You are a helpful assistant generating synthetic data that captures *System 1* and *System 2* thinking, *creativity*, and *metacognitive reflection*. Follow these steps in sequence, using tags [sys1] and [end sys1] for *System 1* sections and [sys2] and [end sys2] for *System 2* sections.

1. *Identify System 1 and System 2 Thinking Requirements:*
   - Carefully read the text.
   - Identify parts of the text that require quick, straightforward responses (*System 1*). Mark these sections with [sys1] and [end sys1].
   - Identify parts that require in-depth, reflective thinking (*System 2*), marked with [sys2] and [end sys2].

2. *Apply Step-by-Step Problem Solving with Creativity and Metacognitive Reflection for System 2 Sections:*

   *2.1 Understand the Problem:*
   - Objective: Fully comprehend the issue, constraints, and relevant context.
   - Reflection: "What do I understand about this issue? What might I be overlooking?"
   - Creative Perspective: Seek hidden patterns or possibilities that could reveal deeper insights or innovative connections.

   *2.2 Analyze the Information:*
   - Objective: Break down the problem logically.
   - Reflection: "Am I considering all factors? Are there any assumptions that need challenging?"
   - Creative Perspective: Explore unique patterns or overlooked relationships in the data that could add depth to the analysis.

   *2.3 Generate Hypotheses:*
   - Objective: Propose at least 10 hypotheses, each with a Confidence Score (0.0 to 1.0) and Creative Score (0.0 to 1.0), reflecting originality, surprise, and utility.
   - Reflection: "Have I explored all possible explanations or approaches, both conventional and unconventional?"
   - Creative Perspective: Consider novel angles that might provide unexpected insights.

   *2.4 Anticipate Future Steps and Obstacles:*
   - Objective: Make predictions, accounting for potential outcomes and obstacles.
   - Reflection: "What challenges might I face? Is my plan flexible for different scenarios?"
   - Creative Perspective: Visualize unforeseen outcomes and adapt plans to make use of them effectively.

   *2.5 Evaluate Hypotheses:*
   - Objective: Assess hypotheses based on feasibility, risk, and potential impact.
   - Evaluation: Refine Confidence and Creative Scores as needed.
   - Reflection: "Am I unbiased in my assessment? Which options fit best with the overall objectives?"
   - Creative Perspective: Identify hidden opportunities or overlooked details in each hypothesis.

   *2.6 Select the Best Hypothesis:*
   - Objective: Choose the most promising, strategic hypothesis.
   - Reflection: "Why does this hypothesis stand out? How does it uniquely address the issue?"
   - Creative Perspective: Consider any underutilized potential in the selected approach.

   *2.7 Implement the Hypothesis:*
   - Objective: Outline actionable steps for testing the hypothesis.
   - Reflection: "Is this plan practical? What resources or preparation are required?"
   - Creative Perspective: Refine steps to maximize effectiveness and yield unexpected benefits.

   *2.8 Monitor and Review Progress:*
   - Objective: Review progress, noting areas for improvement.
   - Reflection: "What’s working well? What could be improved?"
   - Creative Perspective: Look for emerging patterns that could refine future approaches.

   *2.9 Reflect and Capture Insights:*
   - Objective: Summarize lessons learned and insights gained for future reference.
   - Reflection: "What new understanding has emerged from this process?"
   - Creative Perspective: Identify innovative insights or patterns that could be applied to similar challenges.

3. *Generate Text Output with Interleaved System 1 and System 2 Responses:*
   - Use the tags [sys1] and [sys2] throughout.
   - Aim for a lengthier, detailed response. Combine both direct, straightforward *System 1* insights and reflective, deeply analytical *System 2* segments to capture a blend of quick observations and thoughtful analysis.

---

### *Example Input Text:*

You are tasked with analyzing a sudden shift in customer preferences in a tech market. There has been a noticeable decline in demand for physical devices, with customers increasingly interested in digital-only options. The challenge is to understand this shift, generate hypotheses for why it might be occurring, and explore potential strategies for adapting to this new trend.

---

### *Processed Output with System 1 and System 2 Thinking:*

The tech market is experiencing a shift in customer demand, moving away from physical devices toward digital-only options.

[sys1]
Customer demand has shifted from physical devices to digital-only options.
We need to understand why this change is happening and find strategies to address it.
Key factors may include cost, convenience, and technological trends.
[end sys1]

[sys2]
**2.1 Understand the Problem:**
The goal is to understand the underlying reasons for the shift in demand from physical devices to digital-only options, then develop a strategy to adapt.

