old men standing by the door; everything else as in 6-26. Action: The Old Professor in a Mao Suit claps his hands and says: “Good, good! With Provincial-Governor Song coming, the ‘two-family banquet’ becomes a ‘three-family banquet’ — wonderful!” Do not: No cuts. Do not let anyone else speak.

P-6.27a First-frame image｜A winter night in the late 1980s, the second-floor corridor of the reception center: red carpet running all the way to the head of the stairs, carved wooden doors on both sides all closed, warm yellow wall lamps. Medium-wide shot from the direction of the dining-room door, along the corridor toward the head of the stairs in the distance: at the turn of the stairs the figure of the White-Haired Old Man (look as above) has just appeared, followed by the Short-Haired Writer (look as above, long dark beige dress).

6-27a Video prompt｜Re-render from the uploaded first frame P-6.27a, 16:9 landscape, cinematic, the late 1980s, second-floor corridor of the reception center, winter night. 10 seconds, medium-wide shot. [First-frame reference | top priority] Use the uploaded first frame P-6.27a exactly as the first frame of the video. Do not redesign the corridor, red carpet, wooden doors, characters or camera position. Keep everything in the first frame: the red carpet running into depth; the closed carved wooden doors on both sides; the White-Haired Old Man at the turn of the stairs in the distance, the Short-Haired Writer behind him; warm yellow wall lamps. The first frame is: the two have just appeared at the turn of the stairs. Action: The White-Haired Old Man walks along the red carpet toward the camera, his steps not quick but very steady; the Short-Haired Writer follows half a step behind him. Do not: No cuts. No speech. No new characters.

P-6.28 First-frame image｜The doorway of the same dining room, medium shot: the White-Haired Old Man (look as above) appears in the doorway, half a step behind him the Short-Haired Writer (look as above, long dark beige dress); inside the door, the Old Professor in a Mao Suit and the President in Thick Glasses hurry forward to meet him, both hands held out; warm yellow pendant lamp.

6-28a Video prompt｜Re-render from the uploaded first frame P-6.28, 16:9 landscape, cinematic, the late 1980s, doorway of the second-floor private dining room of the reception center, winter night. 8 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-6.28 exactly as the first frame of the video. Do not redesign the characters or camera position. Keep everything in the first frame: the White-Haired Old Man centered in the doorway, dark grey Mao suit; the Short-Haired Writer half a step behind him; the two old men coming forward from both sides of the frame; warm yellow light. The first frame is: the three old men are about to shake hands. Action: The six hands of the three men clasp tightly together and shake up and down several times. Do not: No cuts. No speech. No new characters. [NARRATION] Song Qiankun. At the time, I had never heard the name.

6-28b Video prompt｜First frame = last frame of 6-28a. 16:9, 6 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 6-28a exactly as the first frame: the three old men’s hands still clasped together, the White-Haired Old Man in the middle, the Short-Haired Writer behind him; everything else as in 6-28a. Action: The White-Haired Old Man straightens his back, a smile on his face, looking at the two men with a calm, steady gaze. Do not: No cuts. No speech. No new characters.

6-29 Video prompt｜First frame = last frame of 6-28b. 16:9, 10 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 6-28b exactly as the first frame: the three old men have just let go of each other’s hands, the White-Haired Old Man in the middle, the Short-Haired Writer behind him; everything else as in 6-28b. Action: The White-Haired Old Man turns his face and raises a hand toward his daughter behind him. The White-Haired Old Man says: “This is my daughter, Song Xiaofan. She is at the Provincial Song-and-Dance Troupe, in creative writing …” The Short-Haired Writer smiles and nods. Do not: No cuts. Do not let anyone else speak.

P-6.30 First-frame image｜The same dining room, medium-wide shot from the foot of the round table: the White-Haired Old Man (look as above) sits at the head of the round table; the President in Thick Glasses (look as above) has already stood up, holding a full cup of liquor in both hands, facing the head of the table; the Old Professor in a Mao Suit sits beside the White-Haired Old Man; also seated around the table are the Short-Haired Writer (long dark beige dress), the Shaggy-Haired Professor, the Librarian with Little Braids and the Mother with a Hair Bun; on the table the Moutai bottle, dishes, wine glasses; warm yellow light.

6-30a Video prompt｜Re-render from the uploaded first frame P-6.30, 16:9 landscape, cinematic, the late 1980s, second-floor private dining room of the reception center, winter night. 10 seconds, medium-wide shot. [First-frame reference | top priority] Use the uploaded first frame P-6.30 exactly as the first frame of the video. Do not redesign the characters, seating, round table or camera position. Keep everything in the first frame: the White-Haired Old Man in the center at the head of the table; the President in Thick Glasses standing, holding his cup; the other five seated in their places; bottles and dishes; warm yellow light. The first frame is: the President in Thick Glasses stands raising his cup. Action: The President in Thick Glasses says: “Provincial-Governor Song — you are a reformer among the current leaders of Dongjiang Province. Dongda’s development cannot do without your strong support.” Do not: No cuts. Do not let anyone else speak. Do not swap seats.

6-30b Video prompt｜First frame = last frame of 6-30a. 16:9, 8 seconds, medium-wide shot. [First-frame reference | top priority] Use the last frame of 6-30a exactly as the first frame: the President in Thick Glasses still standing with his cup in both hands, the others seated in their places; everything else as in 6-30a. Action: The President in Thick Glasses raises his cup higher and says: “This glass I drink both for myself and for all the faculty and students of Dongda — I toast you!” Do not: No cuts. Do not let anyone else speak. Do not swap seats.

P-6.30c First-frame image｜The same dining room, close-up from the side of the round table: the President in Thick Glasses (look as above) stands with his head tipped back, a small liquor cup pressed to his lips, his thick glasses slid up toward the top of his nose from tipping his head back; at the edge of the frame, at the head of the table, one hand of the White-Haired Old Man holds his own cup resting on the tablecloth, not yet raised.

6-30c Video prompt｜Re-render from the uploaded first frame P-6.30c, 16:9 landscape, cinematic, the late 1980s, second-floor private dining room of the reception center, winter night. 8 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-6.30c exactly as the first frame of the video. Do not redesign the character, cups or camera position. Keep everything in the first frame: the President in Thick Glasses with his head tipped back, the cup at his lips; the glasses slid up toward the top of his nose; at the edge of the frame, the hand of the White-Haired Old Man and his cup on the table. The first frame is: he tips his head back to drink. Action: He drains the cup in one go and shows the bottom of it to everyone; as he puts it back on the table it tips, and he steadies it with his other hand; his glasses slide back down to the tip of his nose. Do not: No cuts. No speech. Do not let his face turn red (his face goes slightly pale).

P-6.31 First-frame image｜The head of the same dining-room table, close shot: the White-Haired Old Man (look as above) sits at the head of the round table, a full cup of baijiu at his hand, looking at the person standing at frame right; the landscape painting on the wall behind him out of focus; warm yellow light.

6-31 Video prompt｜Re-render from the uploaded first frame P-6.31, 16:9 landscape, cinematic, the late 1980s, second-floor private dining room of the reception center, winter night. 10 seconds, close shot. [First-frame reference | top priority] Use the uploaded first frame P-6.31 exactly as the first frame of the video. Do not redesign the character or camera position. Keep everything in the first frame: the White-Haired Old Man seated in the center, looking right; the cup at his hand; the landscape painting behind him. The first frame is: he looks at the man proposing the toast. Action: The White-Haired Old Man makes a low sound of assent and earnestly says: “Comrade Shouwu — this glass, whether you drink for yourself or for the faculty and students — I must drink it.” Do not: No cuts. Do not let anyone else speak.

6-32a Video prompt｜First frame = last frame of 6-31. 16:9, 8 seconds, close shot. [First-frame reference | top priority] Use the last frame of 6-31 exactly as the first frame: the White-Haired Old Man seated, looking right; everything else as in 6-31. Action: Word by word, the White-Haired Old Man says: “Privately — you were my immediate superior at the May Seventh Cadre School, and saved my life —” Do not: No cuts. Do not let anyone else speak.

6-32b Video prompt｜First frame = last frame of 6-32a. 16:9, 10 seconds, close shot. [First-frame reference | top priority] Use the last frame of 6-32a exactly as the first frame: the White-Haired Old Man seated, looking right; everything else as in 6-32a. Action: The White-Haired Old Man goes on and says: “Publicly — you are the new president of Dongda. I championed you at the Provincial Standing Committee.” Do not: No cuts. Do not let anyone else speak.

6-32c Video prompt｜First frame = last frame of 6-32b. 16:9, 6 seconds, close shot. [First-frame reference | top priority] Use the last frame of 6-32b exactly as the first frame: the White-Haired Old Man seated, the full cup at his hand; everything else as in 6-32b. Action: The White-Haired Old Man picks up his cup, drains it in one go, and sets the empty cup down. Do not: No cuts. No speech.

6-33a Video prompt｜First frame = last frame of 6-32c. 16:9, 10 seconds, close shot, slow push-in. [First-frame reference | top priority] Use the last frame of 6-32c exactly as the first frame: the White-Haired Old Man has just set down his empty cup; everything else as in 6-32c. Action: The camera slowly pushes in. The White-Haired Old Man knits his brows and, in a recollecting tone, the White-Haired Old Man says: “In 1957, during the anti-rightist movement, I was the main person in charge at the provincial level for the campaign in higher education —” Do not: No cuts. Do not let anyone else speak.

6-33b Video prompt｜First frame = last frame of 6-33a. 16:9, 10 seconds, close-up. [First-frame reference | top priority] Use the last frame of 6-33a exactly as the first frame: close-up of the face of the White-Haired Old Man, brows knitted. Action: The White-Haired Old Man says: “When Dongda’s anti-rightist working group office reported the list to me, it was I who signed off on it.” Do not: No cuts. Do not let anyone else speak.

6-34a Video prompt｜First frame = last frame of 6-33b. 16:9, 10 seconds, close-up. [First-frame reference | top priority] Use the last frame of 6-33b exactly as the first frame: close-up of the face of the White-Haired Old Man, brows knitted. Action: The White-Haired Old Man says: “At that time the central authorities had given our province a quota for designating rightists. To fulfill the task, I made one stroke of the pen and added that ‘optional’ list to the rightist roster as well.” Do not: No cuts. Do not let anyone else speak.

6-34b Video prompt｜First frame = last frame of 6-34a. 16:9, 10 seconds, close-up. [First-frame reference | top priority] Use the last frame of 6-34a exactly as the first frame: close-up of the face of the White-Haired Old Man, brows knitted. Action: The White-Haired Old Man says: “I remember — your two names were on that ‘optional’ list …” As he says this, a look of shame comes over his face. Do not: No cuts. Do not let anyone else speak.

P-6.35 First-frame image｜The head of the same dining-room table, medium three-shot: the White-Haired Old Man (look as above) stands in the middle at the head of the round table, one hand holding the hand of the Old Professor in a Mao Suit on his left, the other holding the hand of the President in Thick Glasses on his right; he has just pulled the two old men to their feet; three full cups in front of the three of them; warm yellow light, the landscape painting above their heads.

6-35a Video prompt｜Re-render from the uploaded first frame P-6.35, 16:9 landscape, cinematic, the late 1980s, second-floor private dining room of the reception center, winter night. 10 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-6.35 exactly as the first frame of the video. Do not redesign the three characters, positions or camera position. Keep everything in the first frame: the White-Haired Old Man standing in the center, his left hand holding the Old Professor in a Mao Suit, his right hand holding the President in Thick Glasses; the three full cups; the landscape painting. The first frame is: the three stand hand in hand at the head of the table. Action: In an earnest voice, with a solemn expression, the White-Haired Old Man says: “As for myself — in life and work I have committed many errors and mistakes, causing great pain to many lives, including yours.” Do not: No cuts. Do not let anyone else speak. Do not swap positions.

6-35b Video prompt｜First frame = last frame of 6-35a. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 6-35a exactly as the first frame: the three still standing hand in hand at the head of the table, the White-Haired Old Man in the center; everything else as in 6-35a. Action: The White-Haired Old Man says: “Now, with this glass, I apologize to you both!” Do not: No cuts. Do not let anyone else speak. Do not swap positions.

P-6.36 First-frame image｜The head of the same round table, close-up at tabletop height: three hands held together above the white tablecloth — the one in the middle broad and strong, one thin hand on each side, one bony-knuckled, one skin and bone; three full cups on the tablecloth beneath the hands; the three faces are all out of frame.

6-36 Video prompt｜Re-render from the uploaded first frame P-6.36, 16:9 landscape, cinematic, the late 1980s, second-floor private dining room of the reception center, winter night. 10 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-6.36 exactly as the first frame of the video. Do not redesign the hands, cups or camera position. Keep everything in the first frame: the three hands held together, broad in the middle, thin on either side; the three full cups; the white tablecloth; no faces. The first frame is: three hands clasped. Action: The three hands grip once more, then let go, and each picks up a cup; the three cups clink together in midair, and a few drops of liquor spill onto the tablecloth. Do not: No cuts. No faces. No speech.

P-6.37 First-frame image｜The head of the same dining-room table, close shot: the Old Professor in a Mao Suit (look as above) stands holding his cup, a glint of tears in his eyes, facing the White-Haired Old Man at frame left; the shoulder of the White-Haired Old Man at the left edge of the frame.

6-37 Video prompt｜Re-render from the uploaded first frame P-6.37, 16:9 landscape, cinematic, the late 1980s, second-floor private dining room of the reception center, winter night. 8 seconds, close shot. [First-frame reference | top priority] Use the uploaded first frame P-6.37 exactly as the first frame of the video. Do not redesign the character or camera position. Keep everything in the first frame: the Old Professor in a Mao Suit centered, holding his cup, tears in his eyes, facing left; the shoulder of the White-Haired Old Man at the left edge. The first frame is: he is looking at the White-Haired Old Man. Action: Deeply moved, the Old Professor in a Mao Suit says, again and again: “Provincial-Governor Song — you are too generous — it is more honor than we can bear!” Do not: No cuts. Do not let anyone else speak.

P-6.37a First-frame image｜The head of the same dining-room table, close shot from the front at an angle: the President in Thick Glasses (look as above) stands, his face white as paper from his ears to his cheeks, a fine sweat on his forehead, his thick glasses perched on the tip of his nose, one hand on the edge of the table; at the edge of the frame, a hand of the Old Professor in a Mao Suit reaching over.

6-37a Video prompt｜Re-render from the uploaded first frame P-6.37a, 16:9 landscape, cinematic, the late 1980s, second-floor private dining room of the reception center, winter night. 8 seconds, close shot. [First-frame reference | top priority] Use the uploaded first frame P-6.37a exactly as the first frame of the video. Do not redesign the character or camera position. Keep everything in the first frame: the President in Thick Glasses centered, face pale, fine sweat on his forehead, hand on the table edge; the hand reaching in at the edge of the frame. The first frame is: he opens his mouth. Action: The lips of the President in Thick Glasses move twice without a sound; his eyes blink rapidly behind the glasses; the hand at the edge of the frame presses lightly on his arm. Do not: No cuts. No speech. Do not let the face of the Old Professor in a Mao Suit enter the frame.

P-6.38 First-frame image｜The head of the same dining-room table, close shot: the President in Thick Glasses (look as above) stands, his face pale, his thick glasses perched on the tip of his nose, a cup in his hand, facing the White-Haired Old Man at frame right; the shoulder of the White-Haired Old Man at the right edge of the frame.

6-38a Video prompt｜Re-render from the uploaded first frame P-6.38, 16:9 landscape, cinematic, the late 1980s, second-floor private dining room of the reception center, winter night. 10 seconds, close shot. [First-frame reference | top priority] Use the uploaded first frame P-6.38 exactly as the first frame of the video. Do not redesign the character or camera position. Keep everything in the first frame: the President in Thick Glasses centered, face pale, holding his cup, facing right; the shoulder of the White-Haired Old Man at the right edge. The first frame is: he is looking at the White-Haired Old Man. Action: Stammering a little, the President in Thick Glasses says: “Yes — Provincial-Governor Song — you yourself suffered greatly — slandered as a traitor — even imprisoned …” Do not: No cuts. Do not let anyone else speak.

6-38b Video prompt｜First frame = last frame of 6-38a. 16:9, 8 seconds, close shot. [First-frame reference | top priority] Use the last frame of 6-38a exactly as the first frame: the President in Thick Glasses holding his cup, facing right; everything else as in 6-38a. Action: The President in Thick Glasses says: “If anyone owes an apology — the one who slandered you as a traitor should apologize to you — that’s right!” Do not: No cuts. Do not let anyone else speak. [NARRATION] Traitor. That word would follow me for more than twenty years.

P-6.39 First-frame image｜The same dining room, medium-wide shot of the whole round table from the direction of the door: the three old men stand at the head of the table, the White-Haired Old Man in the middle, the Old Professor in a Mao Suit and the President in Thick Glasses on either side, their cups just raised; at the foot of the table four people sit looking up at them — the Mother with a Hair Bun, the Librarian with Little Braids, the Shaggy-Haired Professor (holding a wine glass), the Short-Haired Writer (chin propped on her hand); the landscape painting above the three old men’s heads; warm yellow light.

