The ancient train that looked like a moving castle finally stopped in front of the platform after a long blast that resounded through the hall.
Green friend Rie Hui followed the passengers in line into the carriage.
Kumada Nobuhiko's camera has followed, and the film crew has followed closely.
"I said," the director was the only one still standing on the platform, trying to abide by the rules of the Demon Train Station, "don't we need to buy tickets?"
Kita Yosuke put down the clapperboard in his hand, ran down from the carriage door, put a damaged train ticket exuding a desolate atmosphere into Gu Xing's hand, and pulled him towards the carriage.
Only then did the director notice that at some point, each member of the alliance had an extra train ticket in their hands. Buying tickets was probably done by the most diligent Eijiro Kita.
When filming just now, the director saw Eijiro sneaking towards the ticket gate out of the corner of his eye. At that time, he was wondering why he put the other camera on the ground.
He lowered his head and glanced at the ticket. The text on it was roughly the same as the newspaper the demons had read before.
Terrible sense of illiteracy... I need to learn the language. The director thought to himself.
The film crew had too many belongings, including multiple sets of cameras, tracks, wires, tripods, cranes... The weirdos spent a lot of effort and finally squeezed all the belongings onto the train before it started.
The platform attendant with the head of a bear and the body of an octopus, waving more than a dozen tentacles, hurriedly helped to stuff the scattered props and slates that the film crew left on the platform into the cracks of the door, panting, and threw it at the director. A look of complaint and disgust.
The director bowed his hands and gave an apologetic look, then reorganized the team, led by Nobuhiko Kumada, carrying the camera, and slowly entered the train carriage with an anxious mood.
The Lido investigators who were watching the lobby video in the station monitoring room saw an empty waiting hall, Midori Rie, standing alone by the platform, and the weird alliance of Midori Rie who formed a group to film.
"To think that both "Playthings" and "Prey" were filmed by these 'things'," the frogman looked at the surveillance camera and exclaimed, "my heart goes crazy."
The next scene is even more shocking - there is no train arriving at the station, but Midori Rie, standing in front of the track, steps forward and disappears on the track. Then, the members of the Weird Alliance moved various filming objects and disappeared into the same place one by one.
The little boy holding the clapperboard disappeared and suddenly reappeared, holding the faceless director's hand and disappearing together.
"The Weird Alliance vs. Midoriya Rie... I think we can take another half hour of observation before we can take another shift,"
The frogman breathed a sigh of relief and looked at the frogman who was reading the "Jojo" comic and said: "Tomorrow, we will seal off the train station in the name of earthquake drill and see what happens."
The situation in front of us is indeed beyond the scope of the Bizarre Investigation Section. If we can really stay away and observe, everyone will feel good luck.
Saury put together the comic and expressed deep agreement.
"Hulu~"
A devil with an antenna on his head, green skin all over his body, and a body like a saury fish with arms and legs sat on the train seat. He took out a comic book from his muddy body and glanced at the Weird Alliance camera crew from the corner of his eye. He glanced at it, yawned, then picked up the comic book and read it intently.
The director looked at the cover of the comic and was shocked that the character on the cover was so similar to Jonathan Joestar in the "Jojo" comic, except that he had more magic horns and tentacles, as if the character had been modified from "Jojo" by another world. . It's a pity that the text on the cover is still the kind that a lizard crawls over.
The director directed the film crew to continue walking along the carriage aisle.
Compared to the tiny bodies of the grotesques, the carriage seemed extremely spacious. The demons were sitting in their respective seats, reading magazines and newspapers, looking out the window, or talking to each other. Their voices sounded like ringing bells, making people's ears hurt.
Most of the demons turned a blind eye to the camera crews that entered in groups. Occasionally, someone would notice them, but they would just give them a confused look, and then quickly look away.
Midori Rie's seat was in the middle by the window. She tried to look at the scenery outside the window, but she was too small. She stood on the chair and jumped on tiptoes a few times. She couldn't even reach the edge of the window, so she had to hug her knees. He sat down with his legs bent, took out an old-fashioned square box radio that could only be seen in the 1980s and 1990s from the leather bag he carried with him, and placed it on the train seat.
"Push one!"
The director directed Nobuhiko Kumada to use a crane to slowly push the camera towards Midorito Rie, and the framing changed from large to small, and the entire shot was filled with Midorito Rie's relaxed expression.
"Tch, subjective shot." the director said.
The camera immediately switched to Midori Rie's first perspective. The moment the camera changed, the carriage became quiet.
Through the public screen that transmitted the footage in real time, the director saw that the place had turned back into an ordinary carriage. The demons in the carriage had disappeared. Midori Rie was sitting alone by the window, looking out the window. The radio was placed on the table, next to her.
The director's eyes widened again, and he moved his gaze from the public screen to the carriage, and found that the devil was still there, each busy with his own business.
A demon with a squid head and an elk body pushed a giant trolley from another carriage. In order to avoid being driven into pieces, the members of the film crew had to temporarily retreat to their respective seats for safety.
The Octopus Demon God's cart was filled with a dazzling array of goods, including giant purple melon seeds, peanuts covered with giant earthworm-like parasites, dried fish fillets with hairs longer than a woman's hair, and unknown liquids suspected of being drinks loaded in huge barrels.
"Gubi! Xili Excavator~"
This is probably the cry of the Octopus Demon God, but it sounds very much like the blood sacrifice spell in the wizarding world. The director was trembling under the blood curse.
After the trolley passed, the crew returned to the aisle to continue filming.
The director, who had experienced a blood curse that almost killed him, regained his energy and directed Nobuhiko Kumada to use a large crane to continue pushing the camera towards Midorito Rie from far to near.
At this time, Midori Rie is still staring outside the window, time seems to have stood still on her, and it seems like she is waiting for the return of the film crew.
When Kumada Nobuhiko's camera stopped in front of her, she turned her head, looked at the radio on the table, and pressed the play button. Mamoru Yoshida's magnetic voice came from the stereo——
"After leaving home..."
Eijiro Kita quickly put on the headphones that played "It Rained Again in Nagasaki" for Gu Xing - once the complete sentence was heard, even the director would inevitably be involved in the weird story told by Mamoru Yoshida. Nobuhiko Kumada believes that this will seriously affect the quality and progress of tonight's shooting.
Naya, the film producer with the highest level of rules present, had to find a piece of paper and pen to record the story told by Mamoru Yoshida for Gu Xing:
[Lvzi rushed straight to Lidu Railway Station. No one knows how she got there, because those who know are destined to forget.
When she walked into the train station, she realized that she had accidentally stepped into the Demon Station where time and space intersect. She did not panic, and after queuing up at the ticket window, she still bought a ticket to Dongdu.
The conductor repeatedly reminded that it was a human station, and she said: Yes, I just want to go there...]
Seeing this, the director took out a notebook from his arms. The notebook contained the final version of tonight's story adapted by the writer and guests for Mamoru Yoshida.
He read it over and over...
————
Please note: Please move to the next part of this chapter. The writer is talking
－－－－－－Digression－－－－－
(The following continues from above)
He repeatedly read the text above and determined that the background of the story had undergone earth-shaking changes - in the previous version, there were no such strange demons at all...
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