SPOKEN DIALOGUE IS IN JAPANESE. Two lines only, written in full where they occur.

SCENE CONTEXT
Earth, an open grass plain at night. Gabriel is alone in the dark finishing off the last of the
fallen. Something warns him a fraction of a second early; he slips aside and a trident comes
through the space he was in, kills one of the fallen on its way past and goes into the ground
beyond him. He walks over, looks down at it, and it discharges and puts him on his knees. A voice
comes across the valley and a shadow comes over him.

STYLE
Hand-drawn 2D cel animation, late-1990s Japanese theatrical feature, on 35mm film. Ink linework
with uneven hand-inked edges, flat painted color in three or four value steps, hard-edged shadow
shapes with clean terminators, hand-painted gouache backgrounds with visible brush texture. Fast
action carried by smeared drawn in-betweens, drawn impact lines and drawn speed-streaks - ink and
paint, not motion blur. Ash and lightning hand-animated on twos.

A WORN FILM PRINT: heavy coarse grain swimming between frames, heaviest in the dark; the image
slightly soft overall, never razor-sharp; gate weave; halation around the moon and the gold; faded
dye with blacks lifted to warm dark grey and whites creamed; low saturation, soft contrast; dust
and scratches in the gate.

No 3D, no CGI, no render, no photoreal, no game engine. No raytraced or specular highlights, no
ambient occlusion, no global illumination, no volumetric shafts, no particle systems, no computed
depth of field, no computed motion blur, no smooth digital gradients, no HDR glow, no clean vector
edges. Nothing clean, sharp, glossy or modern.

ACTIVE REFERENCES

@gabriel - Archangel, 3.2 m, athletic, face uncovered. Spiky medium-length blond hair swept back,
pale blue eyes, fair skin. Gold halo of radiating star-points behind the head. Two large white
feathered wings, folded but rising above the shoulders. White, deep royal blue and gold armor and
robes: white tunic and long layered coat with deep blue panels covered in gold eight-pointed
stars, white-and-gold pauldrons each bearing a blue-and-gold eight-point star, gold chains with
star pendants across the chest, white mantle, blue-and-white banner panels with gold fringe at the
waist, blue and gold belt with a small dark book case, dark brown leather gloves, gold-trimmed
white vambraces, tall white-and-gold boots with a raised heel. Holds @gabriel_mace in his right
hand throughout. 100% matches the reference. SHEET LOCK: sheet layout not inherited - no view
panels, no expression strip, no detail insets, no annotation text, no titling.

@gabriel_mace - Two-handed mace, 2.2 m, whose head is a trumpet bell: flared gold cone with deep
blue enamelled panels between gold ribs bearing gold four-point stars, mouth open and dark gold
inside, six long gold spikes from the crown and a ring of shorter spikes around it. Straight
hollow gold shaft with banded collars, widening at the butt into a trumpet mouthpiece. Two long
white-and-blue pennants on gold chains with star weights. 100% matches the reference. SHEET LOCK:
sheet layout not inherited - no multiple views, no cross-section, no detail insets, no arrows, no
annotation text, no titling.

@baal_trident_demon - Black iron fused with pale bone. The only part seen clearly in this clip is
its three-bladed head: three jagged torn-wing blades with reverse barbs on the inner edges, fused
at a central boss holding a violet orb with a four-point star glint, chains with star weights
hanging just behind, violet-white lightning running through the metal and bone. The twisted
bone-and-iron haft behind it is only ever a streak in flight or running out of the top of frame.
No pennant cloth. 100% matches the reference. SHEET LOCK: sheet layout not inherited - no multiple
views, no cross-section, no detail insets, no arrows, no annotation text, no titling.

@baal_demon - 3.5 m, gaunt, skull-like face, bone-grey skin, pointed ears, a wide grin of small
sharp teeth, violet-white eyes with no iris. Long wild pale lavender-white hair. Two large black
curved horns sweeping up and back, webbed with membranous fins. Exposed white ribcage through the
dark torso, gold chains and star pendants across it. Enormous ragged wings of torn feather-blades
in blue-black, slate and bone-white mixed with shredded membrane. Long ragged shroud to the
ground. His body never appears in this clip - he is a voice in CUT 9 and a cast shadow in CUT 10.
100% matches the reference. SHEET LOCK: sheet layout not inherited - no view panels, no numbered
frames, no border, no annotation text, no titling.

@fallen - Emaciated grey-brown humanoids, 1.4 m. Smooth featureless bulbous elongated heads with
no face except two small pale glowing eyes - no mouth, no nose. Long thin limbs, visible ribs,
bony fingers. Skeletal bat wings of exposed finger-bones with torn membrane. Pale ragged cloth at
the hips. 100% matches the reference. SHEET LOCK: sheet layout not inherited - no pose labels, no
detail insets, no scale panel, no annotation text, no titling.

@earth_plain_night - Open grass plain at night under a full moon. Tall dry grass across the
foreground, dark blue-green, blade tops edged in hard moonlight. The plain runs flat to a dark
conifer treeline on the screen-right horizon with low white mist at its base. Screen-left, pale
cobble bars and shallow channels of a braided river catching the moon as hard broken white
ribbons. Layered dark blue mountains on the skyline. Full moon high at screen-center-left in a
deep blue-black sky with thin grey-blue cloud bars. Very low key, cool blue-green throughout, no
warm color. 100% matches the reference.

LOCATION MAP
The flat is three hundred meters across. River and cobble bars along the screen-left edge,
treeline along the screen-right edge at a hundred and fifty meters, mountains at forty kilometers
behind night haze. @gabriel works alone in the middle and is the only figure in the clip. The
@fallen come from screen-right and from depth. The trident is thrown from behind him at
screen-left, crosses to screen-right depth, and leaves frame; it reaches the ground off camera
about twenty meters beyond him. The moon is high and slightly behind camera-left, so shadows are
short and fall screen-right. @gabriel is 3.2 m; every @fallen is 1.4 m.

FORMAT MODE
Sequence of cuts, no timecodes - cuts only at the specified points, the camera does not cut on its
own. Every cut is locked off: no push, pan, tilt, track, handheld, shake or orbit anywhere.

CUT 1 - CU, 47°. 0.0s-2.6s. Real time.
Camera low in the grass, almost at their height. Three @fallen run straight at camera, close
enough to read the featureless heads and the pale eye-points, grass whipping apart around their
legs, bony hands reaching, skeletal wings half out. They pass the lens and are gone.