6-39a Video prompt｜Re-render from the uploaded first frame P-6.39, 16:9 landscape, cinematic, the late 1980s, second-floor private dining room of the reception center, winter night. 8 seconds, medium-wide shot. [First-frame reference | top priority] Use the uploaded first frame P-6.39 exactly as the first frame of the video. Do not redesign the characters, seating or camera position. Keep everything in the first frame: the three old men standing at the head of the table with their cups raised, the White-Haired Old Man in the middle; the four at the foot of the table seated, looking up; the landscape painting; warm yellow light. The first frame is: the three raise their cups. Action: The three old men tip their heads back and drain their cups. Do not: No cuts. No speech. No new characters.

6-39b Video prompt｜First frame = last frame of 6-39a. 16:9, 8 seconds, medium-wide shot. [First-frame reference | top priority] Use the last frame of 6-39a exactly as the first frame: the three old men standing at the head of the table holding empty cups, the four at the foot of the table seated; everything else as in 6-39a. Action: The Old Professor in a Mao Suit quickly wipes the corner of his eye with the back of his hand; the four at the foot of the table watch quietly; the wine glass in the hand of the Shaggy-Haired Professor does not move. Do not: No cuts. No speech. No new characters.

6-40a Video prompt｜First frame = last frame of 6-39b. 16:9, 8 seconds, medium-wide shot. [First-frame reference | top priority] Use the last frame of 6-39b exactly as the first frame: the three old men standing at the head of the table holding empty cups, the four at the foot of the table seated; everything else as in 6-39b. Action: The White-Haired Old Man puts down his empty cup and sits down first, then raises a hand to invite the two old men to sit as well; the three take their seats. Do not: No cuts. No speech. Do not change the seating.

6-40b Video prompt｜First frame = last frame of 6-40a. 16:9, 10 seconds, medium-wide shot pulling back to a wide shot. [First-frame reference | top priority] Use the last frame of 6-40a exactly as the first frame: all seven seated around the round table, the White-Haired Old Man in the center at the head; everything else as in 6-40a. Action: The camera slowly pulls back; the frame of the dining-room door enters the shot; the round table and the seven people grow smaller and smaller within the doorframe, the White-Haired Old Man always at the center. Do not: No cuts. No speech. Do not change the seating.

(End of segment | 69 shots | approx. 10 min | Source: Ep. 5, Sc. 8, 9, 10, 11 and supplementary shots ◆8-1a, 8-3a, 8-5a, 8-9a, 9-4b, 10-4a, 11-1a, 11-2a; Ep. 6, Sc. 6, 9 and supplementary shots ◆6-2a, 9-3a, 9-4a)

Part 1 · Segment 7 · The Lovers’ Grove (approx. 7 min, 52 shots)

Source: Ep. 14 Part 2, Sc. 6 (Call from a Distant Mountain), Sc. 7 (the Lovers’ Grove · osmanthus · moonlight), Sc. 8 (“I like you” · the slap), Closing (Du Wei alone); Sc. 5 (Gu Zheng’s trauma · the Purple-Tile House) is moved to the end of this segment as that night’s nightmare. The Sc. 5 flashback uses symbols only (the door, the shadow, the pond, her eyes); the violence, blood and nudity in the original draft’s narration are not filmed at all. Supplementary shots from Ep. 14 Part 2 supplementary shots ◆B5-2a, B7-1b, B7-2b, B8-2b, B9-0a.

Character looks (prompts use these descriptions only, never names): - [Short-Braids Student] A nineteen-year-old female university student. Two short braids, a pair of large, very dark eyes, delicate features, a plain light-colored checked jacket. (= Gu Zheng at university) In this segment she carries a canvas satchel slung across her body. - [Long-Haired Hawk-Eyed Man] A man of twenty-five or twenty-six. Shoulder-length hair, sharp eyes like a hawk’s, a black leather jacket, a camera hanging on his chest. (= Du Wei) In this segment he wears black ankle boots. - [Big-Eyed Girl] A six-year-old girl. Ear-length bobbed hair, a pair of large, very dark eyes like glass marbles, a small-flowered cotton top. (= Gu Zheng as a small child; appears only in the flashback, seen only from behind) - [Man in the Long Cloak] The man in the dream: tall, wearing a long old cloak; shown only from behind and in an out-of-focus profile. - Open-air film audience: a white-haired old woman in a blue cotton top waving a palm-leaf fan; a male student in an army greatcoat carrying a small stool; a female student with a braid in a flowered cotton skirt. - Couple in the grove: a man and a woman sitting close together on a bench, shown only in silhouette.

Settings (reuse verbatim in first-frame images): - [Stairway] Spring dusk in the late 1980s, the foot of the separate staircase leading to the top floor of Guiyuan Building 6, a women’s dormitory at Dongjiang University: green-painted iron railings, a closed blue-painted wooden door at the top of the stairs, pale orange daylight. - [Top-Floor Dorm Room] The late 1980s, a women’s dorm room on the top floor of Guiyuan Building 6: a string of seashell wind chimes hanging from the doorframe, a flowered cotton curtain dividing the room in two, several photos of film stars on the wall, two iron-frame beds. - [Osmanthus Path] A spring night in the late 1980s, the path to the sports field at Dongjiang University: osmanthus trees on both sides have just put out pale yellow buds the size of rice grains; the streetlamps have just come on. - [Open-Air Cinema] A spring night in the late 1980s, the school sports field: a white cloth screen hung between two bamboo poles, a projector set on a school desk, its beam shooting toward the screen, the ground in front of the screen packed with seated viewers. - [Lovers’ Grove] A spring night in the late 1980s, the Lovers’ Grove at Dongjiang University: tall trees, dense woods, moonlight through the leaves scattering flecks of silver-white over the leaf-covered ground, a few wooden benches among the trees, silver-blue tones. - [Dream] A wilderness in thick grey-white fog, no visible line between sky and ground, cold grey tones. - [Purple-Tile House (flashback)] A dark purple and black flashback: an old house with purple roof tiles in a small southern town, a wooden door, a pond with floating lotus leaves in front of the house; the edges of the frame go black, like torn paper.

1. Three Film Tickets

P-7.1 First-frame image｜Spring dusk in the late 1980s, the foot of the separate staircase leading to the top floor of Guiyuan Building 6, a women’s dormitory at Dongjiang University: green-painted iron railings, a closed blue-painted wooden door at the top of the stairs, pale orange daylight. Close shot looking up from the foot of the stairs: the Long-Haired Hawk-Eyed Man (look as above) stands at the bottom of the stairs, three pink film tickets pinched in one hand, looking up at the blue door at the top.

7-1a Video prompt｜Re-render from the uploaded first frame P-7.1, 16:9 landscape, cinematic, the late 1980s, foot of the stairs of Guiyuan Building 6, spring dusk. 8 seconds, low-angle close shot. [First-frame reference | top priority] Use the uploaded first frame P-7.1 exactly as the first frame of the video. Do not redesign the character, the stairs, the blue door or camera position. Keep everything in the first frame: the man centered at the bottom of the frame, looking up at the blue door; black leather jacket, camera on his chest; the three pink film tickets in his hand clearly visible; green-painted iron railings; pale orange daylight. The first frame is: he stands at the foot of the stairs, looking up. Action: With his other hand the man pushes his long hair back and straightens the collar of his leather jacket. Do not: No cuts. No speech. No other people. [NARRATION] The spring after the Christmas dance, Du Wei bought three film tickets.

7-1b Video prompt｜First frame = last frame of 7-1a. 16:9, 6 seconds, low-angle close shot. [First-frame reference | top priority] Use the last frame of 7-1a exactly as the first frame: the man standing at the foot of the stairs, his collar now straightened, three tickets in his hand, looking up at the blue door; everything else as in 7-1a. Action: The man lifts his foot onto the first step. Do not: No cuts. No speech. No other people.

P-7.2 First-frame image｜The late 1980s, a women’s dorm room on the top floor of Guiyuan Building 6: a string of seashell wind chimes hanging from the doorframe, a flowered cotton curtain dividing the room in two, several photos of film stars on the wall, two iron-frame beds. Medium shot from inside the room toward the door: the door is open; the Long-Haired Hawk-Eyed Man (look as above) stands outside the threshold, the film tickets in his hand; the Short-Braids Student (look as above) stands one step inside the threshold, her back half turned to the camera, looking at him; orange evening light comes in from outside the door.

7-2 Video prompt｜Re-render from the uploaded first frame P-7.2, 16:9 landscape, cinematic, the late 1980s, doorway of the top-floor dorm room in Guiyuan Building 6, spring dusk. 10 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-7.2 exactly as the first frame of the video. Do not redesign the two characters, the door, the wind chimes or camera position. Keep everything in the first frame: the man outside the threshold on the right of the frame, the girl inside the threshold on the left, her back half turned; the seashell wind chimes on the doorframe; the flowered curtain at back left; orange light. The first frame is: the two stand on either side of the threshold. Action: The wind chimes tinkle softly; outside the door, the Long-Haired Hawk-Eyed Man waves the tickets in his hand and says: “Call from a Distant Mountain. A Japanese film …” Do not: No cuts. Do not let the Short-Braids Student speak. Do not let the man enter the room.

P-7.3 First-frame image｜The same dorm-room doorway, low-angle close-up of the threshold only, inside and out: outside the door, a pair of black ankle boots stands beyond the threshold; inside, a pair of black cloth strap shoes stands one step back; a man’s hand holds out three pink film tickets; a girl’s hand hangs down, not taking them; deep in the background the flowered curtain is drawn back, and on a neatly made, empty bed lies a long red scarf, out of focus.

7-3a Video prompt｜Re-render from the uploaded first frame P-7.3, 16:9 landscape, cinematic, the late 1980s, doorway of the top-floor dorm room in Guiyuan Building 6, spring dusk. 8 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-7.3 exactly as the first frame of the video. Do not redesign the shoes, hands, film tickets, empty bed or camera position. Keep everything in the first frame: the two pairs of shoes on either side of the threshold; the man’s hand holding out three tickets; the girl’s hand hanging down; the empty bed and red scarf out of focus in the background. The first frame is: three tickets held out in midair. Action: The man’s hand draws the three tickets back, pulls one out and tucks it into his pocket. Do not: No cuts. No speech. No faces. [NARRATION] One of them was for Li Hong. Li Hong was out that day.

7-3b Video prompt｜First frame = last frame of 7-3a. 16:9, 6 seconds, close-up. [First-frame reference | top priority] Use the last frame of 7-3a exactly as the first frame: the two pairs of shoes on either side of the threshold, the man’s hand holding two tickets drawn back outside the threshold, the girl’s hand hanging down; everything else as in 7-3a. Action: The man’s hand holds out the remaining two tickets again and stops in midair. Do not: No cuts. No speech. No faces.

P-7.4 First-frame image｜Inside the same dorm room, close shot from the side, inside the room: the Short-Braids Student (look as above) stands with her back to the door, one hand on the flowered curtain, looking up at the film-star photos on the wall; her gaze rests on one black-and-white photo — the profile of a man’s face, out of focus, only its hard outline visible; at the edge of the frame, in the doorway, a corner of a black leather jacket and a hand holding two tickets; outside the window the sky is turning from orange to pale violet.

7-4a Video prompt｜Re-render from the uploaded first frame P-7.4, 16:9 landscape, cinematic, the late 1980s, top-floor dorm room in Guiyuan Building 6, spring dusk. 10 seconds, close shot. [First-frame reference | top priority] Use the uploaded first frame P-7.4 exactly as the first frame of the video. Do not redesign the character, the photo or camera position. Keep everything in the first frame: the girl centered with her back turned, hand on the flowered curtain, looking at the photo on the wall; the out-of-focus profile of the man in the photo; the corner of the leather jacket and the two tickets at the edge of the frame; the sky outside the window. The first frame is: she is looking at the photo. Action: She looks at the photo without moving, for a long time; outside the window the sky slowly turns pale violet. Do not: No cuts. No speech. Do not let the face in the photo become clear.

7-4b Video prompt｜First frame = last frame of 7-4a. 16:9, 6 seconds, close shot. [First-frame reference | top priority] Use the last frame of 7-4a exactly as the first frame: the girl still with her back turned, hand on the flowered curtain, looking at the photo, pale violet outside the window; everything else as in 7-4a. Action: Her hand slowly lets go of the flowered curtain; she turns and walks toward the door. Do not: No cuts. No speech. Do not let the face in the photo become clear.

2. The Open-Air Film

P-7.5 First-frame image｜A spring night in the late 1980s, the path to the sports field at Dongjiang University: osmanthus trees on both sides have just put out pale yellow buds the size of rice grains; the streetlamps have just come on. Medium-wide shot from ahead on the path: the Long-Haired Hawk-Eyed Man (look as above) walks in the middle of the path, two tickets in his hand, his head tilted toward her as he talks; the Short-Braids Student (look as above) walks along the edge of the path, a step’s width away from him, both hands gripping her satchel strap, eyes straight ahead; far off on the sports field, the beam of a projector and a white cloth screen; students in twos and threes walk past carrying small stools.

7-5 Video prompt｜Re-render from the uploaded first frame P-7.5, 16:9 landscape, cinematic, the late 1980s, the osmanthus path, spring night. 10 seconds, medium-wide shot. [First-frame reference | top priority] Use the uploaded first frame P-7.5 exactly as the first frame of the video. Do not redesign the two characters, osmanthus trees, streetlamps or camera position. Keep everything in the first frame: the man in the middle of the path on the right of the frame, the girl at the edge of the path on the left, a step apart; her hands gripping the satchel strap; the screen and projector beam far off; a few students on the path. The first frame is: the two walk side by side toward the camera. Action: The two walk toward the camera; the man talks as he walks, his head tilted toward her (the words are not heard); the girl does not turn her head; there is always one step between them. Do not: No cuts. Do not let the dialogue be intelligible. Do not let the two come closer.

P-7.6 First-frame image｜A spring night in the late 1980s, the school sports field: a white cloth screen hung between two bamboo poles, a projector set on a school desk, its beam shooting toward the screen, the ground in front of the screen packed with seated viewers. Medium-wide shot of the audience from behind and to the side of the screen: a white-haired old woman sits on a small bamboo chair waving a palm-leaf fan; a male student in an army greatcoat sits on a small stool, leaning forward; female students in flowered skirts squeeze together on a straw mat; at the edge of the back row, the Short-Braids Student and the Long-Haired Hawk-Eyed Man (looks as above) sit with one seat’s width of empty space between them, her canvas satchel set down in the middle; small insects fly in the projector beam.

7-6 Video prompt｜Re-render from the uploaded first frame P-7.6, 16:9 landscape, cinematic, the late 1980s, the open-air cinema, spring night. 10 seconds, medium-wide shot. [First-frame reference | top priority] Use the uploaded first frame P-7.6 exactly as the first frame of the video. Do not redesign the audience, screen, projector or camera position. Keep everything in the first frame: the audience filling the frame; the old woman, the student in the greatcoat and the girls in flowered skirts in the foreground and middle ground; the Short-Braids Student and the Long-Haired Hawk-Eyed Man at the edge of the back row with the satchel between them; the beam and the insects. The first frame is: the film is showing. Action: The light of the screen flickers over the audience’s faces; the old woman waves her fan; the student in the greatcoat is absorbed; in the back row the Short-Braids Student watches the screen without moving. Do not: No cuts. No speech. Do not show any face on the screen clearly.

P-7.7 First-frame image｜The same open-air cinema, close-up composed top and bottom: the upper half of the frame is part of the screen — in warm yellow light, the profile of a weathered man’s face, out of focus, only its rugged outline and a snowfield visible; the lower half of the frame is the face of the Short-Braids Student (look as above), lit warm yellow by the screen, her eyes wide open; at the edge of the frame, the face of the Long-Haired Hawk-Eyed Man in shadow, turned toward her instead of toward the screen.

7-7 Video prompt｜Re-render from the uploaded first frame P-7.7, 16:9 landscape, cinematic, the late 1980s, the open-air cinema, spring night. 10 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-7.7 exactly as the first frame of the video. Do not redesign the screen, characters or camera position. Keep everything in the first frame: the out-of-focus profile of the man and the snowfield in the upper half; her face in the lower half, warm yellow light, eyes wide; his face in shadow at the edge, turned toward her. The first frame is: she is watching the screen. Action: She watches the screen without blinking, the light of the screen reflected in her pupils, her lips slightly parted; at the edge of the frame he keeps looking at her. Do not: No cuts. No speech. Do not let the face on the screen become clear.

P-7.8 First-frame image｜A wilderness in thick grey-white fog, no visible line between sky and ground, cold grey tones. Medium shot: the Man in the Long Cloak (look as above) stands in the fog with his back to the camera, the long old cloak hanging to his calves; his face is not visible.

7-8a Video prompt｜Re-render from the uploaded first frame P-7.8, 16:9 landscape, cinematic, dream, foggy wilderness. 8 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-7.8 exactly as the first frame of the video. Do not redesign the character, the fog or camera position. Keep everything in the first frame: the man centered with his back to the camera; the old cloak; thick grey-white fog all around; cold grey tones. The first frame is: the man’s back, standing in the fog. Action: The fog drifts slowly; the hem of the cloak stirs in the wind; the man does not move. Do not: No cuts. Do not let him turn around. Do not let his face be clear. No speech.

