title: A Film Without an Outside: The Referential Contract of Human Surrender

category: English essays

series: English essays

sourceStatus: published

markdown:
# A Film Without an Outside: The Referential Contract of Human Surrender

本文为研究档案公开版，保留来源版本的论述与限制。公开时间：2026-09-07；不表示已完成同行评审。

来源版本日期：2026-07-14

证据边界：本文为基于影片与既有资料的研究阐释；历史版本中的判断不等于现实人物事实或已获外部审稿确认的结论。

# A Film Without an Outside: The Referential Contract of *Human Surrender*

The easiest way to misdescribe *Human Surrender* (*Shoot Self with You*) is to call it a film in which truth and fiction become impossible to tell apart. Rehearsal stops looking like rehearsal; actors stop looking like actors; the director stops looking like a director; war stops looking like war; even “humanity” no longer appears as a subject that was securely established in advance.

That formulation sounds sophisticated, but it lets us off too easily. “Impossible to tell apart” still imagines two intact territories, reality and fiction, separated by a border that the film has merely blurred. It also preserves a comfortable position for the viewer: we stand outside the confusion, looking in, congratulating ourselves for recognizing ambiguity.

The film is more radical than that.

Its central question is not whether something is real or performed. It asks how anything acquires the standing of reality in the first place. Who addresses whom? Who is watching? Who names what has happened? Who is required to answer? Who may speak for another person? Who is entered into the credits, and who remains outside the record even after appearing before the camera?

I call the structure produced by these questions the film’s **referential contract**.

A referential contract is not a signed agreement. It is the unstable set of conditions under which an image, a sentence, a role, or a person becomes eligible to count as something: a confession, a performance, a memory, a piece of evidence, an expression of love, a refusal, a character, an actor, a human being. The contract is made in real time by cameras, bodies, voices, spectators, subtitles, names, and records. It can be revised without warning. It can be enforced without any single authority clearly owning it.

*Human Surrender* does not explain this contract from a safe distance. It makes the viewer enter it.

![The live site holds performers, spectators, stage surfaces, and the camera in one field.](/research/images/b421f8f0ce9178b2468c.webp)

*The live site holds performers, spectators, stage surfaces, and the camera in one field. Film still from* Human Surrender / Shoot Self with You.

## 1. The First Sentence Is Not an Opening. It Is a Capture.

The film begins with a question:

> “What brings you here?”

This is not merely introductory dialogue. It establishes an address before it establishes a world.

A conventional opening first tells us where we are, who these people are, and what situation they occupy. Only then does dialogue begin to organize relations among them. Here the order is reversed. A “you” is called into being before the scene has granted us a stable map of who possesses that pronoun.

The sentence therefore does several things at once. It implies a prior relation. It treats arrival as an event requiring explanation. It assigns the person who asks a temporary right to question, and the person addressed a temporary obligation to answer. Most importantly, it makes presence itself accountable. You are not simply here; your being here has become something that must be explained.

The reply is equally forceful:

> “I had to see you.”

“I had to” does not name a preference. It names necessity, although the film does not supply that necessity with a single stable source.

When the sentence returns later, the image has changed: two people face one another while Zichou watches from behind. That altered image is not a license to reassign the line to a different speaker. The local sound source remains stable; what changes is the pressure of looking. A question that first seemed to pass between two people is now received by a third position of attention. Its repetition does not reveal a purer original. It shows that a line has no final force apart from the conditions of its replay. The words remain the same while the field of address around them changes.

This is the first operation of the referential contract. The film does not begin by showing us a reality. It begins by placing someone under address, then by making us answerable for having watched.

## 2. Love Is Not a Feeling. It Is a Debt.

At one point the film asks:

> “Who can give me love?”

The ordinary romantic answer would be a person. The film refuses that simplicity.

Love here passes through a camera and through talk of footage, a kiss scene, the fourth act, and who controls the lighting. What might have remained an inward feeling becomes something that can be staged, recorded, replayed, interpreted, and judged. The question is no longer simply whether one person loves another. It becomes: who may recognize an act as love, and what conditions must be met before that recognition counts?

This is why the film’s apparently direct exchanges never remain private:

> “Are you there?”
> “I’m here.”

> “I love you.”

These lines arrive amid a sequence that seems to move outward and soften: going outside, being alone, “Are you there? / I’m here,” “I love you,” the moon, and the promise of being “always there.” Yet none of these words creates an actual exterior. Going outside does not mean leaving the film. Being alone does not mean leaving the relation. Even the moon cannot remain a stable elsewhere once it has been spoken inside this field.

Each sentence seems to complete a circuit between speaker and addressee. Yet the camera opens another circuit around it. “I’m here” verifies presence for someone inside the scene, but it also preserves that verification for the recording. “I love you” may be addressed to a character, an actor, a person behind a role, the camera, or the future spectator who will decide what kind of sentence it was.

Love thus becomes a debt not because it is insincere, but because it is made answerable to several incompatible witnesses. The speaker owes the addressee an answer. The performer owes the scene a legible act. The recorded image owes the future an account of what happened. The spectator owes the image an interpretation while lacking the right to settle it once and for all.

Even the Jiarui/Xu Jinjiang naming sequence matters. A name is not merely a label attached to a person who already stands intact outside the scene. Within the film, it can pull someone into a role slot: who is being addressed, who is expected to answer, and who will be held to that answer. This does not settle anyone’s real-world identity. It shows that names do more than point. They allocate positions and distribute responsibility inside the work.

By the end of this opening movement, the film has already laid down much of its argument: “you” calls a person into a position; love calls a debt into being; the camera calls forth a future viewer; a wrong name opens a role slot; the moon names a distance that fails to become an outside.

The film’s answer is not that love is fake. It is that love, once spoken before a camera, enters a referential contract that neither speaker nor addressee controls alone.

![Bodies, light, and a raised position inside the live site.](/research/images/dcea5bc4516ead0923ff.webp)

*Going outside, being alone, and even invoking the moon do not create a clean exterior. Film still from* Human Surrender / Shoot Self with You.

## 3. “Fake” Is Not an Answer. It Is a New Trial.

A sentence recurs like an accusation:

> “So you think this is all fake?”

It sounds as if the film has finally named the problem. Perhaps everything we have seen is fabricated. Perhaps calling it fake will free us from having to decide what its scenes mean.

But “fake” does not end the trial. It opens another one.

The film immediately turns the judgment back on the judge:

> “Do you dare to face what is real?”

The force of the question lies in its refusal to treat reality as a neutral substance waiting to be uncovered. The real is something one may not dare to see. It exerts pressure. It implicates the person who demands it. If the viewer insists on authenticity, the film asks what that insistence authorizes: more exposure, more access, more proof, more of another person made available for inspection.

Other lines intensify the trap:

> “Yeah, this is a play.”
> “What isn’t a play?”

> “This is all made up.”

None of these claims supplies an exit. They form a sequence of failed exemptions:

- Calling something false does not cancel the event of its appearance.
- Calling something real does not give us a stable object we may possess.
- Calling something a play does not establish a position outside performance.
- Calling something invented does not erase the consequences of the invention.

If a line was rehearsed, it was still spoken by a body at a particular time. If an emotion was performed, that performance still entered relations among people, camera, and audience. If a scene was fabricated, the fabrication still required labor, repetition, and exposure. If an image is evidence, it remains evidence produced under conditions the image itself cannot fully disclose.

The binary of true and false fails not because nothing is true, but because both terms are already embedded in procedures of address. “Real” and “fake” are judgments made by someone, about someone, for some future use. Each judgment changes the scene it claims merely to describe.

The film therefore offers no pure actuality behind the performance and no pure performance sealed off from actuality. There is no clean backstage where the referential contract is suspended. The moment someone says “this is a play,” that sentence itself becomes another act within the film—another bid to redefine what everyone has just seen.

## 4. Even Spacing Out Does Not Let You Leave the Image

One of the film’s most revealing exchanges begins with a claim of interior emptiness:

> “I wasn’t thinking of anything.”
> “Just spacing out.”

It is an attempt, however modest, to reserve a zone unavailable to interpretation. Nothing happened inside. There is no thought to report, no intention to decode, no message to retrieve.

The response closes that refuge:

> “If you space out, what will everyone watch?”

The line is comic, but its logic is severe. Under the camera, even the suspension of action becomes content. To withdraw from performance is to produce the image of withdrawal. To offer nothing is to give “everyone” something to watch.

The word “everyone” is crucial. The scene is no longer organized only by those physically present. An indefinite public has entered it. This public may include the crew, an imagined audience, future viewers, or an institution of watching with no single face. Its demand precedes its arrival: if you are visible, you must provide something that can be watched.

Then the private interior is subjected to an even sharper claim:

> “Your psychological monitoring report!”

A report translates interiority into a document. It promises that thought, mood, hesitation, or absence can be extracted from the person and made legible elsewhere. Whether such a report is serious, absurd, fictional, or theatrical matters less than the pressure the phrase exerts. The person’s claim—“I was thinking of nothing”—is no longer accepted as sovereign testimony about their own interior life.

This is not simply a film about surveillance. Surveillance assumes there is something hidden that a sufficiently powerful apparatus can reveal. *Human Surrender* is more unsettling: it shows the apparatus helping to produce the very object it claims to monitor. “Spacing out” becomes a performance because the camera and the anticipated audience require it to signify. The report does not merely discover a psyche; it gives the psyche an administrative form.

Under the referential contract, opacity is not automatically freedom. The refusal to mean can itself be assigned a meaning. Silence becomes material. Inaction becomes a scene. Absence becomes evidence of absence.

The film never allows us to forget the cruelty of that conversion.

## 5. “I Don’t Want to Say” Still Stands—but It Cannot Stop the Film

The words appear in two parts:

> “I”
> “Don’t want to say.”

The refusal is real as a refusal. Nothing in the film gives us the right to erase it.

Yet the film also shows why refusal cannot operate as a magic command that restores an untouched private realm. Once voiced, “I / Don’t want to say” has already entered the scene. It has become audible, recordable, quotable, and available for others to answer. The sentence protects a boundary while simultaneously making that boundary visible.

Another accusation follows:

> “You left out a lot of words.”

The omitted words acquire a strange presence. They are absent, but their absence is named. The speaker is judged not only for what was said but for what was withheld. The film turns ellipsis into an item in the record.

The film then carries the refusal through a sequence of stone, Xu Jinjiang, a stele, and white fabric. The fabric covers the body, but it does not remove the body from the field of looking. Its broad plane and folds remain visible, as do the exit light, the audience, and the surface on which the figure lies. The wish for invisibility becomes an unmistakably visible arrangement. Concealment does not disappear from the image; it becomes the image’s organizing form. The covered figure is at once less available as a person and more forcefully present as a question.