CUT 2 - WIDE, 65°. 2.6s-7.0s. Real time.
@gabriel full figure in the middle distance, river bars screen-left, black treeline behind.

He kills four in four seconds and moves like an athlete. One comes high from screen-right: he
steps in, drops onto the front foot and swings the bell UP on a rising diagonal, launching the
body out of the top of frame. The follow-through carries him into a full pivot on the ball of the
left foot, his back turning to camera, and the second arrives mid-turn and takes the bell flat
without the rotation stopping - pennants and banner panels whipping around him. The third comes in
low: he drops his hips, plants, and brings the head down in a short overhead chop, recovering
straight back to full height. The fourth is behind him: one crossover step back, a grip switch
without looking, and the bell goes behind his own shoulder in a blind backhand.

Four flat white flashes, four scatters of grey ash. His face stays completely uninterested
throughout - the body working hard, the face somewhere else.

CUT 3 - ECU, 35°. 7.0s-7.8s. Real time.
Gabriel's eyes alone, filling the frame. They snap wide, pupils small. Nothing else moves.

CUT 4 - WIDE, 65°. 7.8s-9.6s. Real time. FAST.
Gabriel center frame, three-quarter from the front.

He MOVES - one fast lateral crossover step, left foot crossing, hips turning, upper body leaning
out of the line, and he is a meter and a half to screen-right, balanced, on his feet, mace still
in hand. He does not dive, fall or roll.

Something comes through the space he left: a single dark streak with three blade points at its
leading edge, entering from behind him at screen-left and crossing to screen-right depth in a
fraction of a second, drawn speed-streaks and one straight trajectory line along its path. On the
way it takes one @fallen - one frame on the blade points, then a flat white light and grey ash -
and carries on out of frame into the dark.

CUT 5 - LOW INSERT, 35°. 9.6s-12.0s. Real time.
Lens almost in the dirt, grass blades crossing the bottom of frame.

Filling the frame: three jagged torn-wing blades driven down into the earth. Black iron and pale
bone, reverse barbs on the inner edges, the central boss just above the soil with its violet orb
and star glint. Torn turf heaped around where they went in. Chains with star weights still
swinging behind the boss. Violet-white drawn lightning crawling over metal and bone in short
forks. Above the boss, a twisted spiral of bone and iron runs up out of the top of frame and is
not seen.

Two and a half seconds of nothing but that.

CUT 6 - HIGH OVER THE SHOULDER, 47°. 12.0s-15.0s. Real time.
Camera high behind Gabriel's right shoulder, angled steeply down at the ground.

He walks in from below the lens, mace lowered, and stops standing over it, looking down. We see
torn turf, the three blades sunk in it, the boss and its orb, the chains, and the near haft
foreshortened away into the grass. His shoulder, chest chains and the inner edge of one white wing
frame the top and screen-left.

His head tilts a few degrees. He does not reach for it. He is confused, not afraid, and the
confusion is in the tilt and the stillness.

CUT 7 - MEDIUM, 47°. 15.0s-17.0s. Real time.
Side view: Gabriel full figure screen-left, the torn patch of ground screen-right.

It lets go. A ring of violet-white electricity races out of the torn ground in every direction -
hard-edged forked ink lines expanding through the grass, flattening it as they pass - crosses the
two meters in a third of a second and goes through him from the feet up. His body locks, arms
rigid, head back, wings jolting half open and snapping shut, lightning running over the plate and
the gold chains in drawn forks. He is still on his feet at the cut.

CUT 8 - MEDIUM, 47°. 17.0s-19.2s. Real time.
His legs go. Right knee into the flattened grass, then left, head dropping forward, the mace
coming down with him and planting head-first in the turf so both hands can hold the shaft. Thin
violet forks dying out one by one over the plate. His breath hard and visible in the cold.

CUT 9 - AERIAL, 84° rectilinear. 19.2s-24.0s. Real time.
Straight down from forty meters, level. Gabriel small and centered, kneeling, white wings spread
flat beneath the lens as the brightest shape in frame, the mace a short gold line in the grass. A
ring of flattened grass around him and a small dark torn patch of earth beside him. Dark grass out
to every frame edge, the pale thread of the river at the top screen-left corner.

A laugh comes down from off frame, unhurried and amused, echoing off the mountains a beat behind
itself.

@baal (off screen, in Japanese): 「速いな、伝令。」

Nothing in frame moves while he speaks. Gabriel's head comes up on the last syllable.

CUT 10 - CU, 47°. 24.0s-30.0s. Real time.
Gabriel's face from slightly below, still on his knees, moonlight raking one side in two flat
steps. His mouth and jaw clearly in frame.

He is looking off screen-left and up, the face working, almost placing it.

@gabriel (on camera, in Japanese, quietly, his lips shaping each syllable): 「バアル…?」

Then a shadow comes across him from screen-left - a hard-edged flat black shape sliding over his
face as something large passes between him and the moon, spreading until most of the frame is in
it. On its drawn edge, two curved horns and the ragged outline of one wing, cast across the grass
beside him. Whatever casts it never enters frame.

His eyes go wide. He does not move. Hold two beats in the dark.

OPTICS
47° on CUTS 1, 6, 7, 8, 10; 65° on CUTS 2 and 4; 35° extreme close on CUTS 3 and 5; 84°
rectilinear straight down on CUT 9. Everything carries the softness of a film print - nothing
razor-sharp. All softness painted or photochemical, never computed blur or bokeh. Real time
throughout; no slow motion, no speed ramps.

PERFORMANCE
CUT 2 is a top-tier athlete doing something that bores him: the body dynamic, weighted and
precise, the face blank. CUT 3 is pure reflex, all in the eyes. CUT 4 is control - the most
economical movement in the clip. CUT 6 is confusion, not fear: he has fought beside that weapon
for an age and it has the wrong shape. CUT 8 is humiliation as much as pain. CUT 10 is recognition
fighting refusal. All emotion in held drawings and flat value steps, never in skin detail and
never in rubbery deformation.

PHYSICS
Every mace swing drives from the feet and hips; struck @fallen leave on the trajectory the swing
gave them. Pennants, banner panels and gold chains whip out and settle a beat late; the folded
wings lag a beat behind every pivot. The thrown weapon has nearly all its mass in the bladed head,
so the head leads and the head reaches the earth; it passes through a body without slowing, the
blades go deep into packed turf and throw up torn dirt, and nothing about it shifts afterward. The
discharge ring flattens grass permanently. Gabriel goes down knee by knee under his own weight.
Ash falls straight and stays landed. Low wind moves the grass in every cut.