7-8b Video prompt｜First frame = last frame of 7-8a. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 7-8a exactly as the first frame: the man standing with his back to the camera in the drifting fog, the hem of his cloak stirring; everything else as in 7-8a. Action: The man turns his head slightly; his profile stays out of focus in the fog, his features never clear. Do not: No cuts. Do not let him turn around. Do not let his face be clear. No speech in the frame. (A deep male voice off-screen, dubbed in post: “I — am — your — father …”)

3. The Lovers’ Grove

P-7.9 First-frame image｜The same open-air cinema, the film just over, the light on the screen gone out, the white cloth billowing in the night wind. Medium-wide shot: the audience stands up, carrying small stools and rolling up mats, dispersing in all directions; in the back row, the Short-Braids Student (look as above) stands without moving, her eyes still on the darkened screen; the Long-Haired Hawk-Eyed Man (look as above) stands a step away beside her, looking at her.

7-9a Video prompt｜Re-render from the uploaded first frame P-7.9, 16:9 landscape, cinematic, the late 1980s, the open-air cinema, spring night, after the show. 8 seconds, medium-wide shot. [First-frame reference | top priority] Use the uploaded first frame P-7.9 exactly as the first frame of the video. Do not redesign the characters, the screen or camera position. Keep everything in the first frame: the two in the center of the frame, the girl looking at the screen, the man looking at the girl; the crowd dispersing all around; the billowing white screen. The first frame is: the crowd flows past the two of them. Action: The crowd, carrying stools and rolled mats, flows past the two of them; the two stand still. Do not: No cuts. No speech. Do not let the two hold hands.

7-9b Video prompt｜First frame = last frame of 7-9a. 16:9, 6 seconds, medium-wide shot. [First-frame reference | top priority] Use the last frame of 7-9a exactly as the first frame: the crowd has thinned; the two still stand in the center of the frame, the girl looking at the screen, the man looking at the girl; everything else as in 7-9a. Action: The man raises a hand and points toward a small path at the edge of the sports field. Do not: No cuts. No speech. Do not let the two hold hands.

7-9c Video prompt｜First frame = last frame of 7-9b. 16:9, 6 seconds, medium-wide shot. [First-frame reference | top priority] Use the last frame of 7-9b exactly as the first frame: the man pointing toward the path at the edge of the sports field, the girl still looking at the screen; everything else as in 7-9b. Action: The girl comes back to herself and follows him that way. Do not: No cuts. No speech. Do not let the two hold hands.

P-7.10 First-frame image｜A spring night in the late 1980s, the path to the sports field at Dongjiang University: osmanthus trees on both sides have just put out pale yellow buds the size of rice grains; the streetlamps have just come on. Extreme close-up: an osmanthus branch, moonlight on its small leaves, clusters of pale yellow buds in the leaf axils like a few tiny points of gold; in the out-of-focus background, the path strewn with flecks of moonlight, and the outlines of two figures far off.

7-10a Video prompt｜Re-render from the uploaded first frame P-7.10, 16:9 landscape, cinematic, the late 1980s, the osmanthus path, spring night. 8 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-7.10 exactly as the first frame of the video. Do not redesign the branch, buds or camera position. Keep everything in the first frame: focus on the buds; silver-white moonlight; the out-of-focus path and two figures behind. The first frame is: the branch is still. Action: A gust of wind passes; the branch sways gently and a few buds fall. Do not: No cuts. No speech. Do not let the figures become clear.

7-10b Video prompt｜First frame = last frame of 7-10a. 16:9, 8 seconds, close-up. [First-frame reference | top priority] Use the last frame of 7-10a exactly as the first frame: the branch still again, focus still on the buds, the out-of-focus path and two figures behind; everything else as in 7-10a. Action: In the background the two out-of-focus figures slowly come nearer across the flecks of moonlight. Do not: No cuts. No speech. Do not let the figures become clear.

P-7.10c First-frame image｜A spring night in the late 1980s, the path to the sports field at Dongjiang University: osmanthus trees on both sides have just put out pale yellow buds the size of rice grains; the streetlamps have just come on. Extremely low-angle close shot, knees down only: a pair of black ankle boots walks in the middle of the path; a pair of black cloth strap shoes walks along the edge of the path, toes brushing the grass at the roadside; a step’s width between the two pairs of shoes; the path strewn with flecks of moonlight and a few fallen osmanthus buds.

7-10c Video prompt｜Re-render from the uploaded first frame P-7.10c, 16:9 landscape, cinematic, the late 1980s, the osmanthus path, spring night. 8 seconds, tracking close shot. [First-frame reference | top priority] Use the uploaded first frame P-7.10c exactly as the first frame of the video. Do not redesign the shoes, the path or camera position. Keep everything in the first frame: the ankle boots in the middle of the path, the cloth shoes at the edge, a step apart; flecks of moonlight; osmanthus buds. The first frame is: two pairs of shoes walking side by side. Action: The ankle boots move half a step closer to the cloth shoes, and the cloth shoes move half a step toward the roadside; the distance between them stays the same. Do not: No cuts. No faces. No speech.

P-7.11 First-frame image｜A spring night in the late 1980s, the Lovers’ Grove at Dongjiang University: tall trees, dense woods, moonlight through the leaves scattering flecks of silver-white over the leaf-covered ground, a few wooden benches among the trees, silver-blue tones. Wide shot from the path toward the entrance of the grove: two tall trees flank the entrance; inside the grove it is deep blue-black, and the figures of people sitting in pairs on the benches can just be made out; at the entrance, two figures stand on the line between light and dark: the taller one in a leather jacket, the shorter one in a light-colored checked jacket.

7-11a Video prompt｜Re-render from the uploaded first frame P-7.11, 16:9 landscape, cinematic, the late 1980s, entrance of the Lovers’ Grove, spring night. 8 seconds, wide shot. [First-frame reference | top priority] Use the uploaded first frame P-7.11 exactly as the first frame of the video. Do not redesign the trees, figures or camera position. Keep everything in the first frame: the entrance centered, flanked by two big trees; the figures on the benches in the grove; the two figures on the line between light and dark. The first frame is: the two stand at the entrance of the grove. Action: The taller one walks into the dark first. Do not: No cuts. No speech. Do not show the figures in the grove clearly.

7-11b Video prompt｜First frame = last frame of 7-11a. 16:9, 6 seconds, wide shot. [First-frame reference | top priority] Use the last frame of 7-11a exactly as the first frame: the taller figure already in the dark of the grove, the shorter one still standing on the line between light and dark; everything else as in 7-11a. Action: The shorter one pauses for one second on the line, then follows him in. Do not: No cuts. No speech. Do not show the figures in the grove clearly.

P-7.11c First-frame image｜A spring night in the late 1980s, the Lovers’ Grove at Dongjiang University: tall trees, dense woods, moonlight through the leaves scattering flecks of silver-white over the leaf-covered ground, a few wooden benches among the trees, silver-blue tones. Extremely low-angle close-up of the ground only: fallen leaves and pine needles carpet the ground with dozens of flecks of moonlight of different sizes; a pair of black cloth strap shoes steps onto one fleck of light and stops; beside them, on the fallen leaves, a pair of black ankle boots.

7-11c Video prompt｜Re-render from the uploaded first frame P-7.11c, 16:9 landscape, cinematic, the late 1980s, the Lovers’ Grove, spring night. 8 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-7.11c exactly as the first frame of the video. Do not redesign the shoes, fallen leaves, flecks of light or camera position. Keep everything in the first frame: the cloth shoes standing on a fleck of light; the ankle boots beside them on the fallen leaves; the flecks of moonlight moving slowly with the leaves. The first frame is: the cloth shoes stop. Action: The toes of the cloth shoes turn this way and that, as if trying to make something out; the ankle boots beside them move closer and stop less than half a step away. Do not: No cuts. No faces. No speech.

P-7.12 First-frame image｜Deep in the same Lovers’ Grove, close shot from the side of the two upper bodies: the Short-Braids Student (look as above) stands with her face toward the depths of the grove ahead; her eyes are still relaxed, as if she were still inside the film, the trace of a smile not yet gone from the corner of her mouth; flecks of moonlight fall on her shoulders and short braids; half a step from her, the Long-Haired Hawk-Eyed Man (look as above) has his face turned toward her, his eyes fixed on her profile, one hand hanging at his side.

7-12 Video prompt｜Re-render from the uploaded first frame P-7.12, 16:9 landscape, cinematic, the late 1980s, the Lovers’ Grove, spring night. 10 seconds, close shot. [First-frame reference | top priority] Use the uploaded first frame P-7.12 exactly as the first frame of the video. Do not redesign the two characters, their directions or camera position. Keep everything in the first frame: the girl on the left of the frame, face toward the front; the man on the right half a step away, face toward her; flecks of moonlight; silver-blue tones. The first frame is: two faces turned in different directions. Action: The girl still looks into the depths of the grove; the man stares at her, his Adam’s apple moves once, and the fingers of his hanging hand slowly open. Do not: No cuts. No speech. No physical contact between the two.

4. “I Like You”

P-7.13 First-frame image｜The same Lovers’ Grove, extreme close-up of two hands only: a man’s hand grips a girl’s wrist, very tightly; the girl’s hand is clenched into a fist; the strap of the canvas satchel hangs over her forearm; a fleck of moonlight falls on the gripped wrist; dark fallen leaves behind.

7-13 Video prompt｜Re-render from the uploaded first frame P-7.13, 16:9 landscape, cinematic, the late 1980s, the Lovers’ Grove, spring night. 8 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-7.13 exactly as the first frame of the video. Do not redesign the hands, the satchel strap or camera position. Keep everything in the first frame: the man’s hand gripping the girl’s wrist; the girl’s hand clenched in a fist; the satchel strap; the fleck of moonlight. The first frame is: the wrist has just been seized. Action: The girl’s wrist pulls back once; the man’s hand only grips it tighter. Do not: No cuts. No speech. No faces.

P-7.14 First-frame image｜The same Lovers’ Grove, close two-shot from the side: the Short-Braids Student (look as above) on the left of the frame, startled awake, shrinking back, eyes wide, looking around; the Long-Haired Hawk-Eyed Man (look as above) on the right, one hand gripping her wrist; flecks of moonlight; the outline of a bench in the distance.

7-14 Video prompt｜Re-render from the uploaded first frame P-7.14, 16:9 landscape, cinematic, the late 1980s, the Lovers’ Grove, spring night. 6 seconds, close two-shot. [First-frame reference | top priority] Use the uploaded first frame P-7.14 exactly as the first frame of the video. Do not redesign the two characters, positions or camera position. Keep everything in the first frame: the girl on the left shrinking back, the man on the right gripping her wrist; flecks of moonlight; the distant bench. The first frame is: she has just come to herself. Action: The Short-Braids Student looks around in alarm and says: “Where is this?” Do not: No cuts. Do not let the man speak. Do not swap positions.

7-15 Video prompt｜First frame = last frame of 7-14. 16:9, 6 seconds, close two-shot. [First-frame reference | top priority] Use the last frame of 7-14 exactly as the first frame: the girl looking at him in alarm, the man still gripping her wrist; everything else as in 7-14. Action: In a low voice, the Long-Haired Hawk-Eyed Man says: “This is the Lovers’ Grove …” Do not: No cuts. Do not let the girl speak.

7-16a Video prompt｜First frame = last frame of 7-15. 16:9, 6 seconds, close two-shot. [First-frame reference | top priority] Use the last frame of 7-15 exactly as the first frame: the two in the same positions, the man gripping the girl’s wrist. Action: The Short-Braids Student cries out: “Du Wei — what are you doing?” Do not: No cuts. Do not let the man speak. Do not let her break free.

7-16b Video prompt｜First frame = last frame of 7-16a. 16:9, 8 seconds, close two-shot. [First-frame reference | top priority] Use the last frame of 7-16a exactly as the first frame: the two in the same positions, the man gripping the girl’s wrist, the girl pulling her body back. Action: The Short-Braids Student pulls back hard but cannot break free; the canvas satchel slides off her shoulder and falls into the fallen leaves at her feet. Do not: No cuts. No speech. Do not let her break free.

P-7.17 First-frame image｜The same Lovers’ Grove, single close shot: the Long-Haired Hawk-Eyed Man (look as above) faces frame left, a feverish look in his eyes, as if talking in his sleep, one hand reaching out past the left edge of the frame (gripping her); flecks of moonlight on his long hair and leather jacket; dark background.

7-17 Video prompt｜Re-render from the uploaded first frame P-7.17, 16:9 landscape, cinematic, the late 1980s, the Lovers’ Grove, spring night. 8 seconds, close shot. [First-frame reference | top priority] Use the uploaded first frame P-7.17 exactly as the first frame of the video. Do not redesign the character or camera position. Keep everything in the first frame: the man slightly right of center, facing left; his hand reaching out past the left edge of the frame; flecks of moonlight; dark background. The first frame is: he is looking at her. Action: As if in delirium, the Long-Haired Hawk-Eyed Man says: “Gu Zheng! I like you! From the very first moment I saw you, I liked you!” Do not: No cuts. Do not let anyone else speak.

7-18 Video prompt｜First frame = last frame of 7-17. 16:9, 10 seconds, close shot. [First-frame reference | top priority] Use the last frame of 7-17 exactly as the first frame: close shot of the man, facing left, a feverish look in his eyes. Action: The Long-Haired Hawk-Eyed Man talks faster and faster and says: “Your brother asked me to look after you. I can’t let him down. For you I’d do anything — even kill!” Do not: No cuts. Do not let anyone else speak.

7-19a Video prompt｜First frame = last frame of 7-18. 16:9, 8 seconds, close shot. [First-frame reference | top priority] Use the last frame of 7-18 exactly as the first frame: close shot of the man, facing left. Action: The Long-Haired Hawk-Eyed Man says: “I’m a man who dares to think and dares to act. Whatever I want, I must have.” Do not: No cuts. Do not let anyone else speak.

7-19b Video prompt｜First frame = last frame of 7-19a. 16:9, 6 seconds, close shot. [First-frame reference | top priority] Use the last frame of 7-19a exactly as the first frame: close shot of the man, facing left. Action: The Long-Haired Hawk-Eyed Man says: “Women, career — I won’t give up a single one. Including you.” Do not: No cuts. Do not let anyone else speak.

P-7.19c First-frame image｜A spring night in the late 1980s, the Lovers’ Grove at Dongjiang University: tall trees, dense woods, moonlight through the leaves scattering flecks of silver-white over the leaf-covered ground, a few wooden benches among the trees, silver-blue tones. Close shot from the side of a bench: a wooden bench under a big tree, the two silhouettes of the couple in the grove (look as above) sitting close together, flecks of moonlight on their shoulders; far off on the right of the frame, out of focus, two standing figures, one tall and one short; on the ground, a soda bottle lying on its side.

7-19c Video prompt｜Re-render from the uploaded first frame P-7.19c, 16:9 landscape, cinematic, the late 1980s, the Lovers’ Grove, spring night. 8 seconds, close shot. [First-frame reference | top priority] Use the uploaded first frame P-7.19c exactly as the first frame of the video. Do not redesign the bench, the silhouettes, the distant figures or camera position. Keep everything in the first frame: the two silhouettes sitting close together on the bench; the two out-of-focus figures far off, one tall and one short; flecks of moonlight; the overturned soda bottle. The first frame is: the two silhouettes on the bench. Action: The two silhouettes on the bench turn their heads toward frame right at the same moment and stay perfectly still; after a while they slowly turn back. Do not: No cuts. Do not show anyone’s face clearly. No speech. No kissing.

7-20a Video prompt｜First frame = last frame of 7-19b. 16:9, 10 seconds, close shot. [First-frame reference | top priority] Use the last frame of 7-19b exactly as the first frame: close shot of the man, facing left. Action: The Long-Haired Hawk-Eyed Man says: “My godfather says I’m destined for great things. A man like me — only you are worthy. Jiang Lili isn’t fit to carry your shoes!” Do not: No cuts. Do not let anyone else speak.

7-20b Video prompt｜First frame = last frame of 7-20a. 16:9, 6 seconds, close shot. [First-frame reference | top priority] Use the last frame of 7-20a exactly as the first frame: close shot of the man, facing left, having just finished speaking. Action: The Long-Haired Hawk-Eyed Man mumbles on and on, leaning his body toward frame left. Do not: No cuts. Do not let anyone else speak. Do not let him walk out of frame.

P-7.21 First-frame image｜The same Lovers’ Grove, extreme close-up from below and to the side: the face of the Short-Braids Student (look as above) from brows to chin, her face pulled back, neck stretched taut, brows tightly knitted, eyes wide open, the whites of her eyes gleaming in the moonlight; at the top edge of the frame, out of focus, the collar of a black leather jacket and loose long hair, pressing toward her.

7-21 Video prompt｜Re-render from the uploaded first frame P-7.21, 16:9 landscape, cinematic, the late 1980s, the Lovers’ Grove, spring night. 10 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-7.21 exactly as the first frame of the video. Do not redesign the character or camera position. Keep everything in the first frame: her pulled-back face filling most of the frame; the out-of-focus leather-jacket collar and long hair at the top edge; flecks of moonlight. The first frame is: she leans back. Action: Her nostrils suddenly tighten, as if she has smelled something; her face draws back another inch; the look in her eyes changes from fear to disgust. Do not: No cuts. No speech. Do not let the two faces touch.