Then Ameng asks:

> “Do you need me to say it for you?”

Jiarui answers:

> “Say it.”

This exchange must not be simplified into either perfect consent or pure coercion. The scene does not provide enough ground for either verdict. That single word marks the point at which delegated speech begins; by itself, it does not settle consent, authorization, or coercion.

Nor does the one-word response resolve ownership. Whose words are they once Ameng speaks them? Does delegated speech preserve Jiarui’s agency, displace it, or expose the fact that agency was already distributed across the scene? The film does not give us enough evidence to settle those alternatives.

The film does not invite us to decide by diagnosing the people involved. It asks us to attend to the structure. One voice becomes the relay for another. A refusal remains in force, yet production continues. Speech occurs without belonging cleanly to a single speaker.

Here the referential contract becomes most ethically demanding. A person’s “no” must not be overwritten, but neither can the viewer pretend that the word has restored an outside untouched by cameras, other voices, and future interpretation. The film continues around the refusal and, in doing so, makes visible the cost of continuation.

## 6. The Credits Do Not Clear the Stage. They File the Evidence.

Near the end comes a promise:

> “No one can see you.”

In another film this might offer privacy or relief. Here the visible field contradicts the reassurance. The white fabric and its folds remain before us, together with the exit light, the worktable or stage surface, members of the audience, the camera’s position, and the subtitle that carries the promise. “No one can see you” is not a visual fact. It is a wish—and the film makes the wish sharply visible.

He Fa then announces:

> “Thank you all.”
> “For watching our performance.”
> “Our performance is over.”

The words seem to restore ordinary theatrical order: there was a performance, there were performers, there was an audience, and now the event has ended.

But the ending refuses to stay ended.

The count of performers is corrected in public—three, then four, then five. A residual soundtrack continues after the declaration of an ending: science, the moon, deception, a toilet, bare feet, a door, a king. Elevated terms and low, bodily, everyday ones remain pressed together. The film does not clean them away. It lets them enter the credits.

Then come the visible entries “Starring Huang Meng,” “Starring Xu Shuai,” and “Starring Sun Jiarui.” These names are valid indexes; they help later viewers identify what the film records. But they are not final verdicts on identity. They do not appear on a newly purified black field. They are laid over afterimages of the live site: the audience, the white fabric, figures and layers, together with sound that has not yet fully withdrawn.

Cast and production team, shooting location, special thanks, the audience present that night, logos, and near-silence follow. The credits preserve not only performers but labor, place, witnesses, and people the film cannot entirely enumerate. Each addition appears to clarify what we have seen. Each also reveals that the previous account was incomplete.

Credits perform two contradictory operations.

First, they repair. They assign names to bodies, distinguish cast from crew, identify places, acknowledge labor, and offer the viewer a map back through the film. Without them, participation can vanish into the image without recognition.

Second, they leak. Every act of naming exposes what the list cannot fully contain. A person may appear under a role that does not exhaust them. A location may be recorded without explaining what occurred there. A production credit may acknowledge labor without settling responsibility. The corrected number of performers demonstrates that even the elementary question “Who was in this?” was never stable.

The credits are therefore not a neutral appendix. They are the film’s final scene of reference. The work attempts to archive itself, and the archive reveals its own seams.

The performance may be over, but its consequences are only beginning. The credits transfer the scene from present encounter to future record. They decide what later viewers will be able to name. At the same time, the leftover sound and the successive corrections keep something from being closed by the record.

The archive is both a shelter and another trial.

![Spectators remain visible behind translucent fabric beneath the exit light.](/research/images/85b7ab2814d215847a49.webp)

*Spectators remain visible behind translucent fabric and beneath the exit light. Film still from* Human Surrender / Shoot Self with You.

## 7. The Alien Is Not the First Question

The title and premise make it tempting to begin with science fiction. Who are the aliens? What do they want? Who represents humanity? What would surrender mean at the scale of a species?

Those questions matter, but the film places another question before them: who is the “you” to whom any declaration could be addressed?

Before humanity can appoint a representative, the scene must determine who can speak. Before anyone can surrender on behalf of others, the film must test whether one person can speak for another at all. Before the human can be contrasted with the alien, bodies must be recognized, named, watched, judged, and entered into a record.

The extraterrestrial premise thus magnifies an ordinary crisis of reference. Who is eligible to be called human? Who may stand in for “us”? Who is present when a statement is made? Who may judge that statement later? Who will be archived as participant, witness, performer, or audience?

The largest political category—humanity—depends on the smallest grammatical relation: I speak to you.

But in *Human Surrender*, neither pronoun stays put. “I” may be character, actor, speaker, delegate, or recorded trace. “You” may be beloved, scene partner, camera, absent person, alien, or future viewer. “We” may be a pair, a cast, a company, an audience, a species, or an institution assembled by the sentence itself.

The alien is not the first question because address precedes ontology. Before the film can tell us what kind of being stands before us, it asks what makes that being answerable to our gaze—and what makes our gaze answerable in return.

Surrender first appears not as defeat by a visible enemy, but as submission to a deeper cinematic arrangement: one must be addressed, watched, required to respond, and made to leave a trace. Love, refusal, silence, and a name all pass through other people, the camera, and the credits before they can be preserved at all. “Humanity” is therefore not a stable center. It is a position repeatedly called forth, questioned, entered into the record, and made unstable again.

## 8. The Spectator Has No Outside Either

The viewer’s favorite escape is interpretation.

We might say: it is all metacinema. Or a rehearsal. Or a documentary record. Or an allegory of surveillance. Or a love story contaminated by production. Or a science-fiction performance about humanity’s willingness to capitulate.

Each explanation catches something. None earns a position above the film.

To call the work metacinema is still to be implicated in the apparatus it exposes. To call it rehearsal does not tell us when rehearsal stops affecting the people involved. To call it documentary does not explain how recording reorganizes the event. To call it fiction does not remove the bodies and labor required to produce it. To call it an allegory does not cancel the specific voices, hesitations, obstructions, and names through which that allegory exists.

The film absorbs every explanatory exit back into its structure. We search for what is real, for the source of a voice, for who is performing, for who agreed, for who refused, and for whether the names in the credits can finally supply an answer. The spectator who declares “this is fake” becomes the addressee of “Do you dare to face what is real?” The spectator who retreats into formalism must account for the refusals that form helps make visible. The spectator who demands biographical truth discovers that the demand itself repeats the film’s pressure for disclosure.

This does not mean that real viewers are literally forced into the film’s plot. The claim is narrower and more exact: the film repeatedly makes the position of the watcher visible. Someone inside it asks, “If you space out, what will everyone watch?” The credits thank the audience who were there that night. Later viewers allow both sentences to happen again by returning to them.

There is no innocent way of watching. But that does not mean all readings are equal.

The absence of an outside increases, rather than abolishes, critical responsibility. We must distinguish what can be seen and heard from what we infer. We must preserve a refusal without converting it into proof of an unknowable private story. We must recognize a structure of delegated speech without declaring, from the safety of spectatorship, that we have solved the conditions under which it occurred.

The referential contract includes us. Our descriptions can clarify, distort, expose, shelter, archive, or overwrite. Watching is not ownership, and interpretation is not acquittal.

## 9. The Final Question Is Not “Is It True?” but “Who Still Gets to Decide How They Become Real?”

Across the film, reality migrates. Its route can be stated in ten movements:

1. “What brings you here?” makes a person answerable.
2. “Love” makes feeling available as something another person may be asked to give.
3. The camera turns the present into material for future viewing.
4. “Real,” “fake,” “play,” and “made up” deprive explanation of a secure outside.
5. Spacing out turns private blankness into a public debt of visibility.
6. The “psychological monitoring report” gives an interior state a readable administrative form.
7. “I / Don’t want to say” allows refusal to remain in the record.
8. “Say it” permits delegated speech to begin without erasing that refusal.
9. “Our performance is over” renames the live field as a performance.
10. The credits turn what remains into entries that can be preserved.

At no point does the film ask us simply to believe.

Its contract is not: **Please accept that this is real.**

It is: **Watch something being made eligible to count as real.**

That making has no single master. The camera does it by recording. The performers do it by addressing and answering. The scene does it by assigning roles. Sound does it by carrying voices beyond visible bodies. The audience does it by interpreting. The credits do it by naming. Future viewers do it by returning to a sequence whose participants could not fully control what their looking would become.

To surrender in *Human Surrender* is therefore not merely to yield to an alien force, a romantic partner, a director, a camera, or an audience. It is to enter a mode of reality-production with no secure outside. Everyone may affect the contract; no one can own it completely.

The film’s unsettling achievement is to make this condition perceptible without pretending to escape it. Its images do not reveal a pure truth behind performance. They show truth acquiring a form, a witness, a name, a cost, and a future.

This is the film’s deepest surrender: not to aliens, but to a way of producing reality that has no outside.

When the performance ends, the contract remains.

## Evidence Boundary

This essay is a refined English translation and critical interpretation grounded in the film’s observable dialogue, images, sound, performance structure, and credits. Quoted English follows the available subtitle layer where locally attested. Where no exact English subtitle can be verified locally, the wording is an editorial rendering of the T0 Chinese line; “Do you dare to face what is real?” is one such rendering. The essay does not treat contested lines, gaze, gesture, names, credits, or formal details as proof of off-screen motives, private psychological states, consent, real-world identity, responsibility, or a literal science-fiction cosmology.