LIGHTING
One source: a full moon high and slightly behind camera-left, 4100K, unchanged in every cut. Flat
cool key, hard terminators, short shadows falling screen-right, all shadows flat cel shapes. Each
@fallen ends in a flat white hard-edged shape that expands and stops inside half a second, briefly
rimming the nearest grass, never blooming or lingering. All violet electricity is drawn flat on
top of the image and lights nothing - not the grass, the ground, the air or his face. The only
lighting change in the clip is the cast shadow in CUT 10.

COLOR
Faded painted night palette. Deep blue-black sky, cool blue-green grass, pale grey-white cobble
and water, black treeline, hazed blue mountains. Gabriel's white, blue and gold is the brightest
moving thing and the gold is the only warm note. The blades are black iron, bone-white and violet,
and the violet is the only saturated color anywhere. The @fallen read as dark holes crossing the
moonlit ground. Low saturation, soft contrast, blacks at warm dark grey.

AUDIO
Under every cut: wind through tall grass, the river faint from screen-left, the treeline moving.
No birds, no insects, no animals.

CUT 1: many light fast feet through grass, closing, and a low rush of bodies and breath.
CUT 2: four heavy flat impacts of gold on light bodies at different pitches, four short flat light
concussions with no tone, bodies travelling away, armor and cloth through each pivot, boots in
turf, ash settling, one unhurried exhale.
CUT 3: ambience drops to almost nothing. One sharp intake of breath.
CUT 4: boots cutting across turf. Three meters of iron and bone cutting air on one straight line,
there and gone, chains rattling. One deep impact through a body, then the sound carrying off into
the dark and ending in a heavy distant thud into earth.
CUT 5: close ground-level ambience - grass by the lens, dirt settling, chains swinging and ticking
on metal. The lightning makes no sound.
CUT 6: five heavy unhurried footfalls, armor settling, breathing.
CUT 7: one flat percussive crack with no tone and no tail, then grass flattening outward in a
ring, then armor locking up.
CUT 8: two knees in turf, armor collapsing, the mace head into the ground, hard uneven breathing.
CUT 9: thin wind at height. A laugh from far below with a long mountain echo. Then @baal, off
screen, in Japanese: 「速いな、伝令。」 - spoken once, carrying the same echo, from no fixed
direction.
CUT 10: @gabriel, in Japanese: 「バアル…?」 - spoken once. Then wind and grass, and then those drop
away under the shadow, leaving two beats with only his breathing.

@baal speaks once, in CUT 9. @gabriel speaks once, in CUT 10. Nobody else speaks. The @fallen make
movement sounds only and have no mouths. NO MUSIC of any kind - no score, soundtrack, orchestral
bed, ambient pad, drone, percussion or melodic instrumentation, and no sting, swell or rising tone
on any beat. Diegetic sound only: wind, river, treeline, running feet, impacts, flat light
concussions, iron and gold, chains, earth, armor, cloth, breath, one laugh and two spoken lines.

OUTPUT SETTINGS
21:9 aspect ratio, 30 seconds total, real time throughout.

POSITIVE LOCKS
DIALOGUE LOCK: spoken dialogue is in Japanese. Two lines exist in this clip - @baal's 「速いな、伝令。」 in CUT 9, off screen, and @gabriel's 「バアル…?」 in CUT 10, on camera with his mouth moving. Nobody else speaks and no other words are said. Both lines are placeholder performances to be replaced in audio post.
PARTIAL WEAPON LOCK: after CUT 4 the thrown weapon is only ever seen in part - in CUT 5 its blades, boss, orb, chains and the torn dirt with the haft leaving the top of frame; in CUT 6 from above as blades in torn turf with the haft foreshortened into the grass; in CUTS 7 and 8 only the torn patch of ground; in CUT 9 a small dark mark from forty meters up. It is never shown end to end after it lands.
BLADES IN EARTH LOCK: from CUT 5 onward the three torn-wing blades are sunk into the soil with torn turf heaped around them and the boss and orb just above the ground. It stays there and does not move, lift, shift or come free, including when it discharges.
CUT 5 FRAME LOCK: CUT 5 contains the blades, boss, orb, chains, torn dirt and near grass, and nothing else - no character, no horizon, no sky, no treeline, no moon, and no part of the weapon above the boss.
STREAK LOCK: in CUT 4 the thrown weapon reads as a fast dark streak with three blade points leading, crossing frame in six tenths of a second and leaving on the far side. It never slows, hangs, hovers or comes to rest on camera; the end of its flight is off frame.
SIDESTEP LOCK: Gabriel evades with one fast lateral crossover step and keeps his feet, mace in hand. He does not dive, leap, roll, stumble, fall, crouch or go prone, and nothing but his boots touches the ground.
FEET LOCK: Gabriel is on his feet in CUTS 2, 4, 6 and 7, and on the ground only from CUT 8.
KNEEL LOCK: Gabriel goes to his knees once, in CUT 8, from full height under his own weight - right knee, then left, mace planted for support. He is not thrown, launched or knocked across the plain, and stays kneeling for the rest of the clip.
DYNAMIC LOCK: in CUT 2 every strike is full-body - weight onto the front foot, hips turning, a full pivot, a drop into the chop, a crossover step, a grip change, a real follow-through and recovery. No two swings share a line or footwork. He never pushes, taps, prods, sweeps or waves the mace.
BORED FACE LOCK: in CUT 2 Gabriel's face stays neutral and uninterested - no battle face, no shout, no grimace, no effort, no satisfaction - and he never looks at what he is killing for longer than a frame.
TRIDENT FORM LOCK: the weapon is @baal_trident_demon, the fallen form - torn-wing blades with reverse barbs, a violet orb at the boss, chains with star weights, violet-white lightning, no pennant cloth. Never the angel-form trident with its plain head, engraved pattern and two tattered pennants.
LIGHTNING LOCK: all violet electricity is drawn hard-edged forked ink lines in flat violet-white on twos, with no glow, bloom, halo or soft edge, casting no light on anything.
DISCHARGE LOCK: CUT 7 is ONE flat ring of drawn electricity out of the torn ground. No second pulse, no build-up, no charging glow, no beam, no bolt from the sky, no explosion, no dust shockwave, no fire.
NO BODY LOCK: @baal_demon's body never appears - no figure, silhouette, limb, horn or wing enters frame at any point, including the aerial. He is the off-screen voice in CUT 9 and the cast shadow in CUT 10, and the camera never turns toward him.
SHADOW LOCK: the shadow in CUT 10 is a hard-edged flat black cast shadow crossing Gabriel from screen-left, with two horns and one ragged wing in its drawn edge. Not a dimming, not a fade, not a vignette, not mist, not a figure.
EYES LOCK: CUT 3 is Gabriel's eyes alone for eight tenths of a second, hard cut in and out, no zoom and no flash frame.
AERIAL LOCK: CUT 9 is a locked straight-down overhead from forty meters, level, with Gabriel small and centered and his wings spread flat. No descent, rise, rotation, drift or tilt.
SCALE LOCK: @gabriel is 3.2 m; every @fallen is 1.4 m, under half his height, in every shared frame.
WEAPON LOCK: Gabriel holds @gabriel_mace in his right hand in every cut and carries nothing else. He never raises it to his mouth, never blows it, and it makes no tone at any point.
WEAK LOCK: the @fallen come apart on first contact. None lands a blow, staggers him, dents armor, draws blood or tears cloth. He never blocks, parries or takes a fighting stance. The only thing that touches him is the discharge.
FLASH AND ASH LOCK: each @fallen ends in one flat hard-edged white light that expands, stops and is gone inside half a second, leaving a countable scatter of flat grey hand-drawn ash flakes on twos. No bloom, no lingering, no rays, no fire, no explosion, no smoke, no sparks, no blood, and never a particle system.
WING LOCK: Gabriel's wings are white, intact and folded in every cut except the involuntary half-jolt in CUT 7. He never flies, hovers or uses them to strike.
MOON LOCK: one light source, the moon, unchanged in every cut. No second key, no torch, no fire, no lantern, no glow from any character, weapon or discharge.
EMPTY WORLD LOCK: nothing man-made exists in this world - no road, path, track, fence, wall, building, ruin, bridge, smoke, cut timber, people, animals or birds. Only land, grass, water, trees, cloud, sky, moon, Gabriel, his mace, the blades in the ground, the @fallen and one cast shadow.
PRINT LOCK: a worn 35mm print of a late-1990s hand-drawn anime in every frame - heavy swimming grain heaviest in the shadows, the image slightly soft overall, gate weave, halation on the moon and gold, faded dye with lifted blacks and creamed whites, low saturation, soft contrast, dust and scratches. NOT clean, NOT sharp, NOT glossy, NOT high-contrast, NOT modern.
NO MUSIC LOCK: no music, score, soundtrack, orchestral bed, ambient pad, drone, percussion or melodic instrumentation, and no sting, swell or rising tone on any beat. Diegetic sound only.
Same moon direction, same wardrobe in every cut. Cuts only at the specified points.