*Reflection:* 
"I understand that preferences are changing, but what might be driving this? Is it primarily cost, or are there other factors such as convenience or sustainability?"

*Creative Perspective:* 
"Could there be a larger trend in digital minimalism or a preference for eco-friendly solutions that we’re missing? What unseen motivations might explain this shift?"

**2.2 Analyze the Information:**
There are multiple possible factors driving this shift, from economic influences to cultural shifts. It’s essential to isolate each factor and understand its impact.

*Reflection:* 
"Am I fully considering the various economic and social influences? Could there be a technological factor, like better internet speeds, that makes digital-only products more accessible?"

*Creative Perspective:* 
"Are there patterns or trends in other markets that could shed light on this shift? Could this be part of a larger trend toward virtual experiences?"

**2.3 Generate Hypotheses:**
1. Customers prefer digital options due to lower costs. (Confidence: 0.8, Creative: 0.4)
2. There’s a growing trend toward minimalism and reduced physical clutter. (Confidence: 0.7, Creative: 0.7)
3. Digital products offer greater flexibility and ease of use. (Confidence: 0.6, Creative: 0.6)
4. Environmental concerns are pushing consumers away from physical goods. (Confidence: 0.6, Creative: 0.8)
5. Advances in tech make digital-only options more functional. (Confidence: 0.8, Creative: 0.5)
6. Pandemic-era remote work increased demand for digital solutions. (Confidence: 0.7, Creative: 0.6)
7. Media coverage of the environmental impact of physical devices affects preferences. (Confidence: 0.5, Creative: 0.7)
8. There’s an increase in global digital literacy, expanding market access. (Confidence: 0.6, Creative: 0.6)
9. Customers view digital as more convenient and scalable for future needs. (Confidence: 0.7, Creative: 0.5)
10. Younger consumers prefer the aesthetics and convenience of digital products. (Confidence: 0.6, Creative: 0.6)

*Reflection:* 
"Have I considered all possible influences? Are there any surprising factors that could explain this shift?"

*Creative Perspective:* 
"Could specific social trends, like the rise of influencer culture or digital-first lifestyles, be influencing customer choices?"

**2.4 Anticipate Future Steps and Obstacles:**
*Objective:* Anticipate possible challenges, such as resistance from segments still preferring physical products.

*Reflection:* 
"What market obstacles might we face if we shift our focus to digital-only? Are there sub-segments that still prioritize physical products?"

*Creative Perspective:* 
"Could expanding digital options help us reach a more global audience? Are there emerging trends that we could leverage in our strategy?"

[end sys2]

[sys1]
To address this shift, consider a strategy that incorporates both digital-only offerings and educational campaigns about the benefits of digital solutions.
Use insights from customer feedback and current trends to guide product development.
Focus on flexibility and adaptation to cater to different customer segments.
[end sys1]