---

**[Watch the full film on YouTube](https://www.youtube.com/watch?v=F1riPOyQuCI)**

**[Enter the English criticism collection](https://p4theater.top/en/key-articles/#human-surrender)**

**[Film page and stills](https://p4theater.top/en/shoot-self-with-you/)**

If one moment stayed with you, leave its timestamp. A precise moment is a better beginning than a verdict.

headingPath: A Film Without an Outside: The Referential Contract of Human Surrender

text: A Film Without an Outside: The Referential Contract of Human Surrender

text: The easiest way to misdescribe Human Surrender ( Shoot Self with You ) is to call it a film in which truth and fiction become impossible to tell apart. Rehearsal stops looking like rehearsal; actors stop looking like actors; the director stops looking like a director; war stops looking like war; even “humanity” no longer appears as a subject that was securely established in advance.

text: The film is more radical than that.

text: I call the structure produced by these questions the film’s referential contract .

text: Human Surrender does not explain this contract from a safe distance. It makes the viewer enter it.

text: The live site holds performers, spectators, stage surfaces, and the camera in one field. Film still from Human Surrender / Shoot Self with You.

headingPath: 1. The First Sentence Is Not an Opening. It Is a Capture.

text: 1. The First Sentence Is Not an Opening. It Is a Capture.

text: The film begins with a question:

text: “What brings you here?”

text: This is not merely introductory dialogue. It establishes an address before it establishes a world.

text: The reply is equally forceful:

text: “I had to see you.”

text: 2. Love Is Not a Feeling. It Is a Debt.

text: At one point the film asks:

text: “Who can give me love?”

text: The ordinary romantic answer would be a person. The film refuses that simplicity.

text: This is why the film’s apparently direct exchanges never remain private:

text: “Are you there?” “I’m here.”

text: “I love you.”

text: Going outside, being alone, and even invoking the moon do not create a clean exterior. Film still from Human Surrender / Shoot Self with You.

headingPath: 3. “Fake” Is Not an Answer. It Is a New Trial.

text: 3. “Fake” Is Not an Answer. It Is a New Trial.

text: A sentence recurs like an accusation:

text: “So you think this is all fake?”

text: But “fake” does not end the trial. It opens another one.

text: The film immediately turns the judgment back on the judge:

text: “Do you dare to face what is real?”

text: Other lines intensify the trap:

text: “Yeah, this is a play.” “What isn’t a play?”

text: “This is all made up.”

text: None of these claims supplies an exit. They form a sequence of failed exemptions:

text: Calling something false does not cancel the event of its appearance.

text: Calling something real does not give us a stable object we may possess.

text: Calling something a play does not establish a position outside performance.

text: Calling something invented does not erase the consequences of the invention.

headingPath: 4. Even Spacing Out Does Not Let You Leave the Image

text: 4. Even Spacing Out Does Not Let You Leave the Image

text: One of the film’s most revealing exchanges begins with a claim of interior emptiness:

text: “I wasn’t thinking of anything.” “Just spacing out.”

text: The response closes that refuge:

text: “If you space out, what will everyone watch?”

text: Then the private interior is subjected to an even sharper claim:

text: “Your psychological monitoring report!”

text: This is not simply a film about surveillance. Surveillance assumes there is something hidden that a sufficiently powerful apparatus can reveal. Human Surrender is more unsettling: it shows the apparatus helping to produce the very object it claims to monitor. “Spacing out” becomes a performance because the camera and the anticipated audience require it to signify. The report does not merely discover a psyche; it gives the psyche an administrative form.

text: The film never allows us to forget the cruelty of that conversion.

headingPath: 5. “I Don’t Want to Say” Still Stands—but It Cannot Stop the Film

text: 5. “I Don’t Want to Say” Still Stands—but It Cannot Stop the Film

text: The words appear in two parts:

text: “I” “Don’t want to say.”

text: The refusal is real as a refusal. Nothing in the film gives us the right to erase it.

text: Another accusation follows:

text: “You left out a lot of words.”

text: Then Ameng asks:

text: “Do you need me to say it for you?”

text: Jiarui answers:

text: “Say it.”

headingPath: 6. The Credits Do Not Clear the Stage. They File the Evidence.

text: 6. The Credits Do Not Clear the Stage. They File the Evidence.

text: Near the end comes a promise:

text: “No one can see you.”

text: He Fa then announces:

text: “Thank you all.” “For watching our performance.” “Our performance is over.”

text: But the ending refuses to stay ended.

text: Credits perform two contradictory operations.

text: The archive is both a shelter and another trial.

text: Spectators remain visible behind translucent fabric and beneath the exit light. Film still from Human Surrender / Shoot Self with You.

text: 7. The Alien Is Not the First Question

text: The largest political category—humanity—depends on the smallest grammatical relation: I speak to you.

text: But in Human Surrender , neither pronoun stays put. “I” may be character, actor, speaker, delegate, or recorded trace. “You” may be beloved, scene partner, camera, absent person, alien, or future viewer. “We” may be a pair, a cast, a company, an audience, a species, or an institution assembled by the sentence itself.

text: 8. The Spectator Has No Outside Either

text: The viewer’s favorite escape is interpretation.

text: Each explanation catches something. None earns a position above the film.

text: There is no innocent way of watching. But that does not mean all readings are equal.

headingPath: 9. The Final Question Is Not “Is It True?” but “Who Still Gets to Decide How They Become Real?”

text: 9. The Final Question Is Not “Is It True?” but “Who Still Gets to Decide How They Become Real?”

text: Across the film, reality migrates. Its route can be stated in ten movements:

text: “What brings you here?” makes a person answerable.

text: “Love” makes feeling available as something another person may be asked to give.

text: The camera turns the present into material for future viewing.

text: “Real,” “fake,” “play,” and “made up” deprive explanation of a secure outside.

text: Spacing out turns private blankness into a public debt of visibility.

text: The “psychological monitoring report” gives an interior state a readable administrative form.

text: “I / Don’t want to say” allows refusal to remain in the record.

text: “Say it” permits delegated speech to begin without erasing that refusal.

text: “Our performance is over” renames the live field as a performance.

text: The credits turn what remains into entries that can be preserved.

text: At no point does the film ask us simply to believe.

text: Its contract is not: Please accept that this is real.

text: It is: Watch something being made eligible to count as real.

text: To surrender in Human Surrender is therefore not merely to yield to an alien force, a romantic partner, a director, a camera, or an audience. It is to enter a mode of reality-production with no secure outside. Everyone may affect the contract; no one can own it completely.

text: This is the film’s deepest surrender: not to aliens, but to a way of producing reality that has no outside.

text: When the performance ends, the contract remains.

text: Evidence Boundary

text: Watch the full film on YouTube

text: Enter the English criticism collection

text: Film page and stills

text: If one moment stayed with you, leave its timestamp. A precise moment is a better beginning than a verdict.


title: 跳过

category: 概念研究笔记

series: 概念研究笔记

sourceStatus: active

relationMethod: literal links and image references in the public edition; no inferred semantic support

markdown:
# 跳过

本文为研究档案公开版，保留来源版本的论述与限制。公开时间：2026-09-08；不表示已完成同行评审。 本文属于公开研究资料（历史笔记、研究稿或来源记录）：已完成格式、来源限制与重复项筛查，尚未完成逐篇独立事实复核；原文中的解释、候选判断和未确认内容均按其原有限制阅读。

来源版本日期：2026-06-07

证据边界：本页为历史研究资料的公开版本。原始文件未单列 source_rule；此说明仅补充公开阅读边界，不构成对原文事实、模型判断或人物解释的新认证。请结合原文来源、日期、校正与不确定性阅读。

## 跳过的层级

```mermaid
flowchart LR
    L1["第一层<br>跳过一个步骤"] --> L2["第二层<br>跳过一个场景"]
    L2 --> L3["第三层<br>跳过一段关系"]
    L3 --> L4["第四层<br>跳过一段人生"]
    style L1 fill:#58a6ff,stroke:#58a6ff,color:#000
    style L4 fill:#d2a8ff,stroke:#d2a8ff,color:#000
```

# 跳过

## 定义

`跳过` 指《人类投降派》中一种流程控制机制：当前步骤被跳过，直接进入下一步。跳过不是"跳过不重要的"，而是"跳过不能继续的"——它是一种拒绝继续的形式，也是一种保护当前状态的形式。

## 核心命题

跳过是拒绝的程序化形式。当拒绝被程序化，它就不再属于拒绝者，而属于流程本身。

## 跳过的类型

1. **拒绝跳过**：因为拒绝而跳过
2. **不能跳过**：因为不能而跳过
3. **不想跳过**：因为不想而跳过
4. **程序跳过**：因为程序要求而跳过

## 在《人类投降派》中的体现

- **Part1**：阿蒙说"跳过"，跳过一个不能继续的步骤
- **Part2**：子丑说"跳过"，跳过一个拒绝的步骤
- **Part3**：孙甲瑞说"跳过"，跳过一个不能继续的步骤
- **Part4**：跳过成为公演机制的核心

## 关联概念

- [流程词](/research/hs-6842dfcf5f4ef946) — 跳过的语言形式
- 程序接手（馆内参考，未随本文公开） — 跳过的执行机制
- 规则主体（馆内参考，未随本文公开） — 跳过的主体归属
- 来（馆内参考，未随本文公开） — 跳过的对立面
- [随便来](/research/hs-0eee398ac67f2dec) — 跳过的随机形式

## 证据来源

- MiMo 视频分析：8 个页面引用此概念
- 本地取证：Part1-4 中的语言分析
- 理论框架：语言哲学、程序理论

## 理论映射

- **T0**：跳过在字幕中出现
- **T1**：跳过与前后事件的时间关系
- **T2**：跳过保护了当前状态
- **T3**：跳过是拒绝的程序化形式

text: 跳过的层级

kind: pre

text:
flowchart LR
    L1["第一层
跳过一个步骤"] --> L2["第二层
跳过一个场景"]
    L2 --> L3["第三层
跳过一段关系"]
    L3 --> L4["第四层
跳过一段人生"]
    style L1 fill:#58a6ff,stroke:#58a6ff,color:#000
    style L4 fill:#d2a8ff,stroke:#d2a8ff,color:#000

text: 跳过

text: 定义

kind: p

text: 跳过 指《人类投降派》中一种流程控制机制：当前步骤被跳过，直接进入下一步。跳过不是"跳过不重要的"，而是"跳过不能继续的"——它是一种拒绝继续的形式，也是一种保护当前状态的形式。

text: 核心命题

text: 跳过是拒绝的程序化形式。当拒绝被程序化，它就不再属于拒绝者，而属于流程本身。

text: 跳过的类型

kind: li

text: 拒绝跳过 ：因为拒绝而跳过

text: 不能跳过 ：因为不能而跳过

text: 不想跳过 ：因为不想而跳过

text: 程序跳过 ：因为程序要求而跳过

headingPath: 在《人类投降派》中的体现

text: 在《人类投降派》中的体现

headingPath: 在《人类投降派》中的体现

text: Part1 ：阿蒙说"跳过"，跳过一个不能继续的步骤

headingPath: 在《人类投降派》中的体现

text: Part2 ：子丑说"跳过"，跳过一个拒绝的步骤

headingPath: 在《人类投降派》中的体现

text: Part3 ：孙甲瑞说"跳过"，跳过一个不能继续的步骤

headingPath: 在《人类投降派》中的体现

text: Part4 ：跳过成为公演机制的核心

text: 关联概念

text: 流程词 — 跳过的语言形式

text: 程序接手（馆内参考，未随本文公开） — 跳过的执行机制

text: 规则主体（馆内参考，未随本文公开） — 跳过的主体归属

text: 来（馆内参考，未随本文公开） — 跳过的对立面

text: 随便来 — 跳过的随机形式

text: 证据来源

text: MiMo 视频分析：8 个页面引用此概念

text: 本地取证：Part1-4 中的语言分析

text: 理论框架：语言哲学、程序理论

text: 理论映射

text: T0 ：跳过在字幕中出现

text: T1 ：跳过与前后事件的时间关系

text: T2 ：跳过保护了当前状态

text: T3 ：跳过是拒绝的程序化形式


category: 本地声画取证记录

series: 本地声画取证记录

markdown:
# 2026-06-22-4K无字幕母文件开场93分16秒到93分23秒第989我可能与990回地球补全复核

本文为研究档案公开版，保留来源版本的论述与限制。公开时间：2026-09-08；不表示已完成同行评审。 本文属于公开研究资料（历史笔记、研究稿或来源记录）：已完成格式、来源限制与重复项筛查，尚未完成逐篇独立事实复核；原文中的解释、候选判断和未确认内容均按其原有限制阅读。