5. The Slap

P-7.22 First-frame image｜The same Lovers’ Grove, medium close two-shot from the side: the Short-Braids Student (look as above) on the left of the frame, one wrist just wrenched free from his grip, that hand rising to shoulder height; the Long-Haired Hawk-Eyed Man (look as above) on the right, leaning toward her; flecks of moonlight, dark background.

7-22 Video prompt｜Re-render from the uploaded first frame P-7.22, 16:9 landscape, cinematic, the late 1980s, the Lovers’ Grove, spring night. 6 seconds, medium close shot. [First-frame reference | top priority] Use the uploaded first frame P-7.22 exactly as the first frame of the video. Do not redesign the two characters, positions or camera position. Keep everything in the first frame: the girl on the left, hand raised to shoulder height; the man on the right, leaning forward; flecks of moonlight. The first frame is: her hand is raised. Action: With all her strength she raises her hand high. The image freezes before the hand comes down. Do not: No cuts. Do not show the hand striking the face. No speech.

P-7.23 First-frame image｜The same Lovers’ Grove, single close shot: the face of the Long-Haired Hawk-Eyed Man (look as above) is already turned to one side, his long hair flung across his cheek, his eyes dazed; flecks of moonlight on his shoulder; dark background.

7-23 Video prompt｜Re-render from the uploaded first frame P-7.23, 16:9 landscape, cinematic, the late 1980s, the Lovers’ Grove, spring night. 6 seconds, close shot. [First-frame reference | top priority] Use the uploaded first frame P-7.23 exactly as the first frame of the video. Do not redesign the character or camera position. Keep everything in the first frame: the man’s face turned to one side, long hair flung across his cheek; the dazed eyes; flecks of moonlight. The first frame is: his face turned aside, stunned. Action: He keeps his face turned aside without moving, as if knocked senseless; only after two seconds does he slowly turn it back. Do not: No cuts. No speech. No marks or red welts. (A sharp off-screen “crack”, dubbed in post; in the quiet grove it rings out like a firecracker.)

P-7.24 First-frame image｜The same Lovers’ Grove, extreme close-up, two hands at the two sides of the frame, both faces out of frame: on the left, the girl’s right hand stopped in midair, fingers spread, trembling, a few marks on the wrist from being gripped, a fleck of moonlight on the palm; on the right, a man’s hand slowly rising and stopping at cheek height, the fingers not touching the face; darkness between the two hands.

7-24 Video prompt｜Re-render from the uploaded first frame P-7.24, 16:9 landscape, cinematic, the late 1980s, the Lovers’ Grove, spring night. 10 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-7.24 exactly as the first frame of the video. Do not redesign the two hands or camera position. Keep everything in the first frame: the girl’s trembling hand stopped in midair on the left; the man’s hand stopped at cheek height on the right; darkness between; flecks of moonlight. The first frame is: both hands are still. Action: The girl’s hand stays still for two seconds, then jerks back, clenches into a fist and presses against the checked jacket over her chest. Do not: No cuts. No faces. No speech.

P-7.25 First-frame image｜The same Lovers’ Grove, medium-wide shot from deep in the grove toward the entrance: the Short-Braids Student (look as above), seen from behind, is running out of the grove, stumbling as she runs; there is light at the entrance far off; in the foreground the canvas satchel lies in the fallen leaves, its strap spread out, a textbook half slid out of its mouth; beside the satchel a pair of black ankle boots stands without moving.

7-25a Video prompt｜Re-render from the uploaded first frame P-7.25, 16:9 landscape, cinematic, the late 1980s, the Lovers’ Grove, spring night. 8 seconds, medium-wide shot. [First-frame reference | top priority] Use the uploaded first frame P-7.25 exactly as the first frame of the video. Do not redesign the character, satchel, ankle boots or camera position. Keep everything in the first frame: the girl, seen from behind in the middle of the frame, running toward the distant light; the satchel and textbook in the foreground; the ankle boots beside the satchel, not moving. The first frame is: she has run just a few steps. Action: She runs, stumbling, steadies herself with one hand against a tree trunk, runs on, her short braids swinging behind her head; she does not look back. The ankle boots in the foreground never move. Do not: No cuts. No speech. Do not let the ankle boots go after her.

7-25b Video prompt｜First frame = last frame of 7-25a. 16:9, 10 seconds, medium-wide shot. [First-frame reference | top priority] Use the last frame of 7-25a exactly as the first frame: the girl, seen from behind in the middle distance, still running toward the entrance; the satchel and ankle boots in the foreground; everything else as in 7-25a. Action: She runs past a bench, and the pair of figures on it shrink together in fright; her figure grows smaller and smaller and runs out through the entrance of the grove. The ankle boots in the foreground never move. Do not: No cuts. No speech. Do not let the ankle boots go after her.

P-7.25c First-frame image｜A spring night in the late 1980s, the Lovers’ Grove at Dongjiang University: tall trees, dense woods, moonlight through the leaves scattering flecks of silver-white over the leaf-covered ground, a few wooden benches among the trees, silver-blue tones. Wide shot from inside the grove out through the entrance, backlit: two tall trees flank the entrance; outside it, the path and a single pale yellow streetlamp far off; a very small figure has just run out of the darkness of the grove into the moonlight on the path, the light-colored checked jacket catching the light for a moment.

7-25c Video prompt｜Re-render from the uploaded first frame P-7.25c, 16:9 landscape, cinematic, the late 1980s, entrance of the Lovers’ Grove, spring night. 10 seconds, wide shot. [First-frame reference | top priority] Use the uploaded first frame P-7.25c exactly as the first frame of the video. Do not redesign the entrance, trees, streetlamp, figure or camera position. Keep everything in the first frame: the entrance flanked by two big trees; the path outside and the distant streetlamp; the small figure in the moonlight; the flecks of light on the ground of the grove. The first frame is: the figure has just run out of the grove. Action: The small figure runs past the streetlamp, its shadow stretching long under the lamp, and disappears around the bend in the path; the osmanthus branches at the entrance sway gently; no one runs after her. Do not: No cuts. No speech. Do not let the figure grow larger or look back.

P-7.26 First-frame image｜The ground deep in the same Lovers’ Grove, extreme close-up from above: the canvas satchel lies in the fallen leaves, its strap spread out, a textbook half slid out of its mouth, the cover whitened by moonlight; flecks of moonlight on the satchel.

7-26a Video prompt｜Re-render from the uploaded first frame P-7.26, 16:9 landscape, cinematic, the late 1980s, the Lovers’ Grove, spring night. 10 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-7.26 exactly as the first frame of the video. Do not redesign the satchel, textbook or camera position. Keep everything in the first frame: the satchel centered in the fallen leaves, strap spread out, textbook half showing; flecks of moonlight. The first frame is: the satchel lies still. Action: A man’s hand slowly reaches into the frame and stops above the satchel without touching it; it stays there for three seconds, then withdraws. Do not: No cuts. No faces. No speech.

7-26b Video prompt｜First frame = last frame of 7-26a. 16:9, 8 seconds, close-up. [First-frame reference | top priority] Use the last frame of 7-26a exactly as the first frame: the satchel lying in the fallen leaves, the hand already withdrawn from the frame, flecks of moonlight on the satchel; everything else as in 7-26a. Action: The flecks of moonlight move off the satchel, and the satchel sinks into darkness; an osmanthus leaf falls onto the textbook. Do not: No cuts. No hands or faces. No speech.

6. The Purple-Tile House

P-7.27 First-frame image｜The late 1980s, a women’s dorm room on the top floor of Guiyuan Building 6: a string of seashell wind chimes hanging from the doorframe, a flowered cotton curtain dividing the room in two, several photos of film stars on the wall, two iron-frame beds. Late at night, moonlight coming in through the window. Extreme close-up from slightly above the head of the bed: the Short-Braids Student (look as above, her braids undone) lies in bed; only her eyes and half her face are shown, one half lit by moonlight, the other half in darkness.

7-27a Video prompt｜Re-render from the uploaded first frame P-7.27, 16:9 landscape, cinematic, the late 1980s, top-floor dorm room in Guiyuan Building 6, late at night. 8 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-7.27 exactly as the first frame of the video. Do not redesign the character, the lighting or camera position. Keep everything in the first frame: her eyes and half her face filling the frame; moonlight lighting one half; a film of fine sweat on her forehead; deep shadows. The first frame is: her eyes are closed. Action: Her eyes snap open; her pupils are very large in the dark; she stares straight up at the ceiling. Do not: No cuts. No speech. No other people. [NARRATION] What had happened in the Purple-Tile House, I did not learn until many years later.

7-27b Video prompt｜First frame = last frame of 7-27a. 16:9, 8 seconds, close-up. [First-frame reference | top priority] Use the last frame of 7-27a exactly as the first frame: her eyes open, staring at the ceiling, moonlight lighting half her face; everything else as in 7-27a. Action: Her eyes slowly turn toward the window; the image slowly takes on a cast of dark purple. Do not: No cuts. No speech. No other people.

P-7.28 First-frame image｜A dark purple and black flashback: an old house with purple roof tiles in a small southern town, a wooden door, a pond with floating lotus leaves in front of the house; the edges of the frame go black, like torn paper. Close-up from above of the surface of the pond: the water is a deep purple-black, a few lotus leaves with curled edges floating on it; the surface clearly reflects the Purple-Tile House and a half-open wooden door; inside the door, blackness.

7-28 Video prompt｜Re-render from the uploaded first frame P-7.28, 16:9 landscape, cinematic, flashback, the pond in front of the Purple-Tile House. 10 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-7.28 exactly as the first frame of the video. Do not redesign the pond, lotus leaves, reflection or camera position. Keep everything in the first frame: the deep purple-black water; the lotus leaves; the reflection of the Purple-Tile House and the half-open wooden door; the edges of the frame fully black. The first frame is: the reflection is clear and still. Action: A pebble drops into the water; the reflection shatters; the images of the tiles and the door break into rings of purple ripples; the lotus leaves rock on the ripples. Do not: No cuts. No characters. No speech.

P-7.29 First-frame image｜A dark purple and black flashback: an old house with purple roof tiles in a small southern town, a wooden door, a pond with floating lotus leaves in front of the house; the edges of the frame go black, like torn paper. Close-up: the doorframe and threshold of the wooden door of the Purple-Tile House, the wood grain clear; the door half open, pitch black inside; a lotus leaf lying on the threshold.

7-29 Video prompt｜Re-render from the uploaded first frame P-7.29, 16:9 landscape, cinematic, flashback, the door of the Purple-Tile House. 10 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-7.29 exactly as the first frame of the video. Do not redesign the door, threshold or camera position. Keep everything in the first frame: the half-open wooden door centered; total black inside; the lotus leaf on the threshold; dark purple tones; black edges. The first frame is: the door stands half open. Action: The camera pushes extremely slowly toward the darkness inside the door, stops halfway, and goes no further. Do not: No cuts. No characters or figures. Do not show anything inside the door.

P-7.30 First-frame image｜A dark purple and black flashback: an old house with purple roof tiles in a small southern town, a wooden door, a pond with floating lotus leaves in front of the house; the edges of the frame go black, like torn paper. Close-up: a shadow falls slantwise across an earthen wall — the shadow of a long pole with a loose tassel at its tip, like an old-fashioned toy red-tasseled spear; the point of the shadow aims toward the doorframe at one side of the frame.

7-30 Video prompt｜Re-render from the uploaded first frame P-7.30, 16:9 landscape, cinematic, flashback, the outer wall of the Purple-Tile House. 10 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-7.30 exactly as the first frame of the video. Do not redesign the shadow, the earthen wall or camera position. Keep everything in the first frame: the shadow of the pole and tassel slanting across the wall; its point aimed at the doorframe; dark purple tones. The first frame is: the shadow does not move. Action: The tassel of the shadow quivers slightly; then the shadow is swallowed by blackness. Do not: No cuts. Do not show anyone holding the spear. No bodies, wounds or blood. No speech.

P-7.31 First-frame image｜A dark purple and black flashback: an old house with purple roof tiles in a small southern town, a wooden door, a pond with floating lotus leaves in front of the house; the edges of the frame go black, like torn paper. Medium shot: on the muddy ground at the edge of the pond, the Big-Eyed Girl (look as above) crouches with her back to the camera, both hands over her ears, curled up into a ball.

7-31 Video prompt｜Re-render from the uploaded first frame P-7.31, 16:9 landscape, cinematic, flashback, by the pond in front of the Purple-Tile House. 10 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-7.31 exactly as the first frame of the video. Do not redesign the girl, the pond or camera position. Keep everything in the first frame: the girl crouching with her back to the camera in the middle of the frame, both hands over her ears; ear-length bobbed hair, small-flowered cotton top; the pond and lotus leaves in front; dark purple tones. The first frame is: the girl curled up into a ball. Action: The girl stays crouched without moving, her shoulders trembling slightly; the image begins to go black from the edges, bit by bit, like torn paper, until only her small back is left, then everything goes black. Do not: No cuts. Do not let the girl turn around or show her face. No other characters. No speech.

P-7.31a First-frame image｜The late 1980s, a women’s dorm room on the top floor of Guiyuan Building 6: a string of seashell wind chimes hanging from the doorframe, a flowered cotton curtain dividing the room in two, several photos of film stars on the wall, two iron-frame beds. Late at night, moonlight the only light. Extreme close-up from above of the floor beside the bed: a plastic washbasin half full of water, the surface reflecting the shadow of the window frame; beside the basin, a white towel and an enamel mug; a pair of black cloth strap shoes set side by side next to the basin.

7-31a Video prompt｜Re-render from the uploaded first frame P-7.31a, 16:9 landscape, cinematic, the late 1980s, top-floor dorm room in Guiyuan Building 6, late at night. 10 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-7.31a exactly as the first frame of the video. Do not redesign the washbasin, towel, enamel mug, cloth shoes or camera position. Keep everything in the first frame: the washbasin centered, the window-frame shadow reflected on the water; the white towel and enamel mug beside the basin; the cloth shoes side by side; moonlight. The first frame is: the water is still. Action: A girl’s hand dips into the water, scoops some up and carries it out past the top edge of the frame, then comes back down to brace on the rim of the basin, fingers gripping the rim until the knuckles go white; drops of water fall back into the basin; the window-frame shadow breaks apart, then slowly settles again. Do not: No cuts. No faces. No speech.

P-7.32 First-frame image｜The late 1980s, a women’s dorm room on the top floor of Guiyuan Building 6: a string of seashell wind chimes hanging from the doorframe, a flowered cotton curtain dividing the room in two, several photos of film stars on the wall, two iron-frame beds. Before dawn, the sky outside the window turning from deep blue to grey-white. Medium close shot from one side of the room, past the flowered curtain: the Short-Braids Student (look as above, hair not tied) sits at the desk under the window with her back to the camera; a thick book with yellowed pages lies open on the desk; one of her hands rests on the page, the other hugs her own elbow.

7-32a Video prompt｜Re-render from the uploaded first frame P-7.32, 16:9 landscape, cinematic, the late 1980s, top-floor dorm room in Guiyuan Building 6, before dawn. 10 seconds, medium close shot. [First-frame reference | top priority] Use the uploaded first frame P-7.32 exactly as the first frame of the video. Do not redesign the character, desk, window or camera position. Keep everything in the first frame: her back to the camera, seated at the desk; one hand on the page, one hand hugging her elbow; the flowered curtain at one side of the foreground; grey-white sky outside the window. The first frame is: she sits without moving. Action: She does not turn the page; she just sits; the sky outside the window grows lighter little by little. Do not: No cuts. No speech. Do not let her turn around.

7-32b Video prompt｜First frame = last frame of 7-32a. 16:9, 6 seconds, medium close shot. [First-frame reference | top priority] Use the last frame of 7-32a exactly as the first frame: she still sits at the desk with her back to the camera, the sky outside the window already pale; everything else as in 7-32a. Action: The seashell wind chimes on the doorframe are brushed by the morning breeze and sway gently; she does not move. Do not: No cuts. No speech. Do not let her turn around.

(End of segment | 52 shots | approx. 7 min | Source: Ep. 14 Part 2, Sc. 5, 6, 7, 8, Closing, and supplementary shots ◆B5-2a, B7-1b, B7-2b, B8-2b, B9-0a)

Part 1 · Segment 8 · The Long Talk in the Ruined Garden (approx. 5 min, 35 shots)

Source: Ep. 8, Sc. 6 (the riverside boardwalk · Riverside Family), Sc. 7 (Room 666 · Zong Tianyi · Ba Dong · the group photo), Sc. 8 (Gu Zheng leaves the table), Sc. 9 (“the Old Man” · agreeing to go along). Ba Dong’s “diploma-mill university” quarrel in Sc. 7 is saved for Segment 12; this segment keeps only the one look in which the two avoid each other’s eyes. Supplementary shots from Ep. 8, Sc. 6, shots 4, 6, 7, 8 (looking up at the gold characters at the door, looking down at the Liberation shoes, the 666 door plate, pushing the door open); Sc. 7, shots 2, 13, 16, 19 (gold rings and the brick phone, the flush, the seating order); Sc. 8, shots 3, 10 (empty bottles and fish bones, loosening the tie).