SCENE CONTEXT
Earth, open country along the river. Direct continuation - the last clip ended on more of them coming out of the treeline, and they have not stopped coming. This is attrition. @gabriel and @baal keep working, the horde keeps arriving, and nothing about it changes. The sequence is not about whether they win. It is about how long this goes on and how little it costs them. It runs the fighting, pulls back to see the whole flat from above, and then drops into the grass and lets the afternoon run out while the killing continues somewhere off camera. The audience should go from watching a fight to being bored of a fight to realising it has been going on all day.

STYLE
Hand-drawn 2D cel animation, late-1990s Japanese theatrical feature, photographed on 35mm film. Characters and weapons are DRAWN, not rendered: visible ink linework of varying weight, flat areas of painted color, hard-edged shadow shapes with a clean terminator - never a smooth gradient across a surface. Skin, cloth, armor, gold and feathers painted in three or four flat value steps with detail drawn in by hand. Fast action is carried the way 1990s theatrical animation carries it: smeared drawn in-betweens, drawn impact lines, held key poses on ones and twos, and brief drawn speed-streaks behind a swinging weapon - all of it INK AND PAINT, never motion blur. Backgrounds are hand-painted gouache on board with visible brush texture, depth built from flat painted layers and painted atmospheric haze rather than lens blur.

All light is painted: sunlight is a flat warm value step with a hard terminator, and every highlight on grass, gold and iron is a drawn hard-edged shape, never a computed specular. The light that takes each small shape apart is painted as a flat white hard-edged shape that expands and stops, and the dark ash left behind is drawn as a countable number of hand-animated flakes on twos - never a particle system, never a volumetric burst. The changing light of the final cut is a sequence of repainted flat sky states that hold and change, the way a 1990s animation stand changes background cels - never a smooth digital gradient animation.

The image is a film print. Heavy organic 35mm grain that swims between frames. Halation around the brightest whites and the gold. Slight gate weave. Faded dye layers, blacks lifting to warm dark grey, faint cyan-magenta separation at high-contrast edges. Dust in the gate.

Absolutely no 3D: no CGI, no polygonal geometry, no physically-based rendering, no raytraced or specular highlights, no environment-mapped reflections, no ambient occlusion, no global illumination, no subsurface scattering, no volumetric light shafts or god-rays, no particle systems, no computed depth of field, no computed motion blur, no smooth digital gradients, no shader-like skin or metal, no HDR glow, no game-engine look.

ACTIVE REFERENCES

@gabriel - A tall archangel, 3.2 meters, slighter than @baal, face uncovered and composed. Armor and robes in white and gold with fine drawn detailing. Wings full, clean and intact, folded throughout. He carries @gabriel_mace in his RIGHT hand in every cut and carries nothing else. 100% matches the reference. SHEET LOCK: reference-sheet layout NOT inherited - no grey studio backdrop, no display pose, no border, no titling or annotation.

@baal - An archangel, 3.2 meters, heavy-built and dark-toned. Angel form, before the fall. Armor in slate and storm-grey with deep violet cloth, storm iconography worked into the plating and the fabric as PAINTED DESIGN ONLY. Face uncovered, eyes normal. Heavy boots. Wings full and intact, folded throughout. He carries @baal_trident in his RIGHT hand in every cut. 100% matches the reference. SHEET LOCK: reference-sheet layout NOT inherited - no grey studio backdrop, no display pose, no border, no titling or annotation.

