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Troy arrives late with drugs, blaming someone else. He gives $2 to the speaker, who calls him a savior. The speaker questions reality due to computer issues. Troy suggests unplugging and taking a break. They invite the speaker to join them, who agrees to go despite having work the next day.

Terry, it's not the 1980s. These people will harm you. Please stop. I beg you. They will kill you.

The speaker demands someone leave and stop touching people, telling them to keep their hands to themselves. The speaker questions why the person always resorts to violence, citing examples such as Teslas and Molotov cocktails. The speaker advocates for peaceful protest.

The speaker expresses extreme anger and repeatedly tells someone to leave. They call the person "insane" and threaten physical violence. The speaker claims they are trying to "wake people up" and that "you've been psychologically you're literally been." The speaker then asks, "Are you happy now?"

The speaker briefly greets someone and mentions being behind the SFTP. They mention something about being on the main side of the cops and then abruptly tell someone to "fuck off" and to go up.

Speaker 0 urges someone to go home as there are many people and it could get dangerous. They mention seeing others getting hurt and not wanting the person they are speaking to get hurt. They promise to create a safe path.

Terry, it's not the 1980s. These people will harm you. You have to stop and back off. Please, I'm begging you. They will kill you.

The speaker initially encourages "Venom" with cowboy commands, then realizes "Venom" is broken. The speaker then states they no longer want to play with "Venom."

The speaker urges someone to freeze up and repeatedly says "bloody" and "your buddy." They tell the person to go in the freezer and repeatedly say "just get in."

Speaker 0 issues a terse instruction sequence directed at someone present: first, to “Back off.” Then, to consider the option of not responding to “them,” followed by a firm directive to “Just don’t say anything.” The sequence culminates in an explicit expression of confusion or incredulity with the line, “What the fuck is this?” This single speaker’s comments convey a clear, multi-step control directive intended to alter the other person’s behavior in the moment. The initial directive, “Back off,” functions as a command to create distance or cease engagement, signaling that the speaker feels the situation or the other party warrants withdrawal or reduced interaction. The subsequent line, “You don’t have to respond to them,” reinforces the aim of disengagement, emphasizing autonomy in choosing whether to engage with the other party. The third directive, “Just don’t say anything,” further narrows permissible action to complete silence, removing the possibility of a spoken response and steering the recipient toward nonverbal comportment or radio silence, depending on the context of the interaction. The closing line, “What the fuck is this?” introduces a sudden emotional reaction—likely confusion, disbelief, or frustration—directly addressing the nature of the situation. The profanity underscores a high level of intensity or surprise, suggesting that whatever is unfolding has elicited a strong, immediate response from Speaker 0. Taken together, the lines present a coherent set of instructions aimed at minimizing interaction and exposure to the other party (“them”), coupled with a reaction that questions the premise or quality of the ongoing scenario. The sequence emphasizes control and restraint, urging silence and withdrawal, while also capturing an abrupt, exclamatory moment of perplexity or dissatisfaction.

The scene centers on a tense, improvisational act that mixes technical danger with the formation of a rebellious mission. Speaker 0 is shown building a closed circuit, insisting on keeping a cap shunted “so you don’t accidentally detonate your charge,” and pressing to “create a show,” framing the moment as “an announcement of revolution. The message is clear.” Speaker 1 responds with a chilling promise: “I’ll be seeing you very soon.” The conversation then pivots to a ceremonial claim: “for bringing justice to the vigilante group known as the French seventy five, we are here to award Steven Lockjaw with the medal of honor.” The dialogue hints at love and loyalty with the line “You have to understand who will love you.” A personal vignette emerges: Speaker 0 recalls, “Me and mom used to run around and do some real bad / They got hurt. Now they're coming after us. I'm sorry.” The exchange reveals a sense of fatalism, as Speaker 0 asserts, “I didn't ask for this. That's just how the cards were rolled out for me,” only to be corrected by the other voice: “It's not cards. You don't roll cards. It's dice.” A moment of familial friction follows: “Dad, what is wrong with you? You're right.” They prepare to move on with “Let's go.” The scene shifts to a tunnel-like tension: “Tunnel. What? What's going on?” and a practical but desperate plea for weaponry: “I need a weapon, man. All you got is goddamn nunchucks here. You know where I can get a gun?” The dialogue then reflects a concern to protect “you from all your mom's stuff, from all my stuff, even though I know that's impossible.” A stark line marks a turning point: “This is the end of the line.” “Not for you.” A new character arrives: “Woah. Who's this?” They explain, “Oh, they're just my friends,” and dialogue turns to pronouns: “Now is that a he or a she or a they? It's not that hard. They, them. Okay.” A brief courtesy follows: “I just wanna be polite.” Then an intimate moment: “Yo. Say it. Say it, baby.” Endearments are exchanged: “Love you, Bob. Love you too.” The closing vibe asserts a philosophy of freedom: “You know what freedom is? No fear. Just like Tom Cruise.”