来源版本日期：2026-06-22

证据边界：T0 台词账锁定 #989 子丑 `我可能` 与 #990 子丑 `我可能要回地球了`。本页只复核 4K 无字幕母文件无偏移时间轴上的 #989 精确句、#989 到 #990 等待、#990 补全句以及到 #992 的后续重复背景。不得把 #990/#992 的完整回地球句提前倒填成 #989 已经完成的回答；不得把低能环境/材料声写成可确认音乐。

# 2026-06-22-4K无字幕母文件开场93分16秒到93分23秒第989我可能与990回地球补全复核

## 取证范围

- 母文件：`〔本地资料路径省略〕 无字幕 28g 4k.mov`
- 资产目录：`inspool-wiki-zh/raw/assets/4k-nosub-restart-20260622/989-i-may-nooffset`
- 时间轴：无偏移文件时间轴。
- 精确 T0：

```text
#989 01:33:16.066-01:33:17.900 ACT-ZICHOU / 子丑 我可能
#990 01:33:22.033-01:33:23.466 ACT-ZICHOU / 子丑 我可能要回地球了
```

本页的重点不是提前解释“回地球”的事实，而是确认 #989 作为独立半句怎样成立：它有清楚起音，却没有句号式落点；它被 #988 的“不说话”追问逼出来，却没有马上成为完整回答。

## 本地资产

- 精确视频：`clips/989_exact_5596.066_5597.900_720p_audio.mp4`
- 链条视频：`clips/989_to990_chain_5596.066_5603.466_720p_audio.mp4`
- 后续背景视频：`clips/989_to992_chain_5596.066_5610.700_720p_audio.mp4`
- 精确音频：`audio/989_exact_5596.066_5597.900_stereo.wav`
- 等待音频：`audio/989_to990_wait_5597.900_5602.033_stereo.wav`
- 链条音频：`audio/989_to990_chain_5596.066_5603.466_stereo.wav`
- 接触图：`frames/989_exact_contact_sheet.jpg`、`frames/989_to990_chain_contact_sheet.jpg`、`frames/989_to992_chain_contact_sheet.jpg`
- 指标摘要：`metrics/local_metrics_summary_989.md`、`metrics/local_metrics_summary_989.json`

## 声音指标

#989 精确句：

```text
duration=1.834s
RMS=-27.0067dBFS
Peak=-11.3349dBFS
centroid=4973.55Hz
```

句内粗分：

```text
我              duration=0.600s  RMS=-24.1855dBFS  Peak=-11.3349dBFS
可能            duration=1.234s  RMS=-29.5622dBFS  Peak=-11.9473dBFS
我到可          duration=0.984s  RMS=-26.1567dBFS  Peak=-11.3349dBFS
能尾            duration=0.850s  RMS=-28.2578dBFS  Peak=-11.9473dBFS
50ms best       0.130-0.180s     RMS=-19.4691dBFS  Peak=-11.4381dBFS
```

这个分布让 #989 不能被写成“微弱到几乎没有”的声音。它的起音相当清楚，#988 追问后的第一下人声被抬出来了。但它也不能被写成完整回答，因为能量和语气在 `可能` 处落下去，尾部没有结句感。

与相邻窗口对比：

```text
#988_to989_wait     duration=4.233s  RMS=-40.4320dBFS  Peak=-20.7146dBFS
#989_exact          duration=1.834s  RMS=-27.0067dBFS  Peak=-11.3349dBFS
#989_to990_wait     duration=4.133s  RMS=-37.7264dBFS  Peak=-19.6845dBFS
#990_exact_context  duration=1.433s  RMS=-21.7522dBFS  Peak=-5.3756dBFS
```

#989 明显高于前后等待，却明显低于 #990。更稳的判断是：

```text
低能等待 -> 强起头半句 -> 再等待 -> 更强、更完整的补全句
```

#990 的 `我可能要回地球了` 在能量上更靠前，Peak 到 `-5.3756dBFS`，说明“完整出口词”不是在 #989 已经完成，而是在 #990 被重新组织。

## 静音与音乐边界

下列窗口使用 `silencedetect -45dB:d=0.3` 均无 silence event：

```text
989_exact
989_to990_wait
989_to990_chain
989_to992_chain
990_exact
```

因此 #989 到 #990 之间不能写成绝对静音。它是低能、持续的空间/环境/材料声场。

但同样不能写成可确认音乐。T1 证据没有旋律、节拍、和声、固定音高中心、乐器进入或音乐性推进。可写为：

```text
自然语音 + 低能环境底噪 + 空间声 + 材料/机械声候选
```

不可写为：

```text
配乐进入、音乐高潮、旋律性等待、明确电子音乐结构
```

## 画面指标

密帧差异：

```text
989_exact        frames=11  mean_diff=4.5410   max_diff=8.0929
989_to990_chain  frames=15  mean_diff=18.4110  max_diff=34.8599
990_exact        frames=9   mean_diff=16.2907  max_diff=18.9485
```

#989 精确窗自身变化不大，画面仍压在低机位材料动作里；变化真正变大的是 #989 之后到 #990 的连续链条。

静帧颜色显示 #989 内部暖橙膜面继续升高：

```text
989_start  luma=48.7313  warm=0.402552  orange=0.089896
989_mid    luma=54.6471  warm=0.648854  orange=0.257500
989_end    luma=64.0432  warm=0.852344  orange=0.382587
```

到 #990 附近，画面明显转向更冷、更公共的空间：

```text
990_start  luma=60.6614  warm=0.081597  orange=0.000417
990_mid    luma=73.3088  warm=0.097604  orange=0.001667
990_end    luma=85.3402  warm=0.067292  orange=0.000000
```

所以 #989 的声音出来时，画面仍在暖色膜面、黑衣身体、手和小发光物/工具候选之间；#990 的完整句出现时，画面已经逐渐打开到白衣人物、观众席、反光台面、室内结构和公共观看空间。这里是连续推出，不是硬切。

scene detect：

```text
989_exact        threshold=0.04 无命中
989_to990_chain  threshold=0.04 无命中
989_to992_chain  threshold=0.04 在相对 9.416667s 有命中
```

后者约等于绝对 `01:33:25.483`，已靠近 #991/#992 后续背景，不作为 #989/#990 之间硬切证据。

## 画面可确认与不可确认

可确认：

- #989 精确窗内可见低机位黑衣身体、手、半透明膜面/塑料、暖橙反光、线条/划痕候选、小发光物/工具候选。
- #989 到 #990 是连续打开的空间运动，逐渐显出白衣人物、观众席、反光台面和室内结构。
- #989 时没有清楚正脸、嘴部或口型同步；不能把画面中的可见身体直接裁决为声源。

不可确认：

- 工具具体类型。
- 图案/线条具体内容。
- 可见人物就是子丑本人或就是发声者。
- 观众席的心理状态。
- `回地球` 是现实逃离事实、科幻实体移动或画面中人物的物理行动意图。

## 取证结论

#989 是 #988 追问后的第一个明显人声回入，但不是完整回答。它的声音结构是“强起头、弱落点”：`我` 被推出来，`可能` 悬住。

#989 到 #990 前的 4.133 秒不是绝对静音，也不是音乐段，而是低能空间/材料声继续保留迟疑。

#990 才把 #989 的半句重新说一遍并暂时补成 `我可能要回地球了`。这一补全发生时，画面也已经从膜面近处逐渐打开到公开观看空间。因此这段应读成：

```text
被追问的沉默
-> 半句迟疑开口
-> 非静音等待
-> 延迟补全的回地球句
```

## 文中引用的图像资料

以下图像由本篇已有文件引用对应；保留历史引用范围，图像展示不增加新的事实判断。

![989_exact_contact_sheet.jpg](/research/images/a97fac4b263c20d44ac1.webp)

![989_to990_chain_contact_sheet.jpg](/research/images/818574b6009f715ad31f.webp)

![989_to992_chain_contact_sheet.jpg](/research/images/3c6d0160be24c58391ad.webp)

text: 取证范围

text: 母文件： 〔本地资料路径省略〕 无字幕 28g 4k.mov

text: 资产目录： inspool-wiki-zh/raw/assets/4k-nosub-restart-20260622/989-i-may-nooffset

text: 时间轴：无偏移文件时间轴。

text: 精确 T0：

text: 本地资产

text: 精确视频： clips/989_exact_5596.066_5597.900_720p_audio.mp4

text: 链条视频： clips/989_to990_chain_5596.066_5603.466_720p_audio.mp4

text: 后续背景视频： clips/989_to992_chain_5596.066_5610.700_720p_audio.mp4

text: 精确音频： audio/989_exact_5596.066_5597.900_stereo.wav

text: 等待音频： audio/989_to990_wait_5597.900_5602.033_stereo.wav

text: 链条音频： audio/989_to990_chain_5596.066_5603.466_stereo.wav

text: 接触图： frames/989_exact_contact_sheet.jpg 、 frames/989_to990_chain_contact_sheet.jpg 、 frames/989_to992_chain_contact_sheet.jpg

text: 指标摘要： metrics/local_metrics_summary_989.md 、 metrics/local_metrics_summary_989.json

text: 声音指标

text: 989 精确句：

text: 句内粗分：

text: 这个分布让 #989 不能被写成“微弱到几乎没有”的声音。它的起音相当清楚，#988 追问后的第一下人声被抬出来了。但它也不能被写成完整回答，因为能量和语气在 可能 处落下去，尾部没有结句感。

text: 与相邻窗口对比：

headingPath: 989 明显高于前后等待，却明显低于 #990。更稳的判断是：

text: 989 明显高于前后等待，却明显低于 #990。更稳的判断是：

headingPath: 989 明显高于前后等待，却明显低于 #990。更稳的判断是：

text: 低能等待 -> 强起头半句 -> 再等待 -> 更强、更完整的补全句

headingPath: 990 的 我可能要回地球了 在能量上更靠前，Peak 到 -5.3756dBFS ，说明“完整出口词”不是在 #989 已经完成，而是在 #990 被重新组织。