@gabriel_mace - The Seraphic Trumpet Mace. A two-handed mace whose head is a trumpet bell: a flared conical bell of polished gold with deep blue enamelled panels set between gold ribs, each panel bearing small gold four-point stars, and the bell's mouth open and dark gold inside. Six long tapering gold spikes radiate from the crown of the bell, with a ring of shorter spikes around its circumference. The shaft is a straight hollow gold tube with banded gold collars and star ornament, widening at the butt end into a trumpet MOUTHPIECE. Two long white-and-blue banner pennants hang from the head on fine gold chains, printed with gold starbursts, with small star-shaped weights on the chain ends. Roughly 2.2 meters overall. White, gold and deep blue. 100% matches the reference. SHEET LOCK: weapon-sheet layout NOT inherited - no parchment background, no multiple views, no front view, no side view, no cross-section, no detail insets, no callout boxes, no arrows, no annotation text, no titling. Only the single weapon exists in the scene, held in his hand.

@baal_trident - The Storm Trident. A long black-iron trident, roughly 3 meters, taller than a man. The head is three blades fused at a central boss: a long straight central spike flanked by two barbed side blades that recurve outward and back in hooked, jagged plates. Blue-violet lightning veining runs through the dark metal of the head and spirals down the haft as engraved lightning pattern, and a single violet star-point sits at the center of the head. The haft is dark iron with spiral engraving and banded collars. Two long tattered violet-grey banner pennants hang from below the head on chains, printed with pale gold starburst motifs, with small star-shaped weights on the chain ends. The butt end is a spiked star-shaped striking cap. Black iron, violet and dull gold. 100% matches the reference. SHEET LOCK: weapon-sheet layout NOT inherited - no parchment background, no multiple views, no front view, no side view, no cross-section, no detail insets, no callout boxes, no arrows, no annotation text, no titling. Only the single weapon exists in the scene, held in his hand.

@fallen - The small fallen creatures. 1.4 meters, less than half the height of an archangel, low-slung, fast and dark-toned against the bright ground. They ATTACK, continuously and in numbers, for the entire clip: out of the grass, off the treeline, sprinting in, leaping, swarming, climbing. They are fast and committed and far too weak to matter - every one of them comes apart on first contact. There is always another one arriving. 100% matches the reference. SHEET LOCK: reference-sheet layout NOT inherited - no grey studio backdrop, no display pose, no border, no titling or annotation.

@earth_river_day - A braided river under an enormous deep-blue daylight sky. One towering white cumulus mass stands screen-right, with bands of smaller cumulus running out across the horizon to screen-left. A distant blue mountain range with traces of snow sits along the skyline, with rolling green hills and dark conifer forest stepped in front of it. The lower half of frame is the river: wide pale grey-white cobble bars splitting the flow into several shallow channels of blue-green water, with white broken water running over rock in the near foreground. A rocky cobble bank with low green scrub occupies the bottom-left corner. Painted in flat value steps with hard-edged whitewater highlights, high-key and bright, the sky the dominant color. 100% matches the reference. Controls the environment, the terrain and the cloud architecture in every cut of this clip. Its daylight color is the starting state of the light; CUT 8 carries that same geography into evening.

LOCATION MAP
The same continuous battleground as the previous clip: a wide green flat between the river and the forest edge, roughly three hundred meters across and open, with pale cobble bars and shallow channels along its screen-left edge and the dark conifer treeline running along its screen-right edge at about a hundred and fifty meters. The distant blue mountains sit on the skyline at forty kilometers behind painted haze.

@gabriel works the screen-left half of the flat, nearer the water. @baal works the screen-right half, nearer the treeline. They are never closer than twenty meters to one another and never share a frame except CUTS 6 and 7.

The @fallen always come from the treeline and out of the long grass, which is to say they always come from screen-right and from the depth of frame, moving toward camera and toward screen-left. That direction never reverses in any cut.

Scale holds absolutely: @gabriel and @baal are 3.2 meters, every @fallen is 1.4 meters.

The grass across the flat is progressively flattened and the grey ash progressively accumulates across the clip, so the ground in CUT 8 is visibly more trampled and more ashen than the ground in CUT 1.

FORMAT MODE
Sequence of cuts, no timecodes - cuts only at the specified points, the camera does not cut on its own.

CUT 1 - MEDIUM @gabriel, THE NEXT WAVE, 47 degrees. 0.0s-3.0s. Real time.
@gabriel from the side, planted screen-left, the ground around his boots already grey with ash from the previous wave. Four @fallen arrive from screen-right in a loose line, one after another rather than together. Camera locked.

He takes them on one flat horizontal swing each, four swings, the bell leading, drawn speed-streaks trailing the gold across frame. The rhythm is even and unhurried, like a man working through a stack. Four flat white lights, evenly spaced. His feet do not move. He is looking at the treeline, not at any of them.

CUT 2 - MEDIUM @baal, THE SWEEP, 47 degrees. 3.0s-5.5s. Real time.
@baal screen-right, trident held low in both hands. Three @fallen come in abreast. Camera locked.

He swings the trident in one flat horizontal arc at knee height and takes all three off their feet on the same pass - the haft carries them, not the blades. Drawn speed-streaks follow the length of the iron. Three flat white lights go off low to the ground almost together, and the pennants snap around behind the head.

He brings the trident back up to level without looking down.

CUT 3 - LOW ANGLE @gabriel, THE CLIMBERS, 47 degrees. 5.5s-8.0s. Real time.
Up at @gabriel from ground level, blue sky and the white cumulus mass behind him. Three @fallen are on him at once - one at his hip, one on his back, one coming up over his shoulder. Camera locked.

He does not turn and does not break stance. He takes the one coming over his shoulder out of the air with a short flat swing of the mace across his own chest. He takes the one at his hip off with the back of his left hand. The one on his back he removes by rolling his shoulders once. Three white lights, one above frame-center and two below. Ash falls past the camera.

Throughout, his eyes stay level on the treeline and his expression does not change.

CUT 4 - MEDIUM @baal, THE DRIVE, 47 degrees. 8.0s-10.5s. Real time.
@baal facing into depth toward the treeline, back three-quarters to camera. Two @fallen come straight at him. Camera locked.

He drives the trident forward in a short two-handed thrust, takes the first on the three blades, and keeps walking forward two strides with it still on the head until the second runs into it as well. Then he snaps the trident down and sideways, and both of them are flat white light and ash sliding off black iron.

He keeps walking. He has not stopped moving forward once.