Speaker 0 tells Felicia to stop and not make things worse. Speaker 1 repeatedly tells Felicia to get out of their face. Speaker 2 also tells Felicia to get out. Speaker 3 reassures Felicia that they are not leaving and tries to calm her down. Speaker 1 asks why Felicia is behaving that way and Speaker 0 mentions that they are trying to help. Speaker 2 continues to tell Felicia to get off their face. Speaker 4 notes that Felicia's energy seems to be fading. Speaker 0 tells Felicia that she might go to jail if she continues. Speaker 1 doesn't care and wants them to get off their face. Speaker 0 suggests going to the hospital instead of jail. Speaker 1 insists on getting them off their face. Speaker 3 tells Felicia to be quiet. The transcript ends with Speaker 2 repeating the request to get them off their face.

Speaker 0 contends that the medical industry operates on a foundational lie. They claim that John D. Rockefeller bought all the major universities and major media companies early on, using his money to create his own curriculum for medicine. According to this view, the only way to obtain grants was to use that curriculum for medicine, and that curriculum was based on pharmacology. The assertion continues that pharmacology was rooted in the extraction of substances from oil, and that these medicines extracted from oil were discovered to be cancer-causing. It is claimed that those in power used their influence and media reach to debunk all forms of natural therapy. The statement then alleges that any doctor who dared speak up against them was completely discredited, had their lives destroyed, and some were assassinated and killed. The speaker adds a broader maxim: whatever you need in life will control you, and if you think you need your pills, you’ll be controlled by the pharmaceutical companies and the people who control them. The message concludes with an emotional reaction, “Anyway, fucking hell. Just calm down.”

Speaker 0 asks if someone has number 1 and questions if it is a valid proof. The speaker then asks for help and states that what they have is for everyone. They express frustration and tell someone to stop. The speaker offers someone a hit and encourages them to take it. They mention doing something right here and then the transcript ends.

The speaker alerts someone, referred to as "Holmes," that their "crack is out." The speaker then addresses "Ma," urging her to look away from something. The speaker questions someone's actions, stating there are kids and the speaker's mother present. The speaker calls someone "sickos."

Speaker 0 tells Felicia to stop and not make things worse. Speaker 1 repeatedly tells Felicia to get out of their face. Speaker 2 also tells Felicia to get out. Speaker 3 reassures Felicia that they are not leaving and tries to calm her down. Speaker 1 continues to argue with Speaker 3. Speaker 4 notes that Felicia's energy seems to be fading. Speaker 0 tries to reason with Felicia and mentions someone named Patty. Speaker 2 asks for help to get someone off their face. Speaker 0 warns Felicia that she might go to jail. Speaker 1 doesn't care and wants the person off their face. Speaker 3 tries to calm Felicia down. Speaker 0 suggests going to the hospital instead of jail. Speaker 1 insists on getting the person off their face. The conversation ends with Speaker 3 saying they have something.

The speaker is having a conversation with someone named Dave. They are discussing whether or not they should go out somewhere and if they will get arrested or shot if they do. They mention that there are about a dozen people involved. They also ask if they can go up somewhere, but it is unclear if they are allowed. The speaker reiterates that they don't want to get arrested or shot.

Door closed. Where's Viv? Get over there. You good? Get out.

This message is for the cartel. The speaker claims they didn't ask for any problems and were a fan of the cartel's products in their twenties. The speaker suggests the cartel break the rules and get high on their own supply. They claim the man the cartel is looking for lives at 1600 Pennsylvania Avenue in Washington DC, and suggest the cartel pay him a visit.