text: 静音与音乐边界

text: 下列窗口使用 silencedetect -45dB:d=0.3 均无 silence event：

text: 自然语音 + 低能环境底噪 + 空间声 + 材料/机械声候选

text: 不可写为：

text: 配乐进入、音乐高潮、旋律性等待、明确电子音乐结构

text: 画面指标

text: 密帧差异：

text: 静帧颜色显示 #989 内部暖橙膜面继续升高：

text: 到 #990 附近，画面明显转向更冷、更公共的空间：

text: scene detect：

text: 后者约等于绝对 01:33:25.483 ，已靠近 #991/#992 后续背景，不作为 #989/#990 之间硬切证据。

text: 画面可确认与不可确认

text: 可确认：

text: 989 时没有清楚正脸、嘴部或口型同步；不能把画面中的可见身体直接裁决为声源。

text: 不可确认：

text: 工具具体类型。

text: 图案/线条具体内容。

text: 可见人物就是子丑本人或就是发声者。

text: 观众席的心理状态。

text: 回地球 是现实逃离事实、科幻实体移动或画面中人物的物理行动意图。

text: 取证结论

headingPath: 989 是 #988 追问后的第一个明显人声回入，但不是完整回答。它的声音结构是“强起头、弱落点”： 我 被推出来， 可能 悬住。

headingPath: 990 才把 #989 的半句重新说一遍并暂时补成 我可能要回地球了 。这一补全发生时，画面也已经从膜面近处逐渐打开到公开观看空间。因此这段应读成：

text:
被追问的沉默
-> 半句迟疑开口
-> 非静音等待
-> 延迟补全的回地球句

text: 文中引用的图像资料

text: 以下图像由本篇已有文件引用对应；保留历史引用范围，图像展示不增加新的事实判断。


title: 失败重估：发呆空白投降不再是低等状态

category: 现场流研究

series: 现场流研究

markdown:
# 失败重估：发呆空白投降不再是低等状态

本文为研究档案公开版，保留来源版本的论述与限制。公开时间：2026-09-07；不表示已完成同行评审。

来源版本日期：2026-05-17

证据边界：本文以 T0/T1 为底盘，MiMo 仅作 T2 候选；理论综合为 T3，不覆盖原始证据。

# 失败重估：发呆空白投降不再是低等状态

## 摘要

`[失败重估](/research/hs-47c394654ff4e5f5)` 指把传统叙事中被看作失败、贫乏、逃避或无能的状态，重新放回事件生成的力场中判断。

它借 Nietzsche 的重估问题意识，但不是赞美失败，而是不让传统行动价值垄断解释权。

```text
行动失败
-> 旧秩序失效
-> 时间/身体/现场显形
-> 事件生成
```

## 一、发呆不再只是无能

`我什么也没想 / 只是在发呆` 很容易被写成失败：没有表演、没有内容、没有行动。

但[现场流](/research/hs-f1753922fc3d5068)看见的是另一件事：发呆让时间显形。

黄蒙问 `如果你发呆大家看什么`，说明发呆并不是空无，而是把私人时间变成公共等待。

这就是 [公共绵延](/research/hs-5b8fa4512d0e66ac)。

## 二、空白不再只是贫乏

`脑子一片空白` 也容易被看成无内容。

但当黄蒙问 `需要我帮你说吗`，空白开始生产现场关系：谁能说，谁能帮说，谁等待，谁记录。

空白不是没有事件，而是让说话权被重新分配。

## 三、跳过不再只是偷懒

`跳过 / 不在这演 / 演过了` 似乎是逃避演出。

但它制造了 [现场例外状态](/research/hs-c6acf76c1b3c00bf)：应当被演的内容被暂停，却以缺口形式继续存在。

跳过不是普通偷懒，而是让现场规则暴露。

## 四、投降不再只是失败

[投降作为认识论行动](/research/hs-07a2752a2f17a60b) 已经说明，投降不是向某个压迫者认输，而是承认旧的理解框架已经不能继续解释生活、亲密、表演、语言、观看和组织现场。

投降不是失去尊严，而是停止假装完整。

## 五、失败重估的风险

[失败重估](/research/hs-47c394654ff4e5f5)不能变成浪漫化失败。痛苦仍然是痛苦，不能说仍然可能伤人，跳过仍然可能逃避责任，投降仍然可能伴随损失。

重估不是美化，而是拒绝自动贬值。

## 六、结论

《人类投降派》最锋利的地方，是它不断把低等状态变成事件入口。

```text
发呆让时间出现；
空白让说话权出现；
跳过让规则出现；
投降让旧知识的失败出现。
```

这就是[现场流](/research/hs-f1753922fc3d5068)的[失败重估](/research/hs-47c394654ff4e5f5)。

headingPath: 失败重估：发呆空白投降不再是低等状态

text: 失败重估：发呆空白投降不再是低等状态

text: 摘要

text: [失败重估](/research/hs-47c394654ff4e5f5) 指把传统叙事中被看作失败、贫乏、逃避或无能的状态，重新放回事件生成的力场中判断。

text:
行动失败
-> 旧秩序失效
-> 时间/身体/现场显形
-> 事件生成

text: 一、发呆不再只是无能

text: 我什么也没想 / 只是在发呆 很容易被写成失败：没有表演、没有内容、没有行动。

text: 但 现场流 看见的是另一件事：发呆让时间显形。

text: 黄蒙问 如果你发呆大家看什么 ，说明发呆并不是空无，而是把私人时间变成公共等待。

text: 这就是 公共绵延 。

text: 二、空白不再只是贫乏

text: 脑子一片空白 也容易被看成无内容。

text: 但当黄蒙问 需要我帮你说吗 ，空白开始生产现场关系：谁能说，谁能帮说，谁等待，谁记录。

text: 空白不是没有事件，而是让说话权被重新分配。

text: 三、跳过不再只是偷懒

text: 跳过 / 不在这演 / 演过了 似乎是逃避演出。

text: 但它制造了 现场例外状态 ：应当被演的内容被暂停，却以缺口形式继续存在。

text: 跳过不是普通偷懒，而是让现场规则暴露。

text: 四、投降不再只是失败

text: 投降作为认识论行动 已经说明，投降不是向某个压迫者认输，而是承认旧的理解框架已经不能继续解释生活、亲密、表演、语言、观看和组织现场。

text: 投降不是失去尊严，而是停止假装完整。

text: 五、失败重估的风险

text: 失败重估 不能变成浪漫化失败。痛苦仍然是痛苦，不能说仍然可能伤人，跳过仍然可能逃避责任，投降仍然可能伴随损失。

text: 重估不是美化，而是拒绝自动贬值。

text: 六、结论

text: 《人类投降派》最锋利的地方，是它不断把低等状态变成事件入口。

text: 这就是 现场流 的 失败重估 。


markdown:
# 2026-06-27-4K无字幕母文件104分02秒第1201这都在编的编造机制自揭复核

本文为研究档案公开版，保留来源版本的论述与限制。公开时间：2026-09-08；不表示已完成同行评审。 本文属于公开研究资料（历史笔记、研究稿或来源记录）：已完成格式、来源限制与重复项筛查，尚未完成逐篇独立事实复核；原文中的解释、候选判断和未确认内容均按其原有限制阅读。

来源版本日期：2026-06-27

证据边界：T1 本地复核页。T0 台词、说话人和时间码以 角色逐时轴全台词幽灵机制账-2026-06-03.tsv 为准；本页在 `1120-at-this-point-nooffset` 证据包中复用 #1200 到 #1201 1.867s 等待、#1201 exact、#1201 三帧与 #1200/#1201 联系图，并新增 #1201 到 #1202 贴边边界、#1202 exact 参照、#1201/#1202 联系图与帧指标。#1201 子丑 `这都在编的` 是编造机制自揭句；不得写成全片事实层级已被本句单独裁决、子丑真实心理已被证明、#1202 `我什么也没想` 已属于本句结论、画面出现编剧/剧本/心理内容、清楚口型证明或配乐/设备声/无线电进入。

# 2026-06-27-4K无字幕母文件104分02秒第1201这都在编的编造机制自揭复核

## 片源与资产

片源：`〔本地资料路径省略〕 无字幕 28g 4k.mov`

资产目录：

```text
inspool-wiki-zh/raw/assets/4k-nosub-restart-20260626/1120-at-this-point-nooffset/
```

本页使用或新增资产：

```text
audio/1200_to1201_gap_mono.wav
audio/1201_exact_this_all_made_up_ref_mono.wav
audio/1201_to1202_boundary_mono.wav
audio/1202_exact_i_thought_nothing_ref_mono.wav
audio/1201_1202_chain_mono.wav
frames/370_1201_start_ref_6242.233.jpg
frames/371_1201_mid_ref_6242.650.jpg
frames/372_1201_tail_ref_6243.033.jpg
frames/373_1202_start_ref_6243.066.jpg
frames/374_1202_mid_ref_6243.566.jpg
frames/375_1202_tail_ref_6244.033.jpg
metrics/audio_summary_1200_supplement.json
metrics/audio_summary_1201_supplement.json
metrics/1200_to1201_gap_100ms_bins.json
metrics/1201_exact_this_all_made_up_ref_100ms_bins.json
metrics/1201_to1202_boundary_1ms_bins.json
metrics/1202_exact_i_thought_nothing_ref_100ms_bins.json
metrics/1201_1202_chain_100ms_bins.json
metrics/frame_color_metrics_1200_supplement.json
metrics/frame_color_metrics_1201_supplement.json
metrics/76_contact_1200_1201_chain.jpg
metrics/77_contact_1201_1202_chain.jpg
```

## T0 台词链

```text
#1200 阿蒙：你又在想什么
#1201 子丑：这都在编的
#1202 子丑：我什么也没想
#1203 子丑：只是在发呆
```

T0 上 #1201 start=`01:44:02.233`，end=`01:44:03.066`，duration=`0.833s`。#1200 end=`01:44:00.366`，#1200 到 #1201 名义 gap=`1.867s`。#1202 start=`01:44:03.066`，与 #1201 尾部贴边衔接。#1201 是对子丑被追问“想什么”之后的反说，不是 #1202 `我什么也没想` 已经完成的补充结论。

## 声音指标

| segment | duration | RMS | peak | silence ratio | 说明 |
|---|---:|---:|---:|---:|---|
| #1200->#1201 gap ref | 1.867s | -40.631dBFS | -15.423dBFS | 0.465241 | 低能非静音等待，给反说留口 |
| #1201 exact | 0.833s | -17.153dBFS | -1.894dBFS | 0.023810 | 强声自揭，明显高于 #1200 |
| #1201->#1202 boundary | 0.001s | -24.416dBFS | -20.485dBFS | 0.000000 | 名义贴边边界，不是完整沉默 |
| #1202 exact ref | 1.000s | -23.442dBFS | -8.144dBFS | 0.170000 | 后接参照：把“编的”补成“没想” |
| #1201-#1202 chain | 1.833s | -19.499dBFS | -1.894dBFS | 0.114130 | 从自揭到没想的贴边链 |