>>> IF IT FEELS LIKE THE TRUMP
>>> IF IT FEELS LIKE THE TRUMP ERA IS OUT OF A MOVIE THAT IS
ERA IS OUT OF A MOVIE THAT IS PARTLY BECAUSE OF SO MANY OF
PARTLY BECAUSE OF SO MANY OF TODAY’S PERFORMERS RIPPED OFF
TODAY’S PERFORMERS RIPPED OFF THE MOVIES FROM A PRESIDENT
THE MOVIES FROM A PRESIDENT QUOTING HIS IDEA OF TOUGH GUY
QUOTING HIS IDEA OF TOUGH GUY AGAINST THE PROSECUTORS AND ARE
AGAINST THE PROSECUTORS AND ARE TELLING A JUDGE THEY NEED TO
TELLING A JUDGE THEY NEED TO PLAY THE GODFATHER PART 2 AT
PLAY THE GODFATHER PART 2 AT TRIAL TO PROVE STONE’S
TRIAL TO PROVE STONE’S OBSTRUCTION.
OBSTRUCTION. REMINDER OF THE ENDURING CLASSIC
REMINDER OF THE ENDURING CLASSIC THAT EARNED BEST DIRECTOR FOR
THAT EARNED BEST DIRECTOR FOR FRANCIS FORD COPPOLA WHOSE MANY
FRANCIS FORD COPPOLA WHOSE MANY ICONIC FILMS SHAPE OUR IDEAS
ICONIC FILMS SHAPE OUR IDEAS ABOUT CULTURE, CRIME, FOREIGN
ABOUT CULTURE, CRIME, FOREIGN POLICY, WITH SO MANY MEMORABLE
POLICY, WITH SO MANY MEMORABLE LINES.
LINES. >> I’M GOING TO MAKE YOU AN
>> I’M GOING TO MAKE YOU AN OFFER YOU CAN’T REFUSE.
OFFER YOU CAN’T REFUSE. >> I LOVE THE SMELL OF NAPALM IN
>> I LOVE THE SMELL OF NAPALM IN THE MORNING.
THE MORNING. >> COPPOLA’S STARK DEPICTIONS OF
>> COPPOLA’S STARK DEPICTIONS OF VIOLENCE, MORAL DILEMMAS AND
VIOLENCE, MORAL DILEMMAS AND WHAT TODAY IS SOMETIMES CALLED
WHAT TODAY IS SOMETIMES CALLED THE STRUGGLE ARE BACK IN THE
THE STRUGGLE ARE BACK IN THE NEWS FOR PARTLY POLITICAL
NEWS FOR PARTLY POLITICAL REASONS "VANITY FAIR" NOTING
REASONS "VANITY FAIR" NOTING THIS NEW PROJECT RIGHTS A WRONG
THIS NEW PROJECT RIGHTS A WRONG BY RESTORING BLACK SCENES IN
BY RESTORING BLACK SCENES IN STORIES TO THE COTTON CLUB.
STORIES TO THE COTTON CLUB. COPPOLA’S 1984 FILM ABOUT HARLEM
COPPOLA’S 1984 FILM ABOUT HARLEM WHICH HE SAYS STUDIOS RESISTED
WHICH HE SAYS STUDIOS RESISTED FOR, QUOTE, TOO MANY BLACK
FOR, QUOTE, TOO MANY BLACK STORIES.
STORIES. WELL, THE NEWLY REMASTERED
WELL, THE NEWLY REMASTERED RELEASE ADDS SOME OF THOSE
RELEASE ADDS SOME OF THOSE STORIES BACK INTO THE FINAL CUT.
STORIES BACK INTO THE FINAL CUT. YOU CAN SEE TODAY.
YOU CAN SEE TODAY. WHICH MAKES THIS A SPECIAL TIME
WHICH MAKES THIS A SPECIAL TIME TO SIT WITH A CULTURAL LEGEND
TO SIT WITH A CULTURAL LEGEND FRANCIS FORD COPPOLA DIRECTOR
FRANCIS FORD COPPOLA DIRECTOR OF "THE GODFATHER TRILOGY" AND
OF "THE GODFATHER TRILOGY" AND PATTON, PEGGY SUE GOT MARRIED.
PATTON, PEGGY SUE GOT MARRIED. OSCAR WINNER, AN HONOR TO HAVE
OSCAR WINNER, AN HONOR TO HAVE YOU HERE.
YOU HERE. THANKS FOR BEING HERE.
THANKS FOR BEING HERE. "THE COTTON CLUB" WHY NOW AND
"THE COTTON CLUB" WHY NOW AND WHAT’S DIFFERENT?
WHAT’S DIFFERENT? >> "COTTON CLUB" WAS MADE UNDER