Speaker 0: To get off my property right now. Holocaust tonight, bitch. I can't wait for you to come out, Andy. Out. You thought the milkshakes were bad last time. Speaker 0: We're gonna beat the fuck out of you, bitch. Y'all, Andy knows here at the Nines Hotel. Andy knows inside the hotel calling the cops on everyone saying that he's gonna get killed out here. Speaker 1: Stop. No. Speaker 0: She has Speaker 1: to be. No. She's gone. You see my face, Andy?

The speaker repeatedly says "exit" and urges someone to leave. They mention not wanting to be grabbed and ask someone named James to stop touching them. The speaker also mentions staying in one place and not wanting to leave. The transcript ends abruptly with a question about why someone doesn't want to leave.

The exchange opens with Speaker 0 asserting aggression and a prowling return, declaring hostility and threat toward someone’s space and pursuit. Speaker 1 replies with a warning of forceful entry and a claim of having taken the other person’s girlfriend, underscoring a menacing confrontation. Speaker 0 then shifts into a personal confession and a turbulent inner state. They describe losing their mind and leaving a room behind, pursuing thrills and pain, and embracing that pain as part of their experience. A voice in their head is said to take away the pain, a mechanism they describe as healing through killing. They claim to be the truth that others fear, a mirror on the wall, and metaphorically the headlight on a car while others are the deer, establishing a self-image of danger and inevitability. The speaker proclaims insanity and asserts that the game remains the same, while riding through drained streets where faces they once trusted are now dust. They describe a mental maze and a progression from past to dawn, culminating in a sudden blaze or rise. There is a sense of relentless repetition in the world and the cycle of events. The narrative then references external pressures, including advice to take a pill and let go, which they reject by stating they are too cold to release violence. They recount being watched as they die or as something within them dies, describing a world as foolish and repeating the idea that “the same” persists. The overarching refrain centers on the notion that the game is unchanged and that their breath is a dream. Across the verses, themes of intrusion, betrayal, and domination intersect with intense internal conflict, where violence is both a response and a coping mechanism. The speaker asserts a continuing arc of mistrust, transformation, and uncompromising resolve, contextualized by a setting of street-level danger and a perception of being both observed and misunderstood. The fragment closes with a reiteration that the game remains the same, and that breath or life itself reads as a dream within this enduring cycle.

The speaker talks about something, but it is unclear what exactly. They mention receiving a phone call and asking someone to leave. There is also a mention of not knowing something and using the phrase "la la."

The speaker ends a conversation on a positive note, but suddenly becomes hostile, saying "Fuck you" and wishing the other person to "burn in hell." They then contradict themselves by telling the person to stay, but quickly change their mind and say "No." Finally, they reassure the other person that they are going in a certain direction and instruct them to inform the police to find them there.

Speaker 0 expresses intense anger toward the Trump administration, saying: "I give a fuck about any fucking person in the Trump administration being upset with giving them oh, how dare you?" They claim others have "no fucking idea to list the bodies that we have" and suggest that if they were serial killers, it would be like "Mal or something." They urge everyone to become emotionally detached from their online personas and to create burner accounts to "unmask all of these traders" and to impose the "threat of IRL consequences" because people use anonymity to act behind privilege. They state that Twitter should no longer be a safe place for these individuals and propose that someone should interrupt leadership by saying, "yeah, boss. I I can't do this anymore." They argue the government should consider the impact on families: "My kids and my address just fucking wound up on this platform. How the fuck did they find out who I am?" They insist that every time those people log in, they need to have "second fucking thoughts" and be terrified. They assert that "Security clearances don't mean a goddamn thing to me" and declare, "I guarantee you I'm 10 times smarter than you and your fucking best bet." Speaker 1 interjects: "Back the up, juicy." Speaker 2 responds with distress: "I'm not a Spit on me again." They request to be kept away from the person and say, "This guy's intimidating me. He's pushing me." They ask, "Where's your vehicle?" and answer, "It's in the garage." They further ask, "Hey. What is your name? Are you working for the hotel?" and Speaker 0 says, "I'm working. Tell me. Are" before the scene cuts off. Overall, the excerpt presents a heated monologue urging aggressive online accountability and real-world consequences for certain individuals operating under anonymity, followed by interruptions that reveal a tense confrontation involving intimidation, personal threat concerns, and questions about a vehicle and employment.