#1201 exact 的 100ms 曲线为：

```text
-42.119 / -20.902 / -15.851 / -14.847 /
-25.044 / -16.832 / -13.307 / -17.057 /
-20.080dBFS
```

这是一个明显的强声反说。#1200 exact RMS=`-26.107dBFS`，#1201 exact RMS=`-17.153dBFS`，差约 `8.954dB`；#1201 的 peak 也抬到 `-1.894dBFS`。这说明 `这都在编的` 不是弱弱补充，而是对子丑刚被问出“想什么”后的强力拆解。它不是把内心交出来，而是用更强的声音说：这个内心本身正在被现场编出来。

#1201 到 #1202 之间几乎没有等待。名义边界只有贴边切换，本轮 0.001s 边界 RMS=`-24.416dBFS`，不能写成沉默。#1202 exact ref 的 100ms 曲线为：

```text
-19.071 / -28.398 / -20.826 / -20.445 /
-20.650 / -27.070 / -24.671 / -39.600 /
-45.708 / -46.497dBFS
```

#1202 的 `我什么也没想` 会把 #1201 的“编的”进一步补成“并不存在预先想法”，但它是后接参照，不能倒灌为 #1201 的完整内容。#1201 自己已经完成的是“这都在编”的自揭；#1202 才会补充“我什么也没想”的否认。

声音边界必须保守。#1201 的强声主要是人声强起和低频/语音主体增强；本页没有足够证据支持配乐、电子声、无线电、设备提示音或独立声源进入。

## 画面指标

#1200 到 #1201 联系图：

![《人类投降派》研究图像](/research/images/1acb4c27d268db313312.webp)

#1201 到 #1202 联系图：

![《人类投降派》研究图像](/research/images/ced2245685f90cf00eef.webp)

| frame | mean luma | dark <40 | bright >180 | visible note |
|---|---:|---:|---:|---|
| #1201 start 6242.233 | 49.802467 | 0.133675 | 0.000000 | #1201 起点已从 #1200 亮场回落 |
| #1201 mid 6242.650 | 42.994114 | 0.288604 | 0.000000 | 中段继续压暗 |
| #1201 tail 6243.033 | 34.505116 | 0.615422 | 0.000000 | 尾部暗部过半 |
| #1202 start 6243.066 | 33.811089 | 0.645748 | 0.000000 | #1202 贴边进入，暗部继续增加 |
| #1202 mid 6243.566 | 30.693537 | 0.763592 | 0.000000 | 后接否认仍在暗场 |
| #1202 tail 6244.033 | 29.888388 | 0.822017 | 0.000000 | 尾部进一步压暗 |

画面没有把“编的”兑现为可见编剧、剧本、文字、心理画面或后台机制。#1201 start/mid/tail mean luma=`49.802/42.994/34.505`，dark ratio 从 `0.133675` 抬到 `0.615422`；#1202 又继续压暗到 mean luma=`33.811/30.694/29.888`。也就是说，声音强力自揭，画面却不打开解释对象，而是继续把这句压回暗场和可见身体/材料关系。

## 稳定结论

#1201 是编造机制自揭句。它不是简单说“这一切都是假的”，也不该被抽象成全片世界观裁决。它直接接在 #1200 `你又在想什么` 之后，最稳的读法是：子丑承认刚才被问出来的“想法”不是预先存在的内心内容，而是在现场问答中临时编出来的。

`这` 是近指。它指向的不是遥远的宇宙真相，而是眼前这套问答现场：你问我在想什么，我就得说点什么；你追我内心，我就要给内心编一个对象。`这都在编的` 的潜台词接近于：你现在让我交出来的内容，不是我先有再说，而是因为你问，我才开始组织。

`都` 把范围扩大，但仍要守住证据边界。它可以覆盖刚才的“想什么”、小孩理由、感谢义务，甚至回接 #1186-#1189 的“这是戏/啥不是戏/大家都在演戏”。但不能仅凭本句就裁决全片所有层级都是虚构，也不能把它写成导演或影片对现实真伪的最终判决。更稳的是：在这一局对话里，子丑把自己的内心供词、接话方式和现场表演机制一起称作“编的”。

`编的` 不是“撒谎”那么窄。它更像一个生产动作：话不是从内心深处自然流出来，而是在压力、追问、等待和接话中被临时编排出来。这正好回接 #1200 的问责：阿蒙问 `你又在想什么`，子丑没有交出一个想法对象，而是说对象本身是被编出来的。也就是说，他不只拒绝回答，还拆了“回答必须来自内心”的前提。

声音上，这句是强力反说。#1201 exact RMS=`-17.153dBFS`，显著高于 #1200 exact 的 `-26.107dBFS`；100ms 曲线在 `-15.851/-14.847/-16.832/-13.307dBFS` 多次抬起。它不是退缩，而是短促、强硬地把阿蒙的心理追问切开。#1201 到 #1202 又贴边连接，说明这不是一个孤立爆点，马上会被 `我什么也没想` 继续解释。

画面上，强声没有换来显影。#1201 越说越暗，尾部 dark ratio 达到 `0.615422`；#1202 的暗部更高。电影没有给“编”的后台，也没有给“想”的内容，而是让子丑的强声落在暗场里。这让本句的力量不在于揭示一个可见真相，而在于把不可见的生成机制说出来：所谓内心材料，也是在这个暗场、这个问答压力、这个表演现场里被迫生成。

降级边界必须守住：#1201 不支持全片事实层级已被本句单独裁决，不支持子丑真实心理已被证明，不支持 #1202 `我什么也没想` 已属于本句结论，不支持画面出现编剧/剧本/心理内容，不支持清楚口型证明，也不支持配乐、电子声、无线电或设备提示音进入。它能稳定支持的是：子丑以明显强声把 #1200 的“想什么”追问拆成现场编造机制，说明所谓想法不是先在内心里完整存在，而是在问答压力下被临时生产出来。

## 文中引用的图像资料

以下图像由本篇已有文件引用对应；保留历史引用范围，图像展示不增加新的事实判断。

![370_1201_start_ref_6242.233.jpg](/research/images/846c6ccca1a64317d1c4.webp)

![371_1201_mid_ref_6242.650.jpg](/research/images/5e8eb5f472d9735277be.webp)

![372_1201_tail_ref_6243.033.jpg](/research/images/d4b9a615f2f0cca81514.webp)

![373_1202_start_ref_6243.066.jpg](/research/images/382f34dce2e772e9e1b1.webp)

![374_1202_mid_ref_6243.566.jpg](/research/images/71ab6da81a105762d41c.webp)

![375_1202_tail_ref_6244.033.jpg](/research/images/652ac9b10f8d1c267ecb.webp)

text: 片源与资产

text: 片源： 〔本地资料路径省略〕 无字幕 28g 4k.mov

text: 资产目录：

text: 本页使用或新增资产：

text: T0 台词链

text: T0 上 #1201 start= 01:44:02.233 ，end= 01:44:03.066 ，duration= 0.833s 。#1200 end= 01:44:00.366 ，#1200 到 #1201 名义 gap= 1.867s 。#1202 start= 01:44:03.066 ，与 #1201 尾部贴边衔接。#1201 是对子丑被追问“想什么”之后的反说，不是 #1202 我什么也没想 已经完成的补充结论。

text: 声音指标

kind: tr

text: segment duration RMS peak silence ratio 说明

text: #1200->#1201 gap ref 1.867s -40.631dBFS -15.423dBFS 0.465241 低能非静音等待，给反说留口

text: #1201 exact 0.833s -17.153dBFS -1.894dBFS 0.023810 强声自揭，明显高于 #1200

text: #1201->#1202 boundary 0.001s -24.416dBFS -20.485dBFS 0.000000 名义贴边边界，不是完整沉默

text: #1202 exact ref 1.000s -23.442dBFS -8.144dBFS 0.170000 后接参照：把“编的”补成“没想”

text: #1201-#1202 chain 1.833s -19.499dBFS -1.894dBFS 0.114130 从自揭到没想的贴边链

text: 1201 exact 的 100ms 曲线为：

text: 这是一个明显的强声反说。#1200 exact RMS= -26.107dBFS ，#1201 exact RMS= -17.153dBFS ，差约 8.954dB ；#1201 的 peak 也抬到 -1.894dBFS 。这说明 这都在编的 不是弱弱补充，而是对子丑刚被问出“想什么”后的强力拆解。它不是把内心交出来，而是用更强的声音说：这个内心本身正在被现场编出来。

headingPath: 1201 到 #1202 之间几乎没有等待。名义边界只有贴边切换，本轮 0.001s 边界 RMS= -24.416dBFS ，不能写成沉默。#1202 exact ref 的 100ms 曲线为：

headingPath: 1202 的 我什么也没想 会把 #1201 的“编的”进一步补成“并不存在预先想法”，但它是后接参照，不能倒灌为 #1201 的完整内容。#1201 自己已经完成的是“这都在编”的自揭；#1202 才会补充“我什么也没想”的否认。

text: 画面指标

text: 1200 到 #1201 联系图：

text: 1201 到 #1202 联系图：

text: frame mean luma dark <40 bright >180 visible note

text: #1201 start 6242.233 49.802467 0.133675 0.000000 #1201 起点已从 #1200 亮场回落

text: #1201 mid 6242.650 42.994114 0.288604 0.000000 中段继续压暗

text: #1201 tail 6243.033 34.505116 0.615422 0.000000 尾部暗部过半

text: #1202 start 6243.066 33.811089 0.645748 0.000000 #1202 贴边进入，暗部继续增加

text: #1202 mid 6243.566 30.693537 0.763592 0.000000 后接否认仍在暗场

text: #1202 tail 6244.033 29.888388 0.822017 0.000000 尾部进一步压暗

text: 画面没有把“编的”兑现为可见编剧、剧本、文字、心理画面或后台机制。#1201 start/mid/tail mean luma= 49.802/42.994/34.505 ，dark ratio 从 0.133675 抬到 0.615422 ；#1202 又继续压暗到 mean luma= 33.811/30.694/29.888 。也就是说，声音强力自揭，画面却不打开解释对象，而是继续把这句压回暗场和可见身体/材料关系。

text: 稳定结论

headingPath: 1201 是编造机制自揭句。它不是简单说“这一切都是假的”，也不该被抽象成全片世界观裁决。它直接接在 #1200 你又在想什么 之后，最稳的读法是：子丑承认刚才被问出来的“想法”不是预先存在的内心内容，而是在现场问答中临时编出来的。