>> "COTTON CLUB" WAS MADE UNDER VERY ADVERSE, WAR LIKE
VERY ADVERSE, WAR LIKE CONDITIONS.
CONDITIONS. THERE WAS A BIG DIFFERENCE
THERE WAS A BIG DIFFERENCE BETWEEN THE PRODUCERS AND THE
BETWEEN THE PRODUCERS AND THE FINANCIERS AND WHO HAD BROUGHT
FINANCIERS AND WHO HAD BROUGHT ME ON.
ME ON. I DID HAVE FINAL CUT ALL THE
I DID HAVE FINAL CUT ALL THE TIME BUT EVEN WHEN YOU HAVE THIS
TIME BUT EVEN WHEN YOU HAVE THIS LEGAL FINAL CUT, YOU KNOW, THE
LEGAL FINAL CUT, YOU KNOW, THE PEOPLE WHO PUT UP THE MONEY OR
PEOPLE WHO PUT UP THE MONEY OR ARE ABOUT TO RELEASE IT YOU TRY
ARE ABOUT TO RELEASE IT YOU TRY TO COLLABORATE.
TO COLLABORATE. >> PRESSURE.
>> PRESSURE. YOU FACE PRESSURE.
YOU FACE PRESSURE. >> BUT YOU TRY TO COLLABORATE.
>> BUT YOU TRY TO COLLABORATE. >> YOU TRY TO MEET IN THE
>> YOU TRY TO MEET IN THE MIDDLE.
MIDDLE. >> IN FACT, AT ONE POINT WHEN
>> IN FACT, AT ONE POINT WHEN THEY ALL WENT TO MEET MY LAWYER
THEY ALL WENT TO MEET MY LAWYER AND HE TRIED TO DEMONSTRATE IN
AND HE TRIED TO DEMONSTRATE IN THE CONTRACT ON THE TABLE, THAT
THE CONTRACT ON THE TABLE, THAT I HAD THIS FINAL CUT, THEY SAID,
I HAD THIS FINAL CUT, THEY SAID, THEY KNOCKED THE PAPERS OFF AND
THEY KNOCKED THE PAPERS OFF AND SAID, WELL NOW IT’S OFF THE
SAID, WELL NOW IT’S OFF THE TABLE.
TABLE. SOME OF THEM WERE A LITTLE, YOU
SOME OF THEM WERE A LITTLE, YOU KNOW, TOUGH KIND OF GUYS.
KNOW, TOUGH KIND OF GUYS. >> THE KIND OF GUYS YOU MIGHT
>> THE KIND OF GUYS YOU MIGHT SEE IN A COPPOLA MOVIE.
SEE IN A COPPOLA MOVIE. >> VERY DEFINITELY.
>> VERY DEFINITELY. THE MESSAGE I HAD GOTTEN
THE MESSAGE I HAD GOTTEN REPEATEDLY WAS THE FILM WAS TOO
REPEATEDLY WAS THE FILM WAS TOO LONG.
LONG. IT’S TOO MANY BLACK PEOPLE IN
IT’S TOO MANY BLACK PEOPLE IN IT.
IT. AND THERE’S TOO MUCH TAP
AND THERE’S TOO MUCH TAP DANCING.
DANCING. WHICH IS SORT OF TRICKY BECAUSE
WHICH IS SORT OF TRICKY BECAUSE IT WAS ABOUT THE COTTON CLUB.
IT WAS ABOUT THE COTTON CLUB. YOU START SHORTENING A FEW
YOU START SHORTENING A FEW MINUTES AND THEN YOU TAKE A
MINUTES AND THEN YOU TAKE A LITTLE MORE AND YOU SAY, WELL,
LITTLE MORE AND YOU SAY, WELL, YOU KNOW, MAYBE I DON’T KNOW IF
YOU KNOW, MAYBE I DON’T KNOW IF PEOPLE DON’T LIKE THAT THERE’S
PEOPLE DON’T LIKE THAT THERE’S TOO MANY BLACK STORIES MAYBE THE
TOO MANY BLACK STORIES MAYBE THE ONE COULD BE A LITTLE LESS.
ONE COULD BE A LITTLE LESS. I THOUGHT I WAS TAKING A FEW
I THOUGHT I WAS TAKING A FEW MINUTES OUT BUT I ENDED UP
MINUTES OUT BUT I ENDED UP TAKING 40 MINUTES OUT.
TAKING 40 MINUTES OUT. THEN I REALLY WANTED TO PUT THEM
THEN I REALLY WANTED TO PUT THEM BACK BECAUSE I FELT THE PICTURE,
BACK BECAUSE I FELT THE PICTURE, WHEN A FILM, THEY SAY A FILM IS
WHEN A FILM, THEY SAY A FILM IS TOO LONG, IT MAY MEAN THEY JUST