Character looks (prompts use these descriptions only, never names): - [Broad-Forehead Youth] A young man in his early twenties. Broad forehead, slightly dark complexion, somewhat untidy hair, black-framed glasses, thin, an old blue khaki jacket. (= Wang Sheng at university) In this segment he carries an old canvas satchel slung across his body. - [Long-Haired Hawk-Eyed Man] A man of twenty-five or twenty-six. Shoulder-length hair, sharp eyes like a hawk’s, a black leather jacket, a camera hanging on his chest. (= Du Wei) In this segment his jacket hangs open and he has been drinking. - [Young Man in a Suit] A young man in his early twenties. Tall and thin, short hair, a gloomy face, an ill-fitting old Western suit. (= the young Zong Tianyi) One added detail in this segment: a pair of blue eyes. - [Fair-Faced Young Man] A young man of twenty. Fair skin, handsome features, blow-dried fluffy hair, a fashionable jacket and bell-bottom trousers. (= the young Ba Dong) - [Short-Braids Student] A nineteen-year-old female university student. Two short braids, a pair of large, very dark eyes, delicate features, a plain light-colored checked jacket. (= Gu Zheng at university) - [Dimpled Girl] A young woman of about twenty. Pretty, permed long hair, two shallow dimples when she smiles, a fashionable rose-red coat. (= Mengfei)

Settings (reuse verbatim in first-frame images): - [Riverside Boardwalk] Dusk in the late 1980s, the riverbank outside the west gate of Dongjiang University: a hundred-meter wooden boardwalk leads out to an island in the middle of the river; the railings on both sides are hung with multicolored triangular pennants; on the island stands a two-story mock-antique timber building hung with two big red lanterns, with four glittering gold characters over the door, “Riverside Family”; the lights are dazzling. - [Second-Floor Corridor] A night in the late 1980s, the second-floor corridor of Riverside Family: private rooms one after another on both sides, gold three-digit numbers on the doors, warm yellow light. - [Room 666] A night in the late 1980s, private Room 666 on the second floor of Riverside Family: a large round table with a red tablecloth and a lazy Susan; on the table, Tsingtao beer bottles and a big platter of river silver carp strewn with chopped scallions and chilies; a brick-thick mobile phone set on the table; the warm yellow pendant lamp too bright; outside the window, the black surface of the river. - [Memorial Hall] The exhibition hall of the Dongjiang Bureau Memorial Hall: a glass display case, cold white light.

1. Riverside Family

P-8.1 First-frame image｜Dusk in the late 1980s, the riverbank outside the west gate of Dongjiang University: a hundred-meter wooden boardwalk leads out to an island in the middle of the river; the railings on both sides are hung with multicolored triangular pennants; on the island stands a two-story mock-antique timber building hung with two big red lanterns, with four glittering gold characters over the door, “Riverside Family”; the lights are dazzling. Medium-wide tracking shot from behind: the Broad-Forehead Youth (look as above) walks along the boardwalk, one hand on his satchel strap, the lights of the island in the distance; the river dark red with the last glow of sunset.

8-1 Video prompt｜Re-render from the uploaded first frame P-8.1, 16:9 landscape, cinematic, the late 1980s, the riverside boardwalk, dusk. 10 seconds, medium-wide tracking shot. [First-frame reference | top priority] Use the uploaded first frame P-8.1 exactly as the first frame of the video. Do not redesign the character, boardwalk, pennants, timber building or camera position. Keep everything in the first frame: the young man’s back centered in the lower middle of the frame; the boardwalk running straight to the island in the distance; pennants on both sides; the gold characters of “Riverside Family” and the red lanterns far off; the dark red river. The first frame is: he is walking along the boardwalk. Action: The camera follows behind him along the boardwalk; the pennants on both sides flap and snap in the river wind; the lights ahead come closer and closer. Do not: No cuts. No speech. Do not let him look back. [NARRATION] The restaurant on the island in the river was called Riverside Family. Zong Tianyi was the host that day; Du Wei had arranged it all.

P-8.1a First-frame image｜Dusk in the late 1980s, the riverbank outside the west gate of Dongjiang University: a hundred-meter wooden boardwalk leads out to an island in the middle of the river; the railings on both sides are hung with multicolored triangular pennants; on the island stands a two-story mock-antique timber building hung with two big red lanterns, with four glittering gold characters over the door, “Riverside Family”; the lights are dazzling. Medium shot from behind him, angled slightly up: the Broad-Forehead Youth (look as above, a pair of old Liberation shoes on his feet) stands at the foot of the steps in front of the timber building, looking up at the sign over the door; the four gold characters “Riverside Family” are framed by a neon border of electric bulbs; the two big red lanterns hang on either side above his head.

8-1a Video prompt｜Re-render from the uploaded first frame P-8.1a, 16:9 landscape, cinematic, the late 1980s, the door of Riverside Family, dusk. 8 seconds, low-angle medium shot. [First-frame reference | top priority] Use the uploaded first frame P-8.1a exactly as the first frame of the video. Do not redesign the character, timber building, gold characters, lanterns or camera position. Keep everything in the first frame: the young man’s back centered at the bottom of the frame, head tilted up; the gold characters over the door and the neon border; the two red lanterns; dusk. The first frame is: he stands in front of the door, looking up. Action: The neon bulbs around the gold characters blink on and off; he stands still, looking up at the four glittering gold characters. Do not: No cuts. No speech. No new characters.

8-1b Video prompt｜First frame = last frame of 8-1a. 16:9, 6 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 8-1a exactly as the first frame: the young man standing at the foot of the steps in front of the door, looking up, the neon blinking; everything else as in 8-1a. Action: He lowers his head and glances at the old Liberation shoes on his feet. Do not: No cuts. No speech. No new characters.

P-8.1c First-frame image｜A night in the late 1980s, the second-floor corridor of Riverside Family: private rooms one after another on both sides, gold three-digit numbers on the doors, warm yellow light. Close shot: a closed private-room door at the end of the corridor, its gold door plate “666” one size bigger than the other door plates; at the left edge of the frame, the shoulder and one hand of the Broad-Forehead Youth (look as above).

8-1c Video prompt｜Re-render from the uploaded first frame P-8.1c, 16:9 landscape, cinematic, the late 1980s, second-floor corridor of Riverside Family, night. 8 seconds, close shot. [First-frame reference | top priority] Use the uploaded first frame P-8.1c exactly as the first frame of the video. Do not redesign the door, door plate, corridor or camera position. Keep everything in the first frame: the “666” door plate centered; the closed door; the young man’s shoulder and hand at the left edge; warm yellow light. The first frame is: he stands in front of the door of 666. Action: The hand pauses in front of the door, reaches out and pushes it open; a sheet of too-bright warm light spills through the gap. Do not: No cuts. No speech. Do not let him look back.

P-8.2 First-frame image｜A night in the late 1980s, private Room 666 on the second floor of Riverside Family: a large round table with a red tablecloth and a lazy Susan; on the table, Tsingtao beer bottles and a big platter of river silver carp strewn with chopped scallions and chilies; a brick-thick mobile phone set on the table; the warm yellow pendant lamp too bright; outside the window, the black surface of the river. Medium-wide shot from the doorway: the door of the room has just been pushed open; in the foreground, the back of the Broad-Forehead Youth (look as above); at the table, the Long-Haired Hawk-Eyed Man (look as above) holds up a glass of beer; in the seat of honor sits the Young Man in a Suit (look as above); on another side sit the Fair-Faced Young Man and the Dimpled Girl (looks as above); at the far end sits the Short-Braids Student (look as above). Every face is turned toward the door.

8-2a Video prompt｜Re-render from the uploaded first frame P-8.2, 16:9 landscape, cinematic, the late 1980s, Room 666 at Riverside Family, night. 6 seconds, medium-wide shot. [First-frame reference | top priority] Use the uploaded first frame P-8.2 exactly as the first frame of the video. Do not redesign the characters, seating, round table or camera position. Keep everything in the first frame: the young man’s back in the foreground at the door; the Young Man in a Suit in the seat of honor; the Long-Haired Hawk-Eyed Man holding up his beer; the Fair-Faced Young Man and the Dimpled Girl seated on one side; the Short-Braids Student at the far end; the brick phone and the silver carp on the table; the too-bright warm yellow pendant lamp. The first frame is: the whole table turns to look at the door. Action: The Long-Haired Hawk-Eyed Man lifts his beer toward the door in salute. Do not: No cuts. No speech. Do not swap seats.

8-2b Video prompt｜First frame = last frame of 8-2a. 16:9, 8 seconds, medium-wide shot. [First-frame reference | top priority] Use the last frame of 8-2a exactly as the first frame: the whole table looking at the door, the Long-Haired Hawk-Eyed Man holding up his beer; everything else as in 8-2a. Action: The Young Man in a Suit in the seat of honor immediately stands up and comes around the table toward the door. Do not: No cuts. No speech. Do not swap anyone else’s seat.

P-8.3 First-frame image｜Inside the door of the same room, medium two-shot: the Young Man in a Suit (look as above, blue eyes), a little theatrically, opens both arms wide and embraces the Broad-Forehead Youth (look as above), who is somewhat stiff, his hands hanging at his sides; the round table and the others out of focus behind.

8-3a Video prompt｜Re-render from the uploaded first frame P-8.3, 16:9 landscape, cinematic, the late 1980s, Room 666 at Riverside Family, night. 8 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-8.3 exactly as the first frame of the video. Do not redesign the two characters or camera position. Keep everything in the first frame: the Young Man in a Suit on the right embracing the Broad-Forehead Youth; the Broad-Forehead Youth on the left, stiff; the out-of-focus round table behind. The first frame is: the two have just embraced. Action: The Young Man in a Suit lets go, claps him heavily on the shoulder, and looks him up and down. Do not: No cuts. No speech.

8-3b Video prompt｜First frame = last frame of 8-3a. 16:9, 6 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 8-3a exactly as the first frame: the Young Man in a Suit with one hand on the shoulder of the Broad-Forehead Youth, looking at him; the Broad-Forehead Youth standing stiffly; everything else as in 8-3a. Action: In a familiar tone, the Young Man in a Suit says: “Little brother — still that scholar’s air about you!” Do not: No cuts. Do not let the Broad-Forehead Youth speak.

8-3c Video prompt｜First frame = last frame of 8-3b. 16:9, 8 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 8-3b exactly as the first frame: the two in the same positions, the hand of the Young Man in a Suit on the other’s shoulder; everything else as in 8-3b. Action: The Young Man in a Suit says: “No word from you all this time — now that you’re in a top university’s graduate program, have you forgotten your old brother?” Do not: No cuts. Do not let the Broad-Forehead Youth speak.

P-8.3d First-frame image｜Inside the door of the same room, single close shot: the Broad-Forehead Youth (look as above) stands, black-framed glasses, looking stiff and shy, his eyes on the person at frame right; at the right edge of the frame, a hand resting on his shoulder; the out-of-focus round table and the too-bright warm yellow pendant lamp behind.

8-3d Video prompt｜Re-render from the uploaded first frame P-8.3d, 16:9 landscape, cinematic, the late 1980s, Room 666 at Riverside Family, night. 6 seconds, close shot. [First-frame reference | top priority] Use the uploaded first frame P-8.3d exactly as the first frame of the video. Do not redesign the character or camera position. Keep everything in the first frame: the Broad-Forehead Youth centered, looking right; the hand on his shoulder at the right edge; out-of-focus background. The first frame is: he is listening to the other man. Action: The face of the Broad-Forehead Youth flushes slightly; the corners of his mouth move, but he says nothing. Do not: No cuts. No speech.

P-8.4 First-frame image｜At the table in the same room, medium close shot: the Fair-Faced Young Man (look as above) sits at the table, raising his eyes toward the door at frame left; beside him sits the Dimpled Girl (look as above); beer glasses on the table, warm yellow light.

8-4 Video prompt｜Re-render from the uploaded first frame P-8.4, 16:9 landscape, cinematic, the late 1980s, Room 666 at Riverside Family, night. 10 seconds, medium close shot. [First-frame reference | top priority] Use the uploaded first frame P-8.4 exactly as the first frame of the video. Do not redesign the two characters or camera position. Keep everything in the first frame: the Fair-Faced Young Man centered, looking left; the Dimpled Girl beside him; beer glasses on the table. The first frame is: his eyes meet those of the man at the door. Action: As if he did not know him, the Fair-Faced Young Man turns his face away and lowers his eyelids. Do not: No cuts. No speech.

P-8.4a First-frame image｜The same room, medium shot: the Long-Haired Hawk-Eyed Man (look as above) stands by the round table and, like a director, takes the Short-Braids Student (look as above) by the arm and leads her up from her seat at the far end of the table; in the seat of honor sits the Young Man in a Suit (look as above), with an empty seat on his left; the others sit at the table watching; beer and the brick phone on the table, warm yellow light.

8-4a Video prompt｜Re-render from the uploaded first frame P-8.4a, 16:9 landscape, cinematic, the late 1980s, Room 666 at Riverside Family, night. 8 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-8.4a exactly as the first frame of the video. Do not redesign the characters, seating or camera position. Keep everything in the first frame: the Long-Haired Hawk-Eyed Man standing, holding the Short-Braids Student by the arm; the Young Man in a Suit in the seat of honor, the empty seat on his left; the others seated; warm yellow light. The first frame is: she is being led up from the far end. Action: The Long-Haired Hawk-Eyed Man leads the Short-Braids Student to the empty seat on her brother’s left; she sits down, frowning, and leans her body slightly away from her brother. Do not: No cuts. No speech. No new characters.

P-8.5 First-frame image｜The same room, medium-wide shot of the whole round table from the doorway: the Young Man in a Suit sits in the center, the Short-Braids Student placed on his left, the Broad-Forehead Youth next to her, the Dimpled Girl on the right of the Young Man in a Suit, the Fair-Faced Young Man on her right, an empty seat left beside the Broad-Forehead Youth; in the foreground, the back of the Long-Haired Hawk-Eyed Man, raising the camera from his chest and aiming it at them all.

8-5 Video prompt｜Re-render from the uploaded first frame P-8.5, 16:9 landscape, cinematic, the late 1980s, Room 666 at Riverside Family, night. 10 seconds, medium-wide shot. [First-frame reference | top priority] Use the uploaded first frame P-8.5 exactly as the first frame of the video. Do not redesign the characters, seating or camera position. Keep everything in the first frame: the Young Man in a Suit in the center; the Short-Braids Student on his left, leaning slightly away from him; the Broad-Forehead Youth next to her; the Dimpled Girl on his right, her arm through his; the Fair-Faced Young Man at the far right; the empty seat; the back with the raised camera in the foreground. The first frame is: everyone looks at the camera. Action: The flash fires; the Young Man in a Suit grins, the Dimpled Girl shows her two dimples, the Broad-Forehead Youth manages a smile, the Fair-Faced Young Man forces up the corners of his mouth, the Short-Braids Student frowns and does not smile. Do not: No cuts. No speech. Do not change the seating.

P-8.5a First-frame image｜The same room, close-up at tabletop height: on the red tablecloth rest the two hands of the Young Man in a Suit, each hand wearing two glittering gold rings; beside the hands, a brick-thick mobile phone; at the edge of the frame, a woman’s hand (rose-red coat cuff) lightly linked through his arm.

8-5a Video prompt｜Re-render from the uploaded first frame P-8.5a, 16:9 landscape, cinematic, the late 1980s, Room 666 at Riverside Family, night. 6 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-8.5a exactly as the first frame of the video. Do not redesign the hands, rings, brick phone or camera position. Keep everything in the first frame: two hands, each wearing two gold rings; the brick phone beside them; the hand linked through his arm at the edge; the red tablecloth. The first frame is: the hands with gold rings resting on the table. Action: The flash fires again, and the four gold rings flare in the white light. Do not: No cuts. No faces. No speech.

P-8.5b First-frame image｜The same room, high-angle close-up of the tabletop: the red tablecloth crowded with empty Tsingtao beer bottles, one bottle lying tipped over on the table; in a rectangular aluminum tray, the big silver carp reduced to a skeleton; at the edge of the table a full glass of beer, untouched; too-bright warm yellow light.

8-5b Video prompt｜Re-render from the uploaded first frame P-8.5b, 16:9 landscape, cinematic, the late 1980s, Room 666 at Riverside Family, night. 8 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-8.5b exactly as the first frame of the video. Do not redesign the bottles, tray, fish bones, glass or camera position. Keep everything in the first frame: the table covered in empty bottles; the one tipped-over bottle; the fish skeleton; the untouched full glass of beer; warm yellow light. The first frame is: the littered tabletop after the meal. Action: Beer foam slowly seeps out of the mouth of the tipped-over bottle and runs onto the red tablecloth; the full glass does not move. Do not: No cuts. No characters. No speech.

2. Gu Zheng Leaves the Table

P-8.6 First-frame image｜The same room, some time later, the table crowded with empty beer bottles, the silver carp reduced to a skeleton. Close shot: the Young Man in a Suit (look as above, his face now flushed with drink) holds a glass of beer, turned sideways, talking to his sister at frame left; the Dimpled Girl, her arm through his, at the right edge of the frame.