CUT 5 - WIDE @gabriel, THE CIRCLE AGAIN, 65 degrees. 10.5s-13.0s. Real time.
@gabriel from a slightly high angle with six @fallen closing on him from every side at once. Camera locked.

One single unbroken rotation of the body, mace at full extension, the gold bell sweeping a flat circle. Drawn circular speed-streaks ring him. Six flat white lights fire in sequence around the circle. When the rotation finishes he is standing exactly where he started with the mace coming down to his side - and two more are already running in from screen-right.

CUT 6 - LOW WIDE, BOTH SIDES WORKING, 65 degrees. 13.0s-15.5s. Real time.
Camera low in the grass between them, the flat running away into depth. @gabriel is a small figure screen-left and @baal is a small figure screen-right, both at distance, both working, neither acknowledging the other. Camera locked.

@fallen cross the frame constantly in both directions at mid-depth. White lights fire on both sides of frame, out of sync, overlapping, continuous. Grass whips. Ash drifts across the foreground in long drawn lines.

The frame is busy and nobody in it is in any trouble.

CUT 7 - AERIAL, THE WHOLE FLAT, 84 degrees rectilinear. 15.5s-21.0s. Real time.
High above the flat, looking down at a steep angle, the river and its pale cobble bars across the top-left of frame, the dark treeline across the bottom-right, the green flat filling the middle, the blue mountains on the far skyline through painted haze.

CAMERA MOVES - this is the only moving shot in the clip. A slow, even, straight lateral drift from screen-right to screen-left across the flat, executed as a flat 2D pan across a hand-painted background. The background slides; the perspective never changes, nothing parallaxes, nothing rotates, nothing tilts, nothing zooms and the camera does not descend.

From up here @gabriel and @baal are small white and slate figures standing a long way apart in a great deal of green, and the @fallen are a dark moving scatter streaming out of the treeline toward them in a steady unbroken flow. Tiny flat white lights go off continuously across the whole flat, three or four a second, like something boiling. Grey ash lies in long pale drifts across the trampled grass, marking out how much ground has already been fought over.

The scale of the flat against two figures is the point of the shot. Hold the drift all the way to the cut.

CUT 8 - LOW IN THE GRASS, THE DAY GOES, 65 degrees. 21.0s-30.0s. Real time, continuous, no cut inside it.
Camera lying in the grass at the screen-left edge of the flat, lens height about twenty centimeters. Tall grass blades stand in the extreme foreground in sharp drawn silhouette across the bottom third of frame. Beyond them the open flat runs away empty to the dark treeline, and above that the enormous sky with the white cumulus mass and the distant blue mountains. Camera locked, rigid, no movement of any kind.

NEITHER ARCHANGEL IS IN THIS SHOT. NO @fallen IS IN THIS SHOT. The fight is off camera, somewhere out to screen-right, and we only know it is still happening from two things: flat white light flickering across the grass and the underside of the clouds from beyond the right edge of frame, irregular, several times a second, never showing its source - and the sound.

Across the nine seconds the light goes from full day to sunset, played as a series of repainted flat sky and ground states that hold and then change, roughly five steps, the way a 1990s animation stand swaps background cels. Grain and gate weave continue through every change.

Stage one, 0.0s-1.5s: full high day, exactly the light of the previous cuts, short shadows.
Stage two, 1.5s-3.5s: the key warms, the green goes golden, shadows stretch long across the flat toward screen-right.
Stage three, 3.5s-6.0s: low amber. The undersides of the cumulus catch fire in flat orange steps. The mountains go deep blue-violet. The grass silhouettes in the foreground go nearly black.
Stage four, 6.0s-8.0s: the sun itself enters frame low at the screen-left edge - a flat painted orange disc, hard-edged, no flare, no rays, no bloom - and sits on the horizon. The sky above it runs from orange through rose to deep blue at the top of frame in flat painted bands.
Stage five, 8.0s-9.0s: the disc is half gone. The top of the sky goes violet. The land is almost silhouette. The white flashes from off screen-right are now the brightest thing in the frame by a long way, and they have not slowed down at all.

Hold on the last state. Cut.

OPTICS
CUTS 1, 2, 3 and 4: 47 degrees, the angel and the action sharp, the background a flat painted layer. CUTS 5 and 6: 65 degrees, all figures sharp. CUT 7: 84 degrees rectilinear, everything sharp, depth carried by painted haze only. CUT 8: 65 degrees, the foreground grass blades and the far treeline both sharp - no rack focus, no shallow depth, the whole frame drawn. All softness is painted, never computed blur or bokeh. Fast movement is carried by drawn smears, drawn speed-streaks and drawn impact lines - never by computed motion blur. Real time throughout; there is NO slow motion, no speed ramp and no speed change anywhere in this clip, and the light change in CUT 8 is a staged repaint, not a timelapse speed effect on the motion.

CAMERA
Every cut except CUT 7 is rigid and locked off - no push, no drift, no tilt, no pan, no track, no handheld, no shake, no roll, no arc, no orbit, no whip, and the camera never follows a swing, a body or an impact. CUT 7 is the single exception and carries one movement only: a slow even straight lateral drift from screen-right to screen-left, flat, as a 2D background pan with no perspective change, no parallax, no descent and no rotation. Screen direction holds absolutely across all eight cuts - the @fallen always come from screen-right and from depth, @gabriel always works screen-left, @baal always works screen-right.

ACTION
CUT 1: four swings landing at 0.5s, 1.2s, 1.9s and 2.6s, evenly spaced. CUT 2: the arc begins at 0.6s and sweeps through all three by 1.4s. CUT 3: the three land at 0.5s, 1.2s and 1.8s. CUT 4: the thrust at 0.5s, two forward strides between 0.9s and 1.7s, the snap-down at 2.0s. CUT 5: rotation begins at 0.7s and completes at 2.0s, six lights firing across it, two new arrivals entering frame at 2.2s. CUT 6: continuous crossing movement and overlapping lights for the full duration, no single readable event. CUT 7: the pan runs at a constant rate for the full 5.5 seconds, the scatter of @fallen streaming from treeline to flat without a break, lights firing continuously. CUT 8: no figure movement at all; only grass in wind, drifting ash, the five staged light changes and the off-screen flashes.

