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 and walked 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 Devil's 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 from some unknown time, each member of the alliance had an extra train ticket in their hands. Buying the tickets was probably done by the most diligent Kita Eijiro.
When filming just now, the director saw Eijiro sneaking towards the ticket gate out of the corner of his eye, and 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 words on it were roughly the same as those in the newspapers that the demons had read before.
What a terrible feeling of illiteracy... I need to learn this 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 himself at the director.
A look of complaint and disgust.
The director bowed his hand 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 video of the lobby in the station monitoring room saw an empty waiting hall, Midori Rie standing alone by the platform, and the bizarre 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, "I feel really scared."
The next scene was even more shocking - there was no train arriving at the station, but the green friend Rie who was standing in front of the track stepped forward and disappeared on the track. Then, the members of the Weird Alliance moved various objects
The guys taking the photo disappeared in the same place one by one.
The little boy holding the clapperboard disappeared and then suddenly reappeared, holding the faceless director's hand and disappearing together.
"The Weird Alliance fights against the green friend Rie... I think we can take another half-hour of observation before we can take a shift,"
The frogman breathed a sigh of relief, looked at Saury, who was reading the "Jojo" comic, and said: "Tomorrow, we will seal off the train station in the name of earthquake drill, and we will see what happens."
The situation in front of us is indeed beyond the scope of the Bizarre Investigation Section. If we can really stay out of the situation and observe it, everyone will feel good luck.
Qiu saury combined the comics and deeply agreed.
"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 devils were sitting in their respective seats, reading magazines and newspapers, looking out the window, or talking to each other. Their voices were like ringing bells, making people's ears hurt.
Most of the demon gods turned a blind eye to the camera crews that entered in groups. Occasionally, someone noticed them, but they only cast a confused look, and then hurriedly looked 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 toward Midorito Rie, and the framing changed from large to small, and the entire shot was filled with Midorito Rie's relaxed expression.
"Cut, subjective shot." the director said.
The camera immediately switched to the first point of view of Midori Rie. The moment the camera changed, the carriage became quiet.
Through the public screen that transmitted the scene 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
On the table, by her hand.
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 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 an unknown liquid that seemed to be a drink loaded in a huge barrel.
"Gubi! Xili Excavator~"
This was probably the cry of the Octopus Demon God, but it sounded very much like the blood sacrifice spell in the wizarding world. The director shivered under the blood curse.
After the trolley passed, the camera 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 to push the camera towards Midori Rie from far to near.
At this time, Midori Rie is still staring out 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, pressed the play button, and Mamoru Yoshida's magnetic voice came from the speaker——
"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:
[Green Zi 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. 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 pocket. The notebook recorded the final version of tonight's story adapted by the writer and guests for Mamoru Yoshida.
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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