8-6 Video prompt｜Re-render from the uploaded first frame P-8.6, 16:9 landscape, cinematic, the late 1980s, Room 666 at Riverside Family, night. 10 seconds, close shot. [First-frame reference | top priority] Use the uploaded first frame P-8.6 exactly as the first frame of the video. Do not redesign the characters or camera position. Keep everything in the first frame: the Young Man in a Suit centered, holding his glass, facing left; his flushed face; the Dimpled Girl at the right edge, her arm through his; empty bottles on the table. The first frame is: he is looking at his sister. Action: The Young Man in a Suit says: “Little sister — brother came this time just to see you …” Do not: No cuts. Do not let anyone else speak.

P-8.7 First-frame image｜The same room, close shot: the Short-Braids Student (look as above) sits at the table, a full, untouched glass of beer in front of her, her expression cold and indifferent, her eyes glancing toward frame right at the Dimpled Girl, whose arm is through her brother’s; at the left edge of the frame, the shoulder of the Broad-Forehead Youth.

8-7 Video prompt｜Re-render from the uploaded first frame P-8.7, 16:9 landscape, cinematic, the late 1980s, Room 666 at Riverside Family, night. 10 seconds, close shot. [First-frame reference | top priority] Use the uploaded first frame P-8.7 exactly as the first frame of the video. Do not redesign the character or camera position. Keep everything in the first frame: the Short-Braids Student seated in the center, looking right; the full glass of beer in front of her; the shoulder of the Broad-Forehead Youth at the left edge. The first frame is: she glances at the Dimpled Girl. Action: Coldly, the Short-Braids Student says: “Brother — save those words for Miss Mengfei!” Do not: No cuts. Do not let anyone else speak.

8-8a Video prompt｜First frame = last frame of 8-7. 16:9, 6 seconds, close shot. [First-frame reference | top priority] Use the last frame of 8-7 exactly as the first frame: the Short-Braids Student seated, looking right; everything else as in 8-7. Action: She suddenly stands up. Do not: No cuts. No speech. Do not let her look back.

8-8b Video prompt｜First frame = last frame of 8-8a. 16:9, 8 seconds, close shot pulling back to a medium shot. [First-frame reference | top priority] Use the last frame of 8-8a exactly as the first frame: the Short-Braids Student standing, the full glass of beer in front of her, the shoulder of the Broad-Forehead Youth at the left edge; everything else as in 8-8a. Action: Without looking back she walks toward the door of the room; the camera pulls back with her; the door bangs shut behind her. Her glass on the table is still full. Do not: No cuts. No speech. Do not let her look back.

P-8.8c First-frame image｜The same room, medium close shot: the Young Man in a Suit (look as above, his face flushed with drink) sits in the seat of honor, one hand pinching the knot of the tie at his throat; beside him the Dimpled Girl keeps her head down; at the edge of the frame the Fair-Faced Young Man stirs his glass; empty bottles on the table, warm yellow light.

8-8c Video prompt｜Re-render from the uploaded first frame P-8.8c, 16:9 landscape, cinematic, the late 1980s, Room 666 at Riverside Family, night. 8 seconds, medium close shot. [First-frame reference | top priority] Use the uploaded first frame P-8.8c exactly as the first frame of the video. Do not redesign the characters or camera position. Keep everything in the first frame: the Young Man in a Suit centered, pinching his tie knot; the Dimpled Girl with her head down; the Fair-Faced Young Man stirring his glass at the edge; empty bottles. The first frame is: he is pinching his tie. Action: A little awkwardly, the Young Man in a Suit loosens his tie and looks away; the Dimpled Girl keeps her head down. Do not: No cuts. No speech.

3. The Old Man

P-8.9 First-frame image｜The same room, late at night, more empty bottles on the table. Medium close shot: the Young Man in a Suit (look as above), visibly drunk, one arm around the shoulders of the Dimpled Girl beside him, turns his face toward the Long-Haired Hawk-Eyed Man at frame left and talks loudly; the Dimpled Girl keeps her head down.

8-9 Video prompt｜Re-render from the uploaded first frame P-8.9, 16:9 landscape, cinematic, the late 1980s, Room 666 at Riverside Family, night. 10 seconds, medium close shot. [First-frame reference | top priority] Use the uploaded first frame P-8.9 exactly as the first frame of the video. Do not redesign the characters or camera position. Keep everything in the first frame: the Young Man in a Suit centered, one arm around the shoulders of the Dimpled Girl, facing left; the Dimpled Girl on the right with her head down; empty bottles on the table. The first frame is: he holds her, his face turned left. Action: His tongue a little thick, the Young Man in a Suit says: “Lao Wei — tonight, give me the bottom of it — this business of Feifei joining the troupe — is it, is it really sound?” Do not: No cuts. Do not let anyone else speak.

P-8.10 First-frame image｜The same room, medium close two-shot: the Long-Haired Hawk-Eyed Man (look as above) sits on the right of the frame, a beer glass in his hand, facing the Young Man in a Suit off frame to the right; on his left sits the Broad-Forehead Youth (look as above), also holding half a glass of beer, his face already flushed; empty bottles on the table, warm yellow light.

8-10a Video prompt｜Re-render from the uploaded first frame P-8.10, 16:9 landscape, cinematic, the late 1980s, Room 666 at Riverside Family, night. 10 seconds, medium close two-shot. [First-frame reference | top priority] Use the uploaded first frame P-8.10 exactly as the first frame of the video. Do not redesign the two characters, seats or camera position. Keep everything in the first frame: the Long-Haired Hawk-Eyed Man on the right, the Broad-Forehead Youth on the left; both holding beer; empty bottles on the table. The first frame is: just before the Long-Haired Hawk-Eyed Man speaks to the right. Action: The Long-Haired Hawk-Eyed Man waves a hand toward the right and says: “Don’t you worry — I’ve already spoken to the Old Man — he gave his word, he’ll have a word with Secretary Zhang at the troupe — no problem!” Do not: No cuts. Do not let the Broad-Forehead Youth speak. Do not swap positions.

8-10b Video prompt｜First frame = last frame of 8-10a. 16:9, 6 seconds, medium close two-shot. [First-frame reference | top priority] Use the last frame of 8-10a exactly as the first frame: the two in the same positions, the Long-Haired Hawk-Eyed Man having just finished speaking, facing right, the Broad-Forehead Youth holding half a glass of beer; everything else as in 8-10a. Action: The Broad-Forehead Youth on the left turns his head to look at him. Do not: No cuts. No speech. Do not swap positions.

8-11a Video prompt｜First frame = last frame of 8-10b. 16:9, 6 seconds, medium close two-shot. [First-frame reference | top priority] Use the last frame of 8-10b exactly as the first frame: the two in the same positions, the Broad-Forehead Youth looking at the Long-Haired Hawk-Eyed Man. Action: The Long-Haired Hawk-Eyed Man turns around and knocks his glass against that of the Broad-Forehead Youth. Do not: No cuts. No speech. Do not swap positions.

8-11b Video prompt｜First frame = last frame of 8-11a. 16:9, 8 seconds, medium close two-shot. [First-frame reference | top priority] Use the last frame of 8-11a exactly as the first frame: the two have just clinked glasses, face to face; everything else the same. Action: The Long-Haired Hawk-Eyed Man says: “Little brother — I gave the Old Man your essay too — he praised your prose, said you had a fine hand!” Do not: No cuts. Do not let the Broad-Forehead Youth speak.

8-12 Video prompt｜First frame = last frame of 8-11b. 16:9, 8 seconds, medium close two-shot. [First-frame reference | top priority] Use the last frame of 8-11b exactly as the first frame: the two face to face holding their glasses; everything else the same. Action: The Broad-Forehead Youth puts down his glass and asks, curious. The Broad-Forehead Youth says: “The Old Man … who is that?” Do not: No cuts. Do not let the Long-Haired Hawk-Eyed Man speak.

8-13 Video prompt｜First frame = last frame of 8-12. 16:9, 10 seconds, medium close two-shot. [First-frame reference | top priority] Use the last frame of 8-12 exactly as the first frame: the Broad-Forehead Youth looking at the Long-Haired Hawk-Eyed Man; everything else the same. Action: The Long-Haired Hawk-Eyed Man claps him on the shoulder and, offhandedly, the Long-Haired Hawk-Eyed Man says: “Oh — none other than the former Governor, Song Qiankun — the father of Song Xiaofan.” Do not: No cuts. Do not let the Broad-Forehead Youth speak.

P-8.14 First-frame image｜The same room, single close shot: the Broad-Forehead Youth (look as above) sits, his face flushed with drink, his eyes behind the black-framed glasses gone still, looking at the person at frame right, saying nothing for the moment; out-of-focus empty beer bottles and the warm yellow pendant lamp behind.

8-14 Video prompt｜Re-render from the uploaded first frame P-8.14, 16:9 landscape, cinematic, the late 1980s, Room 666 at Riverside Family, night. 10 seconds, close shot pushing in to a close-up. [First-frame reference | top priority] Use the uploaded first frame P-8.14 exactly as the first frame of the video. Do not redesign the character or camera position. Keep everything in the first frame: the young man centered, his eyes gone still, looking right; his flushed face; out-of-focus background. The first frame is: he is taken aback, frozen. Action: The camera slowly pushes in on his face. He does not move; only the look in his eyes slowly sinks from surprise into something deeper, as if he were thinking of something very far away. Do not: No cuts. No speech. [NARRATION] Song Qiankun had once been Zong Da’s guard officer. At the Dongjiang Bureau Memorial Hall I had seen a photograph of the two of them together.

P-8.15 First-frame image｜The exhibition hall of the Dongjiang Bureau Memorial Hall: a glass display case, cold white light. High-angle close-up: lying flat under the glass of the display case is a yellowed old black-and-white photograph — two young men in old-style military uniforms stand side by side on the bank of a great river, muddy water and distant mountains behind them; the corners of the photo are creased; a little lamplight reflects on the glass.

8-15 Video prompt｜Re-render from the uploaded first frame P-8.15, 16:9 landscape, cinematic, the memorial-hall display case, close-up. 10 seconds. [First-frame reference | top priority] Use the uploaded first frame P-8.15 exactly as the first frame of the video. Do not redesign the content of the photo, the display case or the light. Keep everything in the first frame: the photo lying flat and centered under the glass; the two young men in uniform side by side, the river and distant mountains, the creases; cold white light and the reflection on the glass. The first frame is: the whole photograph. Action: The camera pushes in extremely slowly toward the two young faces in the photo; the reflection on the glass slowly slides away. Do not: No cuts. Do not let the people in the photo move. No hands or other people.

P-8.16 First-frame image｜The same room, medium close two-shot (same camera position as P-8.10): the Long-Haired Hawk-Eyed Man (look as above) on the right, one hand slapping his own chest, facing the Broad-Forehead Youth (look as above) on the left; the Broad-Forehead Youth looks at him, half-doubting; empty bottles on the table, warm yellow light.

8-16a Video prompt｜Re-render from the uploaded first frame P-8.16, 16:9 landscape, cinematic, the late 1980s, Room 666 at Riverside Family, night. 6 seconds, medium close two-shot. [First-frame reference | top priority] Use the uploaded first frame P-8.16 exactly as the first frame of the video. Do not redesign the two characters, seats or camera position. Keep everything in the first frame: the Long-Haired Hawk-Eyed Man on the right slapping his chest; the Broad-Forehead Youth on the left, half-doubting; empty bottles on the table. The first frame is: he is slapping his chest. Action: In earnest, with nothing of jest in him, the Long-Haired Hawk-Eyed Man says: “You doubt I’m lying?” Do not: No cuts. Do not let the Broad-Forehead Youth speak. Do not swap positions.

8-16b Video prompt｜First frame = last frame of 8-16a. 16:9, 8 seconds, medium close two-shot. [First-frame reference | top priority] Use the last frame of 8-16a exactly as the first frame: the two in the same positions, the hand of the Long-Haired Hawk-Eyed Man pressed to his chest, looking at the Broad-Forehead Youth. Action: The Long-Haired Hawk-Eyed Man says: “Next week I’m going to the Old Man’s house — if you don’t believe me, come with me?” Do not: No cuts. Do not let the Broad-Forehead Youth speak. Do not swap positions.

8-17 Video prompt｜First frame = last frame of 8-16b. 16:9, 10 seconds, medium close two-shot. [First-frame reference | top priority] Use the last frame of 8-16b exactly as the first frame: the two in the same positions, the Long-Haired Hawk-Eyed Man looking at the Broad-Forehead Youth. Action: The Broad-Forehead Youth hesitates a moment, and the words seem to rush out on their own. The Broad-Forehead Youth says: “I’m writing my thesis — I had been wanting to visit Song … Qiankun …” Do not: No cuts. Do not let the Long-Haired Hawk-Eyed Man speak.

8-18 Video prompt｜First frame = last frame of 8-17. 16:9, 10 seconds, medium close two-shot. [First-frame reference | top priority] Use the last frame of 8-17 exactly as the first frame: the two in the same positions, the Broad-Forehead Youth having just finished speaking. Action: The Long-Haired Hawk-Eyed Man slaps the table and readily agrees. The Long-Haired Hawk-Eyed Man says: “No problem at all — I was just wanting company!” He raises his glass and holds it out toward him. Do not: No cuts. Do not let the Broad-Forehead Youth speak.

P-8.19 First-frame image｜The same room, medium close shot: the Young Man in a Suit (look as above, a pair of blue eyes) sits in the seat of honor, toying with an empty wine cup, his attention elsewhere; at the left edge of the foreground, the out-of-focus profile of the Broad-Forehead Youth, looking at him; empty bottles on the table, warm yellow light.

8-19 Video prompt｜Re-render from the uploaded first frame P-8.19, 16:9 landscape, cinematic, the late 1980s, Room 666 at Riverside Family, night. 10 seconds, medium close shot. [First-frame reference | top priority] Use the uploaded first frame P-8.19 exactly as the first frame of the video. Do not redesign the character or camera position. Keep everything in the first frame: the Young Man in a Suit centered, toying with the empty cup; the blue eyes; the out-of-focus profile at the left edge of the foreground. The first frame is: he looks down, turning the empty cup. Action: The Young Man in a Suit slowly turns the empty cup, raises his eyes to the river outside the window; his blue eyes catch the light for an instant, then drop again. Do not: No cuts. No speech.

P-8.20 First-frame image｜Late at night in the late 1980s, a full view of the island in the river, shot from the water near the opposite bank: the two-story mock-antique timber building on the island blazing with light, one second-floor window glowing warm yellow, the gold characters “Riverside Family” and the two red lanterns; the pennants on the boardwalk in the night wind, no one left on it; reflections of the lights flowing slowly on the river.

8-20 Video prompt｜Re-render from the uploaded first frame P-8.20, 16:9 landscape, cinematic, the late 1980s, the island in the river, late at night. 10 seconds, wide shot pulling back farther. [First-frame reference | top priority] Use the uploaded first frame P-8.20 exactly as the first frame of the video. Do not redesign the timber building, boardwalk, lights or camera position. Keep everything in the first frame: the timber building centered, one second-floor window lit; the gold characters “Riverside Family” and the red lanterns; the empty boardwalk; reflections on the river. The first frame is: the island at night. Action: The camera slowly pulls back; the island and its lights grow smaller and smaller; the reflections flow on the black water. Do not: No cuts. No characters. Do not change the sky. [NARRATION] And so I said yes to Du Wei. That one yes drew the next ten years of my research, my life and my fate into a web I had never imagined.

(End of segment | 35 shots | approx. 5 min | Source: Ep. 8, Sc. 6, 7, 8, 9)

Part 1 · Segment 9 · Comrade Zong Da (approx. 24 min, 160 shots)

Source: Ep. 9, Sc. 3 (the compound · sentry post), Sc. 4 (sitting room · first meeting), Sc. 5 (the memory awakens), Sc. 6 (Yan’an · bonfire), Sc. 7 (Dongjiang Bureau · first meeting with Zong Da), Sc. 8 (back to the sitting room; only images 1 and 4 plus the added cutback shots 8-1a and 8-4a); Ep. 10, Sc. 2 (the toaster), Sc. 6 (the birthday · the Leica), Sc. 7 (Loquat Mountain), Sc. 8 (Zong Da disappears), Sc. 9 (the cave dwelling · the inquiry), Sc. 10 (Anna gives the camera), Sc. 11 (the proposal).

Structure: the first part is the Binjiang Road compound and the sitting room (9-1 to 9-26); after the narration “This is what Song Qiankun told me,” the flashback begins (9-27 to 9-95), with one cutback to the sitting room midway (9-52 to 9-53); the segment closes back in the sitting room (9-96 to 9-97). Inside the flashback the old man’s telling is set apart as [OFF-SCREEN · White-Haired Old Man], dubbed in post, and kept out of the prompts.