PERFORMANCE
Neither archangel is fighting. No battle faces, no shouts, no gritted teeth, no effort, no satisfaction, no disgust, no boredom played as performance. @gabriel works with the economy of a man clearing a path and keeps his eyes on the treeline the entire clip, because no individual creature in front of him is worth looking at. @baal is more physical and keeps moving forward, and his only tell is that he actually watches what he hits. Neither of them ever looks at the other, speaks, signals, or acknowledges that there is a second archangel on the field. The @fallen, by contrast, attack with total commitment - fast, willing, completely outmatched - and the gap between how hard they try and how little it costs is the whole sequence. All emotion is carried in drawn held frames and flat value steps, never in micro-detail of skin or surface.

PHYSICS
The mace carries all its mass in the bell head and swings on that weight; struck creatures leave on flat trajectories at speed rather than crumpling. The trident is three meters of black iron and swings and thrusts with real inertia, and the haft can carry bodies as well as the blades. The @fallen are light, roughly a quarter of an archangel's mass, and every impact moves them completely while moving the archangel not at all. Ash flakes are a countable number, drawn, hand-animated on twos, carried off by the wind, and they accumulate on the ground across the clip. Both sets of banner pennants whip hard on every swing and settle between them. Grass flattens where boots and bodies pass and springs only partway back, so the field degrades visibly from CUT 1 to CUT 8. Wings stay folded and lag a beat behind the body on every turn.

LIGHTING
One sun throughout. In CUTS 1 to 7 it is high and slightly behind camera-left at 5600K, unchanged, flat warm key, hard terminators, short shadows falling to screen-right. In CUT 8 and only in CUT 8 the sun descends through the five staged states described in that cut, from 5600K high day down to roughly 2200K on the horizon, as repainted flat value steps with hard terminators, never a smooth gradient.

Each @fallen ends in a second, momentary source - a flat white hard-edged shape that expands and stops inside half a second, throwing a brief hard rim onto the nearest grass and armor and nothing more. These lights never bloom, never soften, never linger and never overlap into a general glow, even in CUT 5 and CUT 7 where many fire in sequence. In CUT 8 these same flat white lights arrive from beyond the screen-right edge of frame and light the grass and the cloud undersides for a frame or two at a time, and their source is never shown.

COLOR
A painted palette, not a grade. CUTS 1 to 7: deep blue sky, white cumulus, strong green grass, pale grey cobble, blue-green water, dark conifer green, hazed blue mountains. @gabriel's white and gold is the brightest moving element in frame; @baal's slate and violet with black iron is the darkest; the @fallen read as dark holes moving across bright ground. CUT 8 carries that palette through gold, amber, orange and rose into deep blue and violet in flat painted bands, with the foreground grass going to near-black silhouette. The grey ash is neutral and accumulates across the clip until it is visible in long pale drifts in CUT 7 and as grey patches in the grass in CUT 8. Faded film-print values throughout - blacks sitting at warm dark grey, never pure black.

AUDIO
Open country ambience under every cut: a wide river wash from screen-left, wind through grass, the dark treeline in the wind. No birds. No animals. No insects.

CUTS 1 to 5: the near sounds of the work, dry and close - heavy gold and iron cutting air, flat impacts against light bodies, bodies leaving at speed, short flat concussions of light with no tone to them, cloth pennants snapping taut, claws scrabbling on armor plating, running feet arriving on grass. Continuous, overlapping, and never building.

CUT 6: the same sounds but at distance on both sides of frame, left and right, out of sync with each other, with the river wash and the wind sitting over the top of them.

CUT 7: heard from high above - the whole flat as one continuous low granular wash of running, impacts and flat light concussions, no individual event resolving, wind loud and close over it because the camera is up in it.

CUT 8: the fight is OFF CAMERA and far away to screen-right. Its sound is distant, thinned, carried on the wind, rising and falling as the wind moves - impacts and flat light concussions softened by three hundred meters of open air, with no individual strike clearly resolvable. In the near field: grass moving, the river wash, wind. The distant fighting does not slow, does not thin out and does not resolve across the nine seconds; it is still going at exactly the same rate on the last frame as on the first. The last two seconds get quieter in the near field, not in the distance.

No dialogue anywhere in this clip. Neither @gabriel nor @baal speaks and no mouth forms words. Neither of them grunts with effort, shouts, pants or breathes hard at any point. The @fallen make running, leaping and scrabbling sounds and nothing else: no screams, no shrieks, no roars, no snarls, no death cries, no speech. The trumpet mace is never blown and makes no tone, note or musical sound at any point. NO MUSIC of any kind - no score, no soundtrack, no orchestral bed, no ambient pad, no drone, no percussion, no melodic or tonal instrumentation anywhere in the clip, and specifically no action cue, no rhythmic bed, no drum hits on impacts, no swell on the aerial and no sunset cue over the final shot. Diegetic sound only.

OUTPUT SETTINGS
21:9 aspect ratio, 30 seconds total, real time throughout.