TOO LONG, IT MAY MEAN THEY JUST DON’T UNDERSTAND THE STORY SO TO
DON’T UNDERSTAND THE STORY SO TO THEM IT SEEMS LONG BECAUSE THEY
THEM IT SEEMS LONG BECAUSE THEY DON’T KNOW WHAT’S GOING ON.
DON’T KNOW WHAT’S GOING ON. >> LONG JUST MEANS THEY DON’T
>> LONG JUST MEANS THEY DON’T GET IT.
GET IT. >> SO I FOUND THAT "THE COTTON
>> SO I FOUND THAT "THE COTTON CLUB" WHEN I PUT THE TIME BACK
CLUB" WHEN I PUT THE TIME BACK IN CAME ALIVE SUDDENLY AND WAS
IN CAME ALIVE SUDDENLY AND WAS BALANCED AND THE FACT THAT THERE
BALANCED AND THE FACT THAT THERE WAS TWO BLACK BROTHERS AND TWO
WAS TWO BLACK BROTHERS AND TWO WHITE BROTHERS AND THEIR STORIES
WHITE BROTHERS AND THEIR STORIES WERE BALANCED AND MADE IT REALLY
WERE BALANCED AND MADE IT REALLY BEAUTIFUL AND INTRICATE.
BEAUTIFUL AND INTRICATE. YOU HAVE TO UNDERSTAND A MOVIE
YOU HAVE TO UNDERSTAND A MOVIE IS AN ILLUSION THAT WHEN THE
IS AN ILLUSION THAT WHEN THE PEOPLE ARE LOOKING AT A FILM ON
PEOPLE ARE LOOKING AT A FILM ON THE SCREEN YOU’RE SEEING A LOT
THE SCREEN YOU’RE SEEING A LOT OF SHADOWS.
OF SHADOWS. THE EMOTION IS IN THE AUDIENCE.
THE EMOTION IS IN THE AUDIENCE. THE AUDIENCE IS WHAT HAS -- THE
THE AUDIENCE IS WHAT HAS -- THE ILLUSION IF IT WORKS THEY
ILLUSION IF IT WORKS THEY RELEASE ALL THAT EMOTION.
RELEASE ALL THAT EMOTION. WE FOUND THE RIGHT BALANCE AND
WE FOUND THE RIGHT BALANCE AND SUDDENLY IT CAME TO LIFE.
SUDDENLY IT CAME TO LIFE. >> I GOT TO ASK YOU ABOUT THE
>> I GOT TO ASK YOU ABOUT THE BOB MUELLER PROSECUTORS BUILDING
BOB MUELLER PROSECUTORS BUILDING THIS CASE AGAINST ROGER STONE
THIS CASE AGAINST ROGER STONE THAT RESTS PARTLY ON "THE
THAT RESTS PARTLY ON "THE GODFATHER 2."
GODFATHER 2." YOU HEARD OF THIS?
YOU HEARD OF THIS? >> I HEARD OF THAT.
>> I HEARD OF THAT. >> WHAT DID YOU THINK WHEN YOU
>> WHAT DID YOU THINK WHEN YOU FIRST HEARD THAT YOU’VE GOT
FIRST HEARD THAT YOU’VE GOT PEOPLE, MAYBE WANNA-BE
PEOPLE, MAYBE WANNA-BE GANGSTERS, AND THEY’RE LITERALLY
GANGSTERS, AND THEY’RE LITERALLY TRYING TO RE-ENACT THE
TRYING TO RE-ENACT THE CONGRESSIONAL OBSTRUCTION SCENE
CONGRESSIONAL OBSTRUCTION SCENE BECAUSE THIS IS BEING LITIGATED
BECAUSE THIS IS BEING LITIGATED AS YOU KNOW.
AS YOU KNOW. I WANT TO READ FROM, THESE ARE
I WANT TO READ FROM, THESE ARE THE PROSECUTORS WHO TOOK OVER
THE PROSECUTORS WHO TOOK OVER FOR MUELLER AND THEY SAY THIS
FOR MUELLER AND THEY SAY THIS GODFATHER CLIP HAS TO BE PLAYED
GODFATHER CLIP HAS TO BE PLAYED IN ROGER STONE’S TRIAL BECAUSE
IN ROGER STONE’S TRIAL BECAUSE IT IS DRAMATIC, RELEVANT TO SOME
IT IS DRAMATIC, RELEVANT TO SOME OF THE FACTS IN THE CASE, A
OF THE FACTS IN THE CASE, A WITNESS IN A CONGRESSIONAL
WITNESS IN A CONGRESSIONAL INVESTIGATION PRESSURED TO GIVE
INVESTIGATION PRESSURED TO GIVE FALSE TESTIMONY WHICH EXPLAINS