Character looks (prompts use these descriptions only, never names):

Late 1980s (sitting room): - [Broad-Forehead Youth] A young man in his early twenties, broad forehead, slightly dark skin, hair a little tousled, black-framed glasses, thin, old blue khaki jacket. In this segment he carries an old canvas satchel across his body and a clean small notebook in his pocket. (= Wang Sheng) - [Long-Haired Hawk-Eyed Man] A man of twenty-five or twenty-six, shoulder-length hair, sharp eyes like a hawk’s, black leather jacket, a camera hanging on his chest. In this segment he carries a black briefcase. (= Du Wei) - [White-Haired Old Man] An old man of about seventy, a full head of white hair, lean and upright, dark grey Mao suit. In this segment he wears black cloth shoes, his eyes are sharp, and a brass-handled magnifying glass lies within reach. (= Song Qiankun) - [Secretary in a Mao Suit] A man of about forty-five, short hair, dark blue Mao suit buttoned to the collar, a stern face. (= Director Zhang) - [Helmeted Sentry] A young soldier of eighteen or nineteen, still a boy’s face, green army uniform, steel helmet, standing ramrod straight. (= the young sentry at the compound gate)

1937–39 (flashback): - [Young Man in Uniform] 1937–39 · a young man of twenty-two or twenty-three, thin, deeply tanned, clean upright brows, back straight, a neat off-white coarse-cloth army uniform, puttees, grey army cap, an old scar on the back of one hand. (= young Song Qiankun) - [Scholarly Cadre] 1937–38 · a man of thirty-five or thirty-six, handsome, clear upright features, a scholar’s air, neat short hair, a low deep voice. Costume by scene: in Yan’an and at the Dongjiang Bureau, a grey cadre’s uniform; on the day at Loquat Mountain, a white shirt, navy trousers, polished black leather shoes, a black fedora, an old camera over his shoulder, and a brass-topped walking stick. (= Zong Da) - [Blonde Foreign Woman] 1937–39 · a foreign woman of about thirty, a full head of golden curls, bright blue eyes, a face like a 1930s film star. Costume by scene: in Yan’an and at the Dongjiang Bureau, a grey Lenin jacket; on an August 1938 morning, a white apron with a few strands of golden hair across her forehead; on the day at Loquat Mountain, a violet silk qipao, her golden hair in a bun, beige low-heeled shoes; from autumn 1938 in Yan’an, a grey Lenin jacket, a pale face, her belly slightly rounded. (= Anna Louie) - [Cadets] 1937 · several hundred young men and women cadets in off-white coarse-cloth army uniforms. (crowd)

Settings (reuse verbatim in first-frame images):

•             [Binjiang Road] Late 1980s, a spring morning, Binjiang Road, a quiet, clean asphalt road; on one side a tall grey wall with branches of southern magnolia and osmanthus reaching over the top; on the other side a row of plane trees with whitewashed trunks; grey-green tones.

•             [Compound Gate] The compound gate in the same tall wall: two dark green iron gates, the green paint peeling to show rust, a row of iron spikes along the top, beside the gate a man-high concrete sentry box, a few sprigs of osmanthus on top of the wall, grey-green morning light.

•             [Compound Path] Inside the tall wall, a spotless flagstone path, neatly trimmed osmanthus and southern magnolia trees on both sides, in the distance a two-storey cream-white villa with tall narrow windows and a few pots of red roses on the balcony, warm spring-morning light.

•             [Upstairs Corridor] The villa’s second-floor corridor, waxed wooden floor reflecting the window light, a landscape painting in a dark wooden frame on the wall, at the end a pair of wooden double doors with gleaming brass handles, warm yellow light through the gap in the doors.

•             [Upstairs Sitting Room] The villa’s second-floor sitting room: in the middle a dark brown leather sofa; in front of it a mahogany tea table covered with a white lace cloth, on it three blue-and-white teacups and an old black-and-white photograph; an old wooden wall clock on the wall; a shaft of light slanting in through a gap in the west-window curtains; warm yellow lamplight.

•             [Yan’an Hall Square] May 1937, Yan’an, a brick-and-stone assembly hall below rolling loess hills; on the walls on both sides of the hall entrance, large white painted characters “Unity, Alertness, Earnestness, Liveliness”; three big bonfires on the small square in front; the silhouette of Pagoda Hill in the distance; silver-white and ochre-red tones.

•             [Bureau Entrance] Winter 1937, a two-storey grey-brick building on the riverside in Dajiang, a heavy wooden door, no sign above the lintel, three worn round-edged stone steps, overcast, grey-green tones.

•             [Bureau Corridor] The second-floor corridor of the same grey-brick building, grey brick walls, small windows, dim light, a row of dark brown wooden doors, cement floor.

•             [Bureau Office] 1937–38, the first room on the second floor of the same grey-brick building, one large room divided in two: in the outer room a desk with peeling varnish, on it a desk lamp with a green glass shade, stacks of documents, an enamel mug, a dip pen and an ink bottle; a blue cloth door curtain separates the inner room; grey brick walls, small windows, cold grey-green light, the desk lamp the only warm light.

•             [Maple Garden Corridor] Autumn 1938, the second-floor corridor of the same grey-brick building, the windows open, amber afternoon sunlight slanting in, red maple leaves outside the windows.

•             [Loquat Grove] Autumn 1938, halfway up Loquat Mountain, a gravel and yellow-earth path lined with brambles and a loquat grove, golden loquats weighing the branches down, amber-gold afternoon sunlight falling through the leaves in dapples.

•             [Hilltop Pavilion] The summit terrace of Loquat Mountain, an octagonal pavilion with mottled, peeling vermilion columns, inside the pavilion a blue-grey rectangular stone stele covered with carved regular-script characters; beyond the terrace the wide Dongjiang River, the water like a jade sash, blue-grey mountains on the far bank, setting sun.

•             [Maple Garden Riverside] Autumn 1938, the riverside outside Maple Garden, a flight of stone steps leading down into the river, the bottom two steps under water, waist-high reeds on both sides, dim grey-green evening light, lights just coming on along the far bank.

•             [Yan’an Cave Slope] Mid-autumn 1938, Yan’an, a row of cave dwellings on a loess slope, coarse burlap curtains in the doorways, a few tall black locust trees and jujube trees in front with half-yellow leaves, the Yan River thin below the slope, a high blue sky, silver-white light.

•             [Yan’an Cave Interior] 1938–39, inside a Yan’an cave dwelling, spade marks on the loess walls, an earthen kang bed covered with a worn coarse-cloth mattress, a small wooden table beside the kang, a coarse burlap curtain at the doorway, dim.

•             [Women’s University Gate] Spring 1939, Yan’an, a gateway through a loess wall with a wooden plaque hanging above it; outside, a dirt road with a loess cliff on one side, a few clumps of yellow winter jasmine growing from the cracks in the rock, silver-white spring light.

I · The Binjiang Road Compound

P-9.1 First-frame image｜Late 1980s, a spring morning, Binjiang Road, a quiet, clean asphalt road; on one side a tall grey wall with branches of southern magnolia and osmanthus reaching over the top; on the other side a row of plane trees with whitewashed trunks; grey-green tones. Static wide shot, camera low in the middle of the road, the tall wall filling the left side of the frame. In the distance two small figures walk toward camera along the wall side: in front, the Long-Haired Hawk-Eyed Man (looks as above, carrying a briefcase); half a step behind, the Broad-Forehead Youth (looks as above, canvas satchel across his body). Long shadows.

9-1 Video prompt｜Re-render from the uploaded first frame P-9.1, 16:9 landscape, cinematic, spring in the late 1980s, Binjiang Road, morning. 10 seconds, wide shot. [First-frame reference | top priority] Use the uploaded first frame P-9.1 exactly as the first frame of the video. Do not redesign the characters, the tall wall, the plane trees or the camera position. Keep everything in the first frame: the tall wall on the left, running into the distance; the plane trees on the right; the two figures deep in the frame, the long-haired man in front and the broad-forehead youth half a step behind; grey-green morning light. The first frame is: the two men walking toward camera from far away. Action: A black sedan drives up from the distance, turns into an opening in the tall wall and disappears. The two men keep walking along the foot of the wall and gradually come closer. The camera does not move. Do not: No cuts. No new characters. The two men do not speak. Do not change the light or the sky. [NARRATION] One Monday that spring, Du Wei brought me to Binjiang Road. The man I was going to see had once been Zong Da’s security staff officer.

P-9.2 First-frame image｜The compound gate in the same tall wall: two dark green iron gates, the green paint peeling to show rust, a row of iron spikes along the top, beside the gate a man-high concrete sentry box, a few sprigs of osmanthus on top of the wall, grey-green morning light. Medium close-up, shot from the sidewalk opposite the compound: the Broad-Forehead Youth (looks as above, canvas satchel across his body) stands in the left foreground, in profile, looking right at the iron gates across the road; the iron gates and the sentry box are out of focus in the background.

9-2 Video prompt｜Re-render from the uploaded first frame P-9.2, 16:9 landscape, cinematic, spring in the late 1980s, across from the compound gate, morning. 10 seconds, medium close-up, single. [First-frame reference | top priority] Use the uploaded first frame P-9.2 exactly as the first frame of the video. Do not redesign the character, the iron gates, the tall wall or the camera position. Keep everything in the first frame: the young man in the left foreground, in profile facing right; black-framed glasses, blue khaki jacket, canvas satchel; the iron gates and sentry box out of focus behind; grey-green light. The first frame is: the young man looking at the iron gates. Action: The young man’s gaze moves slowly from the iron gates to the tall wall, then up to the sprigs of osmanthus on top of the wall, and stops there. His shoulders tighten slightly; his hand grips the satchel strap. Do not: No cuts. No talking. No walking. No new characters.

P-9.3 First-frame image｜The same sidewalk opposite the compound gate, medium two-shot: the Long-Haired Hawk-Eyed Man (looks as above, carrying a black briefcase) stands on the right of the frame, half turned left toward the Broad-Forehead Youth (looks as above); the young man stands on the left, facing the long-haired man; behind them the dark green iron gates and the concrete sentry box, grey-green morning light.

9-3 Video prompt｜Re-render from the uploaded first frame P-9.3, 16:9 landscape, cinematic, spring in the late 1980s, across from the compound gate, morning. 10 seconds, medium two-shot. [First-frame reference | top priority] Use the uploaded first frame P-9.3 exactly as the first frame of the video. Do not redesign the two characters, their clothes, the iron gates or the camera position. Keep everything in the first frame: the long-haired man on the right, holding the briefcase; the broad-forehead youth on the left; the two facing each other; the iron gates and sentry box behind. The first frame is: the two men standing still. Action: The long-haired man leans close to the young man. The Long-Haired Hawk-Eyed Man says in a low voice: “Stay with me. Don’t speak.” Then he tugs his leather jacket straight, lifts the briefcase, turns and walks toward the sentry box deep in the frame. The young man stays where he is. Do not: No cuts. The young man does not speak. The two do not swap positions. No new characters.

P-9.4 First-frame image｜The same compound gate, medium shot: the Long-Haired Hawk-Eyed Man (looks as above, carrying a black briefcase) stands in front of the concrete sentry box, facing frame left; the Helmeted Sentry (looks as above) stands beside the sentry box, facing him, body ramrod straight; the Broad-Forehead Youth (looks as above) is half a step behind the long-haired man; the dark green iron gates behind, grey-green morning light.

9-4 Video prompt｜Re-render from the uploaded first frame P-9.4, 16:9 landscape, cinematic, spring in the late 1980s, compound gate, morning. 10 seconds, medium three-shot. [First-frame reference | top priority] Use the uploaded first frame P-9.4 exactly as the first frame of the video. Do not redesign the three characters, the sentry box, the iron gates or the camera position. Keep everything in the first frame: the long-haired man in front of the sentry box; the sentry beside the sentry box, steel helmet, ramrod straight; the young man half a step behind the long-haired man; the iron gates in the background. The first frame is: the long-haired man has just reached the sentry box. Action: Smiling like a regular visitor, the Long-Haired Hawk-Eyed Man says: “Is Master Zhang there? It’s me, Du Wei. I have an appointment with the Old Man at nine.” The sentry’s face goes blank for a beat. Do not: No cuts. The sentry and the young man do not speak. No new characters.

9-5 Video prompt｜First frame = last frame of 9-4. 16:9, 10 seconds, push in from medium shot to medium close-up. [First-frame reference | top priority] Use the last frame of 9-4 exactly as the first frame: the sentry stands blank-faced, the long-haired man smiles in front of the sentry box, the young man behind. Action: The camera pushes in on the sentry. The sentry turns, picks up the black telephone in the small window of the sentry box and the Helmeted Sentry says into the receiver: “Reporting — Comrade Du Wei, with one companion — states an appointment at nine with the Old Man.” Do not: No cuts. The long-haired man and the young man do not speak. No new characters.

9-5a Video prompt｜First frame = last frame of 9-5. 16:9, 8 seconds, medium close-up, single. [First-frame reference | top priority] Use the last frame of 9-5 exactly as the first frame: the sentry holds the black receiver to his ear, steel helmet, half turned toward the small window of the sentry box. Action: The sentry listens for a moment, at once straightens up, and the Helmeted Sentry says into the receiver: “Yes. Understood. Please wait — Director Zhang will be down shortly.” Then he puts the receiver down. Do not: No cuts. No one else speaks. No new characters.

P-9.6 First-frame image｜The same compound gate, medium shot from outside, facing the iron gates head-on: the two dark green iron gates have just opened a crack; in the gap stands the Secretary in a Mao Suit (looks as above), facing out; in the foreground outside the gate are the backs of the Long-Haired Hawk-Eyed Man (looks as above, carrying a briefcase) and the Broad-Forehead Youth (looks as above), one behind the other; warm light, brighter than outside, shows through from inside the gate, with a corner of the flagstone path.

9-6 Video prompt｜Re-render from the uploaded first frame P-9.6, 16:9 landscape, cinematic, spring in the late 1980s, compound gate, morning. 8 seconds, medium shot. [First-frame reference | top priority] Use the uploaded first frame P-9.6 exactly as the first frame of the video. Do not redesign the characters, the iron gates, the light or the camera position. Keep everything in the first frame: the secretary facing camera in the gap of the gates; the long-haired man and the young man with their backs to camera in the foreground, the long-haired man in front; the light inside brighter than outside. The first frame is: the gates open a crack. Action: Politely but without warmth, the Secretary in a Mao Suit says: “Mr. Du, please enter. The Old Man is waiting for you in the second-floor sitting room.” Do not: No cuts. No one else speaks. The gates do not open further. No new characters.

9-6a Video prompt｜First frame = last frame of 9-6. 16:9, 10 seconds, medium shot. [First-frame reference | top priority] Use the last frame of 9-6 exactly as the first frame: the secretary stands in the gap of the gates; the long-haired man and the young man stand outside with their backs to camera. Action: The two iron gates slowly swing open to both sides and the warm light inside spills out. The long-haired man and the young man step over the threshold and go in. The iron gates slowly close behind them. Do not: No cuts. No talking. No new characters.

P-9.7 First-frame image｜Inside the tall wall, a spotless flagstone path, neatly trimmed osmanthus and southern magnolia trees on both sides, in the distance a two-storey cream-white villa with tall narrow windows and a few pots of red roses on the balcony, warm spring-morning light. Medium-wide shot, angled from one side of the path: the Secretary in a Mao Suit (looks as above) walks in front, the Long-Haired Hawk-Eyed Man (looks as above) in the middle, the Broad-Forehead Youth (looks as above) last; in the foreground on the lawn a worker in white gardening clothes crouches trimming the grass, his back to camera.

9-7 Video prompt｜Re-render from the uploaded first frame P-9.7, 16:9 landscape, cinematic, spring in the late 1980s, inside the compound, morning. 10 seconds, medium-wide shot. [First-frame reference | top priority] Use the uploaded first frame P-9.7 exactly as the first frame of the video. Do not redesign the characters, the path, the trees, the villa or the camera position. Keep everything in the first frame: the three men on the path, front, middle and back; the gardener crouching in the foreground; the villa in the distance; warm light. The first frame is: the three men have just stepped onto the path. Action: The three men walk along the flagstone path toward the villa. The gardener looks up at the young man once, then lowers his head and goes on trimming. As he walks, the young man looks at the trees on both sides and at the villa ahead, and his steps grow lighter. Do not: No cuts. No talking. No new characters.

P-9.8 First-frame image｜The villa’s second-floor corridor, waxed wooden floor reflecting the window light, a landscape painting in a dark wooden frame on the wall, at the end a pair of wooden double doors with gleaming brass handles, warm yellow light through the gap in the doors. Close shot from one side of the corridor: the Secretary in a Mao Suit (looks as above) stands by the door, side-on to it, right hand raised, about to knock; the Long-Haired Hawk-Eyed Man (looks as above) is half a step in front of the door; the Broad-Forehead Youth (looks as above) is behind him, one hand on his satchel strap.

9-8 Video prompt｜Re-render from the uploaded first frame P-9.8, 16:9 landscape, cinematic, spring in the late 1980s, villa second-floor corridor, morning. 10 seconds, close three-shot. [First-frame reference | top priority] Use the uploaded first frame P-9.8 exactly as the first frame of the video. Do not redesign the characters, the door, the corridor or the camera position. Keep everything in the first frame: the secretary by the door with his hand raised; the long-haired man half a step in front of the door; the young man behind, hand on his satchel strap; warm light through the gap in the doors. The first frame is: the secretary’s hand stopped in front of the door panel. Action: The secretary knocks lightly three times. The Secretary in a Mao Suit says: “Old Man, Mr. Du and his friend have come.” Then he steps aside from the doorway. (Off-screen, a low, slow old man’s voice: “Come in.” Dubbed in post.) Do not: No cuts. The other two do not speak. No new characters. The door does not open.