POSITIVE LOCKS
STYLE LOCK: hand-drawn 2D cel animation photographed on 35mm film - drawn ink linework, flat painted color in discrete value steps, hard-edged shadow shapes, hand-painted gouache backgrounds, drawn smears and speed-streaks for fast motion, hand-animated ash on twos, organic swimming film grain, halation, gate weave, faded dye layers, dust in the gate. NOT 3D, NOT CGI, NOT a render, NOT photoreal, NOT a game engine. No polygonal surfaces, no raytraced or specular highlights, no environment-mapped reflections, no ambient occlusion, no global illumination, no subsurface scattering, no volumetric light shafts or god-rays, no particle systems, no computed depth of field or bokeh, no computed motion blur, no smooth digital gradients, no shader-like skin or metal, no HDR glow, no clean vector edges.
CAMERA MOVEMENT LOCK: CUT 7 is the only cut in this clip with any camera movement, and its movement is one slow straight lateral drift from screen-right to screen-left, flat, as a 2D painted-background pan. No perspective change, no parallax, no descent, no tilt, no rotation, no zoom in that cut. Every other cut, CUT 8 included, is rigid and locked off with no movement whatsoever.
ENDING LOCK: CUT 8 contains no archangel and no @fallen. @gabriel, @baal and every @fallen are entirely out of frame for the whole nine seconds. No figure enters frame, no silhouette appears at the treeline, and the source of the white flashes is never shown. Do not put the fight back on camera for the ending.
SUN LOCK: the sun is fixed high and slightly behind camera-left, with short shadows falling to screen-right, in CUTS 1 through 7 with no variation. It descends to the horizon ONLY in CUT 8, in five staged repainted steps, and the sun disc appears in frame only in the last three seconds of CUT 8, low at the screen-left edge, as a flat hard-edged painted orange disc with no flare, no rays, no bloom and no glow. No other cut shows the sun.
SUNSET LOCK: the light change in CUT 8 is a sequence of repainted flat sky and ground states that hold and then change. It is never a smooth animated gradient, never a digital color ramp, never a cross-dissolve between photographs and never a speed-up of the motion in frame - the grass, the ash and the flashes all move in real time while the light changes around them.
ATTACK LOCK: the @fallen attack continuously and in numbers throughout CUTS 1 to 7. They charge in the open, leap, swarm and climb, and they come head-on from the treeline and the grass. None hides, burrows, takes cover, is searched out from under a rock or is chased down from behind. The archangels never go looking for them - they come, and they keep coming, and there are more at the treeline on the last frame of CUT 7 than there were on the first frame of CUT 1.
WEAK LOCK: every @fallen comes apart on first contact. Not one lands a blow that registers, staggers an archangel, moves an archangel's feet, dents armor, draws blood, tears cloth or breaks a feather. Neither @gabriel nor @baal blocks, parries, dodges, ducks, rolls, retreats, braces or takes a fighting stance at any point. Neither is ever in danger and the clip never suggests otherwise.
EFFORT LOCK: neither archangel shows exertion. No battle cry, no shout, no grimace, no gritted teeth, no sweat, no heavy breathing, no panting, no bracing, no recovery beat after a strike, and no sign anywhere in the clip that either of them is tiring even though hours pass.
BAT LOCK: @gabriel's strikes are horizontal batting motions, swung flat with the bell head leading. He never stabs, chops, thrusts or raises the mace overhead. His feet stay planted in CUTS 1, 3 and 5, and in CUT 5 the full rotation returns him to the exact spot he started on.
TRIDENT LOCK: @baal_trident stays in @baal's RIGHT hand in every cut of this clip. It is NEVER thrown, never leaves his hands, never spins in the air, never glows and is never recalled. It is used for flat horizontal sweeps with the haft and short two-handed thrusts with the blades, and nothing else.
WEAPON LOCK: exactly two weapons exist in this clip. @gabriel_mace is @gabriel's and stays in his RIGHT hand in every cut. @baal_trident is @baal's and stays in his RIGHT hand in every cut. They are never exchanged, never swapped to the other hand, never set down, never dropped, and neither archangel carries any second weapon, sword, shield, bow or knife.
WEAPON SHEET LOCK: both weapons appear as single physical objects. No parchment background, no multiple views, no front view, no side view, no cross-section, no detail insets, no callout boxes, no arrows, no annotation text and no titling appear anywhere in frame.
WEAPON GLOW LOCK: the violet veining and the violet star-point on @baal_trident are flat painted value steps with hard edges. They do not pulse, flicker, crawl, brighten, spark, arc, trail or cast light at any point. The gold of @gabriel_mace carries drawn hard-edged highlight shapes only, with no bloom, no travelling glint and no trail of light behind a swing. Speed-streaks are drawn ink lines, not glowing energy.
TRUMPET LOCK: @gabriel_mace is used as a mace. @gabriel never raises it to his mouth, never blows it, and it produces no note, tone, blast or musical sound at any point.
LIGHT LOCK: each @fallen ends in one flat, hard-edged white light that expands, stops and is gone inside half a second, leaving a countable scatter of grey ash. The light does not bloom, pulse, linger, flare, streak or form rays, and multiple lights stay separate rather than merging into a glow, including in CUT 5 and CUT 7. There is no fire, no explosion, no smoke, no sparks, no embers and no blood anywhere in this clip.
ASH LOCK: the ash is a countable number of flat grey hand-drawn flakes, hand-animated on twos, drifting on the wind, and it accumulates on the ground across the clip so the field is visibly more ashen in CUT 7 and CUT 8 than in CUT 1.
SCALE LOCK: @gabriel and @baal are each 3.2 meters. Every @fallen is 1.4 meters, under half their height, in every frame they share. The size difference is never reduced for drama, and no @fallen is ever drawn larger to make an attack look threatening. No @fallen is given a close-up of its face at any point.
WING LOCK: both archangels have full, clean, intact wings matching their sheets, folded in every cut and readable in silhouette. Neither opens his wings, flies, hovers, takes off or uses them to strike at any point, including in the aerial cut - CUT 7 is a camera position, not a point of view, and neither archangel is airborne in it.
BAAL FORM LOCK: @baal is in his ANGEL form throughout this clip. Full clean wings, normal eyes, no corruption, no black sclera, no horns, no claws, no demonic features of any kind. He is not @baal_demon and nothing about him has changed yet.
SEPARATION LOCK: @gabriel and @baal never come within twenty meters of each other, never share a frame except in CUTS 6 and 7 where both are small and distant, never fight back to back, never cover each other, never look at each other and never speak or signal.
STORM LOCK: @baal's storm iconography and the lightning pattern on his trident are painted design only. There is no lightning, no thunder, no electrical arc, no charged glow, no wind change and no darkening of the sky from weather at any point - the only light change in the clip is the sun going down in CUT 8, and the weather stays fair and clear throughout.
EMPTY WORLD LOCK: nothing anyone made exists anywhere in this world. No road, no path, no track, no field, no fence, no wall, no building, no ruin, no boat, no bridge, no smoke, no cut timber, no people, no animals, no birds, no fish. The only things in frame are land, grass, water, trees, cloud, sky, the two archangels, their two weapons and the @fallen.
SILENCE LOCK: no man speaks and no mouth forms words anywhere in this clip - no lip movement, no mouthed syllables, no shouts. The @fallen make movement sounds only and never cry out.
NO MUSIC LOCK: no music, score, soundtrack, orchestral bed, ambient pad, drone, percussion or melodic instrumentation of any kind exists in this clip, no action cue, no rhythmic bed, no drum hits on impacts, no swell on the aerial, no cue over the sunset, and the trumpet mace produces no tone. The audio bed is diegetic sound only - river wash, wind in grass, running feet, leaps, impacts, flat light concussions, iron and gold through air, earth, armor and cloth pennants.
Same wardrobe in every cut. Cuts only at the specified points.
No BGM. No background music or musical score. This restriction applies only to music; preserve all requested dialogue, reference speech, narration, ambience and action sounds.