text: 这 是近指。它指向的不是遥远的宇宙真相，而是眼前这套问答现场：你问我在想什么，我就得说点什么；你追我内心，我就要给内心编一个对象。 这都在编的 的潜台词接近于：你现在让我交出来的内容，不是我先有再说，而是因为你问，我才开始组织。

text: 都 把范围扩大，但仍要守住证据边界。它可以覆盖刚才的“想什么”、小孩理由、感谢义务，甚至回接 #1186-#1189 的“这是戏/啥不是戏/大家都在演戏”。但不能仅凭本句就裁决全片所有层级都是虚构，也不能把它写成导演或影片对现实真伪的最终判决。更稳的是：在这一局对话里，子丑把自己的内心供词、接话方式和现场表演机制一起称作“编的”。

text: 编的 不是“撒谎”那么窄。它更像一个生产动作：话不是从内心深处自然流出来，而是在压力、追问、等待和接话中被临时编排出来。这正好回接 #1200 的问责：阿蒙问 你又在想什么 ，子丑没有交出一个想法对象，而是说对象本身是被编出来的。也就是说，他不只拒绝回答，还拆了“回答必须来自内心”的前提。

text: 声音上，这句是强力反说。#1201 exact RMS= -17.153dBFS ，显著高于 #1200 exact 的 -26.107dBFS ；100ms 曲线在 -15.851/-14.847/-16.832/-13.307dBFS 多次抬起。它不是退缩，而是短促、强硬地把阿蒙的心理追问切开。#1201 到 #1202 又贴边连接，说明这不是一个孤立爆点，马上会被 我什么也没想 继续解释。

text: 画面上，强声没有换来显影。#1201 越说越暗，尾部 dark ratio 达到 0.615422 ；#1202 的暗部更高。电影没有给“编”的后台，也没有给“想”的内容，而是让子丑的强声落在暗场里。这让本句的力量不在于揭示一个可见真相，而在于把不可见的生成机制说出来：所谓内心材料，也是在这个暗场、这个问答压力、这个表演现场里被迫生成。

text: 降级边界必须守住：#1201 不支持全片事实层级已被本句单独裁决，不支持子丑真实心理已被证明，不支持 #1202 我什么也没想 已属于本句结论，不支持画面出现编剧/剧本/心理内容，不支持清楚口型证明，也不支持配乐、电子声、无线电或设备提示音进入。它能稳定支持的是：子丑以明显强声把 #1200 的“想什么”追问拆成现场编造机制，说明所谓想法不是先在内心里完整存在，而是在问答压力下被临时生产出来。

text: 文中引用的图像资料

text: 以下图像由本篇已有文件引用对应；保留历史引用范围，图像展示不增加新的事实判断。


category: 来源与校正记录

series: LocalForensics

markdown:
# 2026-07-04 4K无字幕母文件144到153分甲瑞第401到425句 exact-line 复核

本文为研究档案公开版，保留来源版本的论述与限制。公开时间：2026-09-08；不表示已完成同行评审。 本文属于公开研究资料（历史笔记、研究稿或来源记录）：已完成格式、来源限制与重复项筛查，尚未完成逐篇独立事实复核；原文中的解释、候选判断和未确认内容均按其原有限制阅读。

来源版本日期：2026-07-04

证据边界：本页为历史研究资料的公开版本。原始文件未单列 source_rule；此说明仅补充公开阅读边界，不构成对原文事实、模型判断或人物解释的新认证。请结合原文来源、日期、校正与不确定性阅读。

# 2026-07-04 4K无字幕母文件144到153分甲瑞第401到425句 exact-line 复核

## 取证口径

本页回填 [甲瑞逐句声画标注-第401-425句-2026-06-27](/research/hs-3330d7e9e6b8e5d1) 的 exact-line 声音统计，并把既有中点帧/联系表与旧声音指标合并为可引用证据底盘。它只确认 `duration / n_samples / mean / max`、 broad T1 视觉边界和不可升级项；不做逐帧口型终裁。

- 母文件：`〔本地资料路径省略〕 无字幕 28g 4k.mov`
- 时间范围：`02:24:10.266-02:33:27.166`
- 旧视觉底盘：[2026-06-27-甲瑞逐句声画标注第401-425句中点帧联系表复核](/research/hs-9531c29d820a616c)
- 旧声音底盘：[2026-06-27-甲瑞逐句声画标注第401-425句声音语气语调指标复核](/research/hs-1579d953cd9d921b)

## exact-line 声音统计

| J号 | 全片# | 时间窗 | 台词 | duration | n_samples | mean | max | 边界 |
|---|---:|---|---|---:|---:|---:|---:|---|
| J401 | #1891 | `02:24:10.266-02:24:11.200` | `把她揭示出来` | `0.934s` | `89664` | `-21.9 dB` | `-7.8 dB` | 揭示、好处、帮助和现实是台词链，不证明对象实体化或现实本体成立。 |
| J402 | #1892 | `02:24:12.733-02:24:13.900` | `对我有好处吗` | `1.167s` | `112032` | `-18.4 dB` | `-3.9 dB` | 揭示、好处、帮助和现实是台词链，不证明对象实体化或现实本体成立。 |
| J403 | #1894 | `02:24:14.666-02:24:15.666` | `对我有帮助` | `1.000s` | `96000` | `-22.4 dB` | `-4.7 dB` | 揭示、好处、帮助和现实是台词链，不证明对象实体化或现实本体成立。 |
| J404 | #1897 | `02:24:25.233-02:24:28.233` | `他有一种 就有一种现实` | `3.000s` | `288000` | `-25.2 dB` | `-9.7 dB` | 揭示、好处、帮助和现实是台词链，不证明对象实体化或现实本体成立。 |
| J405 | #1901 | `02:24:56.666-02:24:57.400` | `我现在` | `0.734s` | `70464` | `-29.7 dB` | `-15.7 dB` | 大脑空白是台词自述，不证明真实认知或医学事实。 |
| J406 | #1902 | `02:24:58.033-02:24:59.200` | `大脑一片空白` | `1.167s` | `112032` | `-31.3 dB` | `-14.1 dB` | 大脑空白是台词自述，不证明真实认知或医学事实。 |
| J407 | #1924 | `02:25:31.600-02:25:32.966` | `这他妈在我看来` | `1.366s` | `131136` | `-13.9 dB` | `0.0 dB` | 恶心和骂句是强评价/对抗，不证明心理透明、现实攻击或伤害完成。 |
| J408 | #1925 | `02:25:33.100-02:25:35.966` | `这他妈在我看来这种话真的他妈非常恶心` | `2.866s` | `275136` | `-14.7 dB` | `0.0 dB` | 恶心和骂句是强评价/对抗，不证明心理透明、现实攻击或伤害完成。 |
| J409 | #1926 | `02:25:36.000-02:25:36.500` | `你知道吗` | `0.500s` | `48000` | `-21.7 dB` | `-6.4 dB` | 恶心和骂句是强评价/对抗，不证明心理透明、现实攻击或伤害完成。 |
| J410 | #1927 | `02:25:36.500-02:25:37.766` | `就是他妈特别恶心` | `1.266s` | `121536` | `-10.5 dB` | `0.0 dB` | 恶心和骂句是强评价/对抗，不证明心理透明、现实攻击或伤害完成。 |
| J411 | #1928 | `02:25:37.766-02:25:38.800` | `我操你妈` | `1.034s` | `99264` | `-9.6 dB` | `0.0 dB` | 恶心和骂句是强评价/对抗，不证明心理透明、现实攻击或伤害完成。 |
| J412 | #1931 | `02:25:45.233-02:25:46.000` | `哼` | `0.767s` | `73632` | `-26.3 dB` | `-10.2 dB` | 恶心和骂句是强评价/对抗，不证明心理透明、现实攻击或伤害完成。 |
| J413 | #1932 | `02:25:48.266-02:25:49.200` | `就吃下去了` | `0.934s` | `89664` | `-23.2 dB` | `-6.4 dB` | 吃下去和哼没有画面吞咽终裁，不证明动作完成或退场。 |
| J414 | #1938 | `02:26:08.233-02:26:09.066` | `哼` | `0.833s` | `79968` | `-23.6 dB` | `-6.3 dB` | 吃下去和哼没有画面吞咽终裁，不证明动作完成或退场。 |
| J415 | #1940 | `02:26:19.233-02:26:20.000` | `我` | `0.767s` | `73632` | `-21.6 dB` | `-7.6 dB` | 不想说/说是说话债务转交链，不证明拒绝被取消或授权完成。 |
| J416 | #1941 | `02:26:21.900-02:26:22.766` | `不想说` | `0.866s` | `83136` | `-18.9 dB` | `-0.8 dB` | 不想说/说是说话债务转交链，不证明拒绝被取消或授权完成。 |
| J417 | #1962 | `02:28:45.400-02:28:46.166` | `说` | `0.766s` | `73536` | `-13.1 dB` | `-1.9 dB` | 不想说/说是说话债务转交链，不证明拒绝被取消或授权完成。 |
| J418 | #2003 | `02:31:04.900-02:31:05.733` | `对` | `0.833s` | `79968` | `-2.6 dB` | `0.0 dB` | 两个对声场极强，但不能直接写成设备声、配乐或单人情绪封顶。 |
| J419 | #2005 | `02:31:09.333-02:31:10.100` | `对` | `0.767s` | `73632` | `-2.6 dB` | `0.0 dB` | 两个对声场极强，但不能直接写成设备声、配乐或单人情绪封顶。 |
| J420 | #2029 | `02:32:29.066-02:32:29.566` | `厕所？` | `0.500s` | `48000` | `-37.7 dB` | `-20.0 dB` | 厕所、门、国王和跨门属于片尾叙述装置，不证明真实空间或动作完成。 |
| J421 | #2030 | `02:32:31.566-02:32:33.233` | `只需要你跨过那扇门` | `1.667s` | `160032` | `-30.7 dB` | `-13.6 dB` | 厕所、门、国王和跨门属于片尾叙述装置，不证明真实空间或动作完成。 |
| J422 | #2031 | `02:32:36.066-02:32:38.066` | `国王迈开了他矫健的大腿` | `2.000s` | `192000` | `-12.5 dB` | `0.0 dB` | 厕所、门、国王和跨门属于片尾叙述装置，不证明真实空间或动作完成。 |
| J423 | #2032 | `02:32:38.400-02:32:40.500` | `朝着门的方向奔跑而去` | `2.100s` | `201600` | `-24.5 dB` | `-2.9 dB` | 厕所、门、国王和跨门属于片尾叙述装置，不证明真实空间或动作完成。 |
| J424 | #2033 | `02:32:42.066-02:32:43.800` | `我们的王跨过了一道门` | `1.734s` | `166464` | `-24.9 dB` | `-5.7 dB` | 厕所、门、国王和跨门属于片尾叙述装置，不证明真实空间或动作完成。 |
| J425 | #2037 | `02:33:26.066-02:33:27.166` | `我就是什么也不在乎` | `1.100s` | `105600` | `-35.5 dB` | `-16.7 dB` | 不在乎进入片尾归档，不证明甲瑞内心结案。 |