II · The Sitting Room · First Meeting

P-9.9 First-frame image｜The villa’s second-floor sitting room: in the middle a dark brown leather sofa; in front of it a mahogany tea table covered with a white lace cloth, on it three blue-and-white teacups and an old black-and-white photograph; an old wooden wall clock on the wall; a shaft of light slanting in through a gap in the west-window curtains; warm yellow lamplight. Wide shot from the sitting-room doorway toward the sofa: the White-Haired Old Man (looks as above) sits on the sofa, leaning forward, a brass-handled magnifying glass in his right hand, head bowed over the photograph on the tea table.

9-9 Video prompt｜Re-render from the uploaded first frame P-9.9, 16:9 landscape, cinematic, spring in the late 1980s, villa second-floor sitting room, morning. 10 seconds, wide shot, slow push in. [First-frame reference | top priority] Use the uploaded first frame P-9.9 exactly as the first frame of the video. Do not redesign the old man, the sofa, the tea table, the photograph, the wall clock or the camera position. Keep everything in the first frame: the old man in the middle of the sofa, leaning forward, head bowed over the photograph, magnifying glass in hand; the positions of the tea table, the teacups and the photograph; the light through the gap in the curtains; warm yellow lamplight. The first frame is: the old man looking down at the photograph. Action: The camera pushes slowly from the doorway toward the sofa. The old man keeps his head down, studying the photograph through the magnifying glass, and never looks up. The pendulum of the wall clock swings. Do not: No cuts. The old man does not look up or speak. No one else appears.

P-9.10 First-frame image｜The same second-floor sitting room, medium shot from the side of the sofa: the White-Haired Old Man (looks as above) sits on the sofa, leaning forward over the photograph, magnifying glass in hand; the Long-Haired Hawk-Eyed Man (looks as above, carrying a briefcase) has just reached the tea table, all smiles, bowing slightly; the Broad-Forehead Youth (looks as above) stands behind him, hands at his sides; warm yellow lamplight.

9-10 Video prompt｜Re-render from the uploaded first frame P-9.10, 16:9 landscape, cinematic, spring in the late 1980s, second-floor sitting room, morning. 6 seconds, medium three-shot. [First-frame reference | top priority] Use the uploaded first frame P-9.10 exactly as the first frame of the video. Do not redesign the three characters, the sofa, the tea table or the camera position. Keep everything in the first frame: the old man on the sofa, head bowed; the long-haired man bowing and smiling in front of the tea table; the young man behind him; warm yellow light. The first frame is: the old man has not yet looked up. Action: Only now does the old man slowly raise his head. His eyes are sharp, like two old wells, and he looks at the two men in front of him. Do not: No cuts. No talking. No new characters.

9-10a Video prompt｜First frame = last frame of 9-10. 16:9, 8 seconds, medium three-shot. [First-frame reference | top priority] Use the last frame of 9-10 exactly as the first frame: the old man sits on the sofa with his head raised, the magnifying glass still in his hand; the long-haired man bowing and smiling; the young man behind. Action: The old man puts the magnifying glass back on the tea table and slowly stands up. Neither warm nor cold, the White-Haired Old Man says: “Sit.” Do not: No cuts. The other two do not speak. No new characters.

P-9.11 First-frame image｜The same second-floor sitting room, low-angle close-up, level with two chairs, shot from the direction of the sofa: on the left of the frame, in a wooden armchair, the Long-Haired Hawk-Eyed Man (looks as above) sits on only the front third of the seat, knees together, the briefcase standing by his feet; on the right of the frame, in front of the other chair, the Broad-Forehead Youth (looks as above) is bowing, not yet seated; a dark red fringed rug on the floor.

9-11 Video prompt｜Re-render from the uploaded first frame P-9.11, 16:9 landscape, cinematic, second-floor sitting room, morning. 10 seconds, close-up. [First-frame reference | top priority] Use the uploaded first frame P-9.11 exactly as the first frame of the video. Do not redesign the two characters, the chairs, the rug or the camera position. Keep everything in the first frame: the long-haired man sitting on the edge of the left chair; the young man bowing on the right; the briefcase; the rug. The first frame is: the young man bent in a bow. Action: The young man straightens up and sits down. He sits very straight, his back not touching the chair back, both hands flat on his knees. The long-haired man rests one hand on the briefcase and does not move. Do not: No cuts. No talking. No new characters.

P-9.12 First-frame image｜The same second-floor sitting room, medium shot from the side of the tea table: the Long-Haired Hawk-Eyed Man (looks as above) sits on the edge of his chair, leaning forward, setting a square object wrapped in red velvet onto the tea table with both hands; the White-Haired Old Man (looks as above) has sat back down on the sofa and watches the velvet bundle; steam rises from the blue-and-white teacups on the table.

9-12 Video prompt｜Re-render from the uploaded first frame P-9.12, 16:9 landscape, cinematic, second-floor sitting room, morning. 10 seconds, medium two-shot. [First-frame reference | top priority] Use the uploaded first frame P-9.12 exactly as the first frame of the video. Do not redesign the characters, the velvet bundle, the tea table or the camera position. Keep everything in the first frame: the long-haired man leaning forward with the velvet bundle in his hands; the old man watching from the sofa; steam from the teacups. The first frame is: the velvet bundle just set on the tea table. Action: The long-haired man unwraps the red velvet, revealing a square bronze box, its sides pierced and carved with coiling dragons, a small bronze lock on the lid. Smiling, the Long-Haired Hawk-Eyed Man says: “Old Man — you are an authority in antiquities — not long ago I came by this piece from the countryside —” Do not: No cuts. The old man does not speak. No new characters.

9-12a Video prompt｜First frame = last frame of 9-12. 16:9, 8 seconds, medium two-shot. [First-frame reference | top priority] Use the last frame of 9-12 exactly as the first frame: the red velvet spread open, the bronze box on the tea table; the long-haired man leaning forward and smiling; the old man on the sofa looking at the bronze box. Action: The long-haired man opens both hands toward the bronze box. The Long-Haired Hawk-Eyed Man goes on: “They say it’s a Qing dynasty bronze petition-box — I can’t be sure — I’ve come especially to ask your eye!” Do not: No cuts. The old man does not speak. No new characters.

P-9.13 First-frame image｜Extreme close-up on the tea table: the red velvet spread open, on it a square bronze box carved with coiling dragons, black grime in the grooves, a dull small bronze lock on the lid; a brass-handled magnifying glass reaches in from the top of the frame and hovers over the box; behind the lens shows one unblinking eye of the White-Haired Old Man, deep wrinkles at its corner; warm yellow light.

9-13 Video prompt｜Re-render from the uploaded first frame P-9.13, 16:9 landscape, cinematic, second-floor sitting room, morning. 10 seconds, extreme close-up. [First-frame reference | top priority] Use the uploaded first frame P-9.13 exactly as the first frame of the video. Do not redesign the bronze box, the magnifying glass, the eye or the light. Keep everything in the first frame: the bronze box in the center; the magnifying glass hovering above it; the old man’s eye behind the lens. The first frame is: the magnifying glass held still over the bronze box. Action: A long silence. The magnifying glass moves very slowly once around the edge of the bronze box; the dragon pattern in the lens is magnified and warped. The old man’s eye stays expressionless and does not blink. Do not: No cuts. No talking. No other faces appear.

P-9.14 First-frame image｜The same second-floor sitting room, medium close-up: the White-Haired Old Man (looks as above) sits on the sofa, the brass-handled magnifying glass in his hand, leaning slightly forward, the bronze box on the tea table in front of him; at the edge of the frame, out of focus, the leather-jacketed shoulder of the Long-Haired Hawk-Eyed Man; warm yellow light.

9-14 Video prompt｜Re-render from the uploaded first frame P-9.14, 16:9 landscape, cinematic, second-floor sitting room, morning. 6 seconds, medium close-up, single. [First-frame reference | top priority] Use the uploaded first frame P-9.14 exactly as the first frame of the video. Do not redesign the old man, the magnifying glass, the bronze box or the camera position. Keep everything in the first frame: the old man leaning forward with the magnifying glass; the bronze box on the tea table; the long-haired man’s shoulder out of focus at the edge. The first frame is: the old man still looking. Action: The old man puts down the magnifying glass and slowly leans back into the sofa. Do not: No cuts. No talking. No new characters.

9-14a Video prompt｜First frame = last frame of 9-14. 16:9, 10 seconds, medium close-up, single. [First-frame reference | top priority] Use the last frame of 9-14 exactly as the first frame: the old man leaning back on the sofa, the magnifying glass already on the tea table, the long-haired man’s shoulder out of focus at the edge. Action: Flatly, the White-Haired Old Man says: “Mr. Du — this piece — a Qianlong-era imitation of a Han ritual vessel — not a fine imitation, but with something to it — worth or not, hard to say.” Do not: No cuts. The long-haired man does not speak. No new characters.

P-9.15 First-frame image｜The same second-floor sitting room, medium close-up: the Long-Haired Hawk-Eyed Man (looks as above) sits on the edge of his chair, the smile on his face frozen for half a beat, his body turned toward the sofa on the right of the frame; at the left edge of the frame, the profile of the Broad-Forehead Youth (looks as above), sitting very straight; warm yellow light.

9-15 Video prompt｜Re-render from the uploaded first frame P-9.15, 16:9 landscape, cinematic, second-floor sitting room, morning. 8 seconds, medium close-up. [First-frame reference | top priority] Use the uploaded first frame P-9.15 exactly as the first frame of the video. Do not redesign the characters, the chair or the camera position. Keep everything in the first frame: the long-haired man in the center of the frame, facing right; the young man in profile at the left edge. The first frame is: the long-haired man’s smile frozen. Action: The long-haired man’s smile comes straight back. He gestures toward the young man beside him and the Long-Haired Hawk-Eyed Man says quickly: “Old Man — let me present — this is my friend, Wang Sheng —” Do not: No cuts. The young man does not speak. No new characters.

9-15a Video prompt｜First frame = last frame of 9-15. 16:9, 10 seconds, medium close-up. [First-frame reference | top priority] Use the last frame of 9-15 exactly as the first frame: the long-haired man smiling, one hand still gesturing toward the young man on the left; the young man in profile, sitting very straight. Action: The Long-Haired Hawk-Eyed Man goes on: “Graduate student, Chinese Department, Dongjiang University, disciple of Professor Lang Yongliang — writing his thesis — ‘On Zong Da’s Literary Research and Revolutionary Activities in the Thirties’…” Do not: No cuts. The young man does not speak. No new characters.

P-9.16 First-frame image｜The same second-floor sitting room, medium close-up: the White-Haired Old Man (looks as above) sits on the sofa, his gaze already resting off-frame left (toward the young man), a slight stir in his eyes; on the tea table the old black-and-white photograph lies face up, the magnifying glass beside it; warm yellow light.

9-16 Video prompt｜Re-render from the uploaded first frame P-9.16, 16:9 landscape, cinematic, second-floor sitting room, morning. 10 seconds, medium close-up, single. [First-frame reference | top priority] Use the uploaded first frame P-9.16 exactly as the first frame of the video. Do not redesign the old man, the photograph, the tea table or the camera position. Keep everything in the first frame: the old man seated, gaze off-frame left; the photograph face up on the tea table; warm yellow light. The first frame is: the old man looking at the young man off-frame. Action: The old man reaches out, picks up the black-and-white photograph from the tea table, holds it up in the light from the gap in the curtains and looks at it for a few seconds. Do not: No cuts. No talking. No new characters. No close-up of the photograph.

9-16a Video prompt｜First frame = last frame of 9-16. 16:9, 8 seconds, medium close-up, single. [First-frame reference | top priority] Use the last frame of 9-16 exactly as the first frame: the old man seated, holding the photograph up in the light from the gap in the curtains. Action: The old man holds the photograph out toward frame left. The White-Haired Old Man says: “Xiao Wang — have a look — do you recognize these two?” Do not: No cuts. No new characters. No close-up of the photograph.

P-9.17 First-frame image｜Extreme close-up, looking down from over a shoulder: a yellowed old black-and-white photograph held in two young hands, the thumbs pressing on its two side edges; in the photograph a thin young man in an old-style army uniform and a foreign woman with curly blonde hair, also in army uniform, stand side by side on a riverbank, with river water and distant mountains behind them; the west-window light falls on the photo paper from above.

9-17 Video prompt｜Re-render from the uploaded first frame P-9.17, 16:9 landscape, cinematic, second-floor sitting room, morning. 10 seconds, extreme close-up. [First-frame reference | top priority] Use the uploaded first frame P-9.17 exactly as the first frame of the video. Do not redesign the content of the photograph, the hands or the light. Keep everything in the first frame: the photograph in the center, the young man on the left and the foreign woman on the right, the river and distant mountains; the two thumbs on the edges. The first frame is: the whole photograph. Action: The camera pushes in very slowly toward the eyes of the foreign woman on the right of the photograph. The fingers holding the photograph tighten slightly on its edges, then relax. Do not: No cuts. The people in the photograph do not move. No other objects appear.

P-9.18 First-frame image｜The same second-floor sitting room, medium close-up: the Broad-Forehead Youth (looks as above) sits very straight, holding the black-and-white photograph in both hands, having just raised his head from it, looking toward frame right (toward the sofa); warm yellow light; the landscape painting on the wall behind.

9-18 Video prompt｜Re-render from the uploaded first frame P-9.18, 16:9 landscape, cinematic, second-floor sitting room, morning. 8 seconds, medium close-up, single. [First-frame reference | top priority] Use the uploaded first frame P-9.18 exactly as the first frame of the video. Do not redesign the young man, the photograph or the camera position. Keep everything in the first frame: the young man holding the photograph in both hands, head raised, looking right; black-framed glasses, blue khaki jacket. The first frame is: the young man raising his head. Action: The young man blinks once toward the window, then looks back to the right. Low, respectful and restrained, the Broad-Forehead Youth says: “This one — must be you, Sir, in your younger days…” Do not: No cuts. No new characters.

9-18a Video prompt｜First frame = last frame of 9-18. 16:9, 6 seconds, medium close-up, single. [First-frame reference | top priority] Use the last frame of 9-18 exactly as the first frame: the young man holding the photograph in both hands, looking right. Action: The young man pauses half a beat, then the Broad-Forehead Youth says quietly: “This lady — is Madame Anna Louie?” Do not: No cuts. No new characters.

P-9.19 First-frame image｜The same second-floor sitting room, medium close-up: the White-Haired Old Man (looks as above) sits on the sofa, looking off-frame left, a slight stir in his eyes; warm yellow light.

9-19 Video prompt｜Re-render from the uploaded first frame P-9.19, 16:9 landscape, cinematic, second-floor sitting room, morning. 8 seconds, medium close-up, single. [First-frame reference | top priority] Use the uploaded first frame P-9.19 exactly as the first frame of the video. Do not redesign the old man or the camera position. Keep everything in the first frame: the old man seated, looking off-frame left; dark grey Mao suit; warm yellow light. The first frame is: the old man looking at the young man. Action: The old man nods. Levelly, the White-Haired Old Man says: “How — did you recognize her?” Do not: No cuts. No new characters.

9-20 Video prompt｜First frame = last frame of 9-18a. 16:9, 10 seconds, medium close-up, single. [First-frame reference | top priority] Use the last frame of 9-18a exactly as the first frame: the young man holding the photograph in both hands, looking right. Action: The young man pauses a beat, weighing his words. The Broad-Forehead Youth says: “I… I have been to the Memorial Hall of the former Dongjiang Bureau of the CPC Central Committee — there, on the second floor, on the wall of Comrade Zong Da’s office — there is a photograph just like it.” Do not: No cuts. No new characters.

9-21 Video prompt｜First frame = last frame of 9-19. 16:9, 8 seconds, medium close-up, single. [First-frame reference | top priority] Use the last frame of 9-19 exactly as the first frame: the old man looking off-frame left. Action: The old man’s gaze rests on the young man’s face off-frame, unmoving, for five seconds. Then he reaches out, takes the photograph back, lays it on the tea table and weighs down one corner with the magnifying glass. Do not: No cuts. No talking. No new characters.

9-21a Video prompt｜First frame = last frame of 9-21. 16:9, 8 seconds, medium close-up, single. [First-frame reference | top priority] Use the last frame of 9-21 exactly as the first frame: the old man on the sofa, the photograph under the magnifying glass, his gaze back off-frame left. Action: The old man’s tone slowly settles lower. The White-Haired Old Man says: “Now I remember — you are that little graduate student writing the thesis on Zong Da.” Do not: No cuts. No new characters.

P-9.22 First-frame image｜The same second-floor sitting room, medium close-up: the Broad-Forehead Youth (looks as above) rises from his chair, facing frame right, about to bow; the landscape painting on the wall behind him; warm yellow light.

9-22 Video prompt｜Re-render from the uploaded first frame P-9.22, 16:9 landscape, cinematic, second-floor sitting room, morning. 10 seconds, medium close-up, single. [First-frame reference | top priority] Use the uploaded first frame P-9.22 exactly as the first frame of the video. Do not redesign the young man or the camera position. Keep everything in the first frame: the young man standing, facing right, satchel across his body. The first frame is: the young man has just stood up. Action: The young man bows respectfully, straightens up, and the Broad-Forehead Youth says: “Old Man — my thesis concerns Zong Da’s literary research and revolutionary activities in the 1930s —” Do not: No cuts. No new characters.