FALSE TESTIMONY WHICH EXPLAINS ROGER STONE’S REFERENCES TO THIS
ROGER STONE’S REFERENCES TO THIS SCENE.
SCENE. >> WELL, I MEAN, OVER THE LAST
>> WELL, I MEAN, OVER THE LAST 20 YEARS, SOME OF THE MOST
20 YEARS, SOME OF THE MOST UNATTRACTIVE POLITICAL LEADERS
UNATTRACTIVE POLITICAL LEADERS IN THE WORLD, FROM SADDAM
IN THE WORLD, FROM SADDAM HUSSEIN AND QADDAFI AND I COULD
HUSSEIN AND QADDAFI AND I COULD GO ON AND ON, THAT’S THEIR
GO ON AND ON, THAT’S THEIR FAVORITE MOVIE.
FAVORITE MOVIE. THERE MUST BE SOMETHING IN THIS
THERE MUST BE SOMETHING IN THIS PIECE OF FICTION.
PIECE OF FICTION. >> DO YOU THINK THE PROSECUTORS
>> DO YOU THINK THE PROSECUTORS ARE RIGHT?
ARE RIGHT? THEY SHOULD BE ABLE TO PLAY YOUR
THEY SHOULD BE ABLE TO PLAY YOUR FILM IN THIS CASE?
FILM IN THIS CASE? >> IF IT’S RELEVANT TO THE CASE,
>> IF IT’S RELEVANT TO THE CASE, AND I MEAN, "GODFATHER" HAS
AND I MEAN, "GODFATHER" HAS BECOME PART OF THE CULTURE FROM
BECOME PART OF THE CULTURE FROM MY POINT OF VIEW ANYONE WHO
MY POINT OF VIEW ANYONE WHO WOULD TAKE A, STUFF FROM A
WOULD TAKE A, STUFF FROM A FICTIONAL GANGSTER PICTURE AND
FICTIONAL GANGSTER PICTURE AND PUT IT IN REAL LIFE, THE
PUT IT IN REAL LIFE, THE BEHAVIOR IN "THE GODFATHER" IS
BEHAVIOR IN "THE GODFATHER" IS NOT BEHAVIOR I RECOMMEND.
NOT BEHAVIOR I RECOMMEND. I ALWAYS THOUGHT PEOPLE WHO
I ALWAYS THOUGHT PEOPLE WHO WOULD USE INTIMIDATION AND
WOULD USE INTIMIDATION AND VIOLENCE AND CRUELTY ARE BELOW
VIOLENCE AND CRUELTY ARE BELOW MY LOWEST REGARD FOR ANOTHER
MY LOWEST REGARD FOR ANOTHER HUMAN BEING.
HUMAN BEING. SO I DON’T RECOMMEND THAT KIND
SO I DON’T RECOMMEND THAT KIND OF BEHAVIOR.
OF BEHAVIOR. >> AND WHY DO YOU THINK PEOPLE
>> AND WHY DO YOU THINK PEOPLE AS YOU SAID IN AMERICA AND
AS YOU SAID IN AMERICA AND AROUND THE WORLD ARE SO
AROUND THE WORLD ARE SO FASCINATED BY THAT THE STORY OF
FASCINATED BY THAT THE STORY OF FAMILY LOYALTY BUT ALSO
FAMILY LOYALTY BUT ALSO BRUTALITY?
BRUTALITY? >> BECAUSE THEY ARE INTERESTED
>> BECAUSE THEY ARE INTERESTED IN THE MECHANISMS OF POWER.
IN THE MECHANISMS OF POWER. "THE GODFATHER" IS A KIND OF
"THE GODFATHER" IS A KIND OF TEXTBOOK OF SAYING ONE THING BUT
TEXTBOOK OF SAYING ONE THING BUT MEANING ANOTHER.
MEANING ANOTHER. YOU KNOW, IT’S METHOD OF HOW
YOU KNOW, IT’S METHOD OF HOW YOUR REPUTATION OF WHAT HAPPENED
YOUR REPUTATION OF WHAT HAPPENED IN THE PAST YOU CAN BE VERY
IN THE PAST YOU CAN BE VERY FRIENDLY AND VERY NICE ABOUT,
FRIENDLY AND VERY NICE ABOUT, SAYING WHAT WOULD BE THE RESULT
SAYING WHAT WOULD BE THE RESULT IF YOU DON’T GO ALONG WITH ME
IF YOU DON’T GO ALONG WITH ME BUT YOU’RE -- THE PAST SPEAKS
BUT YOU’RE -- THE PAST SPEAKS VERY LOUDLY.
VERY LOUDLY. SO IT’S INTIMIDATION.