## broad 视觉边界

- `J401-J417`：揭示、好处、帮助、现实、大脑空白、恶心、吃下去、不想说和说都由台词/声音推进；画面不把被揭示对象实体化，也不证明心理/医学事实、真实吞咽、拒绝被取消或授权完成。
- `J418-J425`：控制台/设备空间、白布装置、书架/展台和片尾署名进入画面，但不能把强 `对` 写成设备声/配乐，也不能把厕所、门、国王、跨门或不在乎写成真实空间、动作完成、王权人物或内心结案。

## 可回填结论

- J401-J425 已具备 exact-line 声音/语气底盘，可回填到甲瑞逐句分卷和 `JA-P0-D` 队列。
- 本页只支持“可听强弱、窄窗边界和 broad 视觉限制”，不支持把强声、杀意、揭示、门、国王、设备或片尾名单升级为现实事实。

text: 取证口径

text: 本页回填 甲瑞逐句声画标注-第401-425句-2026-06-27 的 exact-line 声音统计，并把既有中点帧/联系表与旧声音指标合并为可引用证据底盘。它只确认 duration / n_samples / mean / max 、 broad T1 视觉边界和不可升级项；不做逐帧口型终裁。

text: 母文件： 〔本地资料路径省略〕 无字幕 28g 4k.mov

text: 时间范围： 02:24:10.266-02:33:27.166

text: 旧视觉底盘： 2026-06-27-甲瑞逐句声画标注第401-425句中点帧联系表复核

text: 旧声音底盘： 2026-06-27-甲瑞逐句声画标注第401-425句声音语气语调指标复核

text: exact-line 声音统计

text: J号 全片# 时间窗 台词 duration n_samples mean max 边界

text: J401 #1891 02:24:10.266-02:24:11.200 把她揭示出来 0.934s 89664 -21.9 dB -7.8 dB 揭示、好处、帮助和现实是台词链，不证明对象实体化或现实本体成立。

text: J402 #1892 02:24:12.733-02:24:13.900 对我有好处吗 1.167s 112032 -18.4 dB -3.9 dB 揭示、好处、帮助和现实是台词链，不证明对象实体化或现实本体成立。

text: J403 #1894 02:24:14.666-02:24:15.666 对我有帮助 1.000s 96000 -22.4 dB -4.7 dB 揭示、好处、帮助和现实是台词链，不证明对象实体化或现实本体成立。

text: J404 #1897 02:24:25.233-02:24:28.233 他有一种 就有一种现实 3.000s 288000 -25.2 dB -9.7 dB 揭示、好处、帮助和现实是台词链，不证明对象实体化或现实本体成立。

text: J405 #1901 02:24:56.666-02:24:57.400 我现在 0.734s 70464 -29.7 dB -15.7 dB 大脑空白是台词自述，不证明真实认知或医学事实。

text: J406 #1902 02:24:58.033-02:24:59.200 大脑一片空白 1.167s 112032 -31.3 dB -14.1 dB 大脑空白是台词自述，不证明真实认知或医学事实。

text: J407 #1924 02:25:31.600-02:25:32.966 这他妈在我看来 1.366s 131136 -13.9 dB 0.0 dB 恶心和骂句是强评价/对抗，不证明心理透明、现实攻击或伤害完成。

text: J408 #1925 02:25:33.100-02:25:35.966 这他妈在我看来这种话真的他妈非常恶心 2.866s 275136 -14.7 dB 0.0 dB 恶心和骂句是强评价/对抗，不证明心理透明、现实攻击或伤害完成。

text: J409 #1926 02:25:36.000-02:25:36.500 你知道吗 0.500s 48000 -21.7 dB -6.4 dB 恶心和骂句是强评价/对抗，不证明心理透明、现实攻击或伤害完成。

text: J410 #1927 02:25:36.500-02:25:37.766 就是他妈特别恶心 1.266s 121536 -10.5 dB 0.0 dB 恶心和骂句是强评价/对抗，不证明心理透明、现实攻击或伤害完成。

text: J411 #1928 02:25:37.766-02:25:38.800 我操你妈 1.034s 99264 -9.6 dB 0.0 dB 恶心和骂句是强评价/对抗，不证明心理透明、现实攻击或伤害完成。

text: J412 #1931 02:25:45.233-02:25:46.000 哼 0.767s 73632 -26.3 dB -10.2 dB 恶心和骂句是强评价/对抗，不证明心理透明、现实攻击或伤害完成。

text: J413 #1932 02:25:48.266-02:25:49.200 就吃下去了 0.934s 89664 -23.2 dB -6.4 dB 吃下去和哼没有画面吞咽终裁，不证明动作完成或退场。

text: J414 #1938 02:26:08.233-02:26:09.066 哼 0.833s 79968 -23.6 dB -6.3 dB 吃下去和哼没有画面吞咽终裁，不证明动作完成或退场。

text: J415 #1940 02:26:19.233-02:26:20.000 我 0.767s 73632 -21.6 dB -7.6 dB 不想说/说是说话债务转交链，不证明拒绝被取消或授权完成。

text: J416 #1941 02:26:21.900-02:26:22.766 不想说 0.866s 83136 -18.9 dB -0.8 dB 不想说/说是说话债务转交链，不证明拒绝被取消或授权完成。

text: J417 #1962 02:28:45.400-02:28:46.166 说 0.766s 73536 -13.1 dB -1.9 dB 不想说/说是说话债务转交链，不证明拒绝被取消或授权完成。

text: J418 #2003 02:31:04.900-02:31:05.733 对 0.833s 79968 -2.6 dB 0.0 dB 两个对声场极强，但不能直接写成设备声、配乐或单人情绪封顶。

text: J419 #2005 02:31:09.333-02:31:10.100 对 0.767s 73632 -2.6 dB 0.0 dB 两个对声场极强，但不能直接写成设备声、配乐或单人情绪封顶。

text: J420 #2029 02:32:29.066-02:32:29.566 厕所？ 0.500s 48000 -37.7 dB -20.0 dB 厕所、门、国王和跨门属于片尾叙述装置，不证明真实空间或动作完成。

text: J421 #2030 02:32:31.566-02:32:33.233 只需要你跨过那扇门 1.667s 160032 -30.7 dB -13.6 dB 厕所、门、国王和跨门属于片尾叙述装置，不证明真实空间或动作完成。

text: J422 #2031 02:32:36.066-02:32:38.066 国王迈开了他矫健的大腿 2.000s 192000 -12.5 dB 0.0 dB 厕所、门、国王和跨门属于片尾叙述装置，不证明真实空间或动作完成。

text: J423 #2032 02:32:38.400-02:32:40.500 朝着门的方向奔跑而去 2.100s 201600 -24.5 dB -2.9 dB 厕所、门、国王和跨门属于片尾叙述装置，不证明真实空间或动作完成。

text: J424 #2033 02:32:42.066-02:32:43.800 我们的王跨过了一道门 1.734s 166464 -24.9 dB -5.7 dB 厕所、门、国王和跨门属于片尾叙述装置，不证明真实空间或动作完成。

text: J425 #2037 02:33:26.066-02:33:27.166 我就是什么也不在乎 1.100s 105600 -35.5 dB -16.7 dB 不在乎进入片尾归档，不证明甲瑞内心结案。

text: broad 视觉边界

text: J401-J417 ：揭示、好处、帮助、现实、大脑空白、恶心、吃下去、不想说和说都由台词/声音推进；画面不把被揭示对象实体化，也不证明心理/医学事实、真实吞咽、拒绝被取消或授权完成。

text: J418-J425 ：控制台/设备空间、白布装置、书架/展台和片尾署名进入画面，但不能把强 对 写成设备声/配乐，也不能把厕所、门、国王、跨门或不在乎写成真实空间、动作完成、王权人物或内心结案。

text: 可回填结论

text: J401-J425 已具备 exact-line 声音/语气底盘，可回填到甲瑞逐句分卷和 JA-P0-D 队列。


title: 4K无字幕母文件137分15秒第1808然后是我自我入列回返复核

markdown:
# 4K无字幕母文件137分15秒第1808然后是我自我入列回返复核

本文为研究档案公开版，保留来源版本的论述与限制。公开时间：2026-09-08；不表示已完成同行评审。 本文属于公开研究资料（历史笔记、研究稿或来源记录）：已完成格式、来源限制与重复项筛查，尚未完成逐篇独立事实复核；原文中的解释、候选判断和未确认内容均按其原有限制阅读。

来源版本日期：2026-07-02

证据边界：T1 本地复核页，使用 `1808-then-me-to-then-her-chain` 最小证据包，并承接 #1807 页 `1807-you-speak-first-to-then-me-chain` 的前接参照；锁定 #1808 exact、#1807->#1808 1.233s 非静音接续、#1808->#1809 1.700s 非静音降能等待、#1808/#1809 boundary、#1809 `然后是她` 参照、#1808 exact 100ms 曲线、#1809 exact 100ms 参照曲线、频谱/声道边界、帧指标与联系图。T0 锁定 #1808 甲瑞 `然后是我`；本页判断 #1808 是自我入列回返：它不是自我表达完成，而是在 #1807 的 `你先说话` 后把 `我` 也登记为说话顺序中的第二个槽位。

# 4K无字幕母文件137分15秒第1808然后是我自我入列回返复核

## 片源与资产

- 片源：`〔本地资料路径省略〕 无字幕 28g 4k.mov`
- 当前主证据目录：`〔本地资料路径省略〕`
- 外置 T0 payload：`〔本地资料路径省略〕`
- #1808 exact 音频：`audio/1808_exact_then_me_mono.wav`、`audio/1808_exact_then_me_stereo.wav`
- 前后等待与参照：`audio/1807_to1808_gap_ref_mono.wav`、`audio/1807_to1808_boundary_200ms_ref_mono.wav`、`audio/1808_to1809_gap_mono.wav`、`audio/1808_to1809_boundary_200ms_mono.wav`、`audio/1809_exact_then_her_ref_mono.wav`、`audio/1808_1809_chain_mono.wav`
- 声音摘要：`metrics/audio_summary_1808_supplement.json`
- #1808 exact 100ms 曲线：`metrics/1808_exact_then_me_mono_100ms_bins.json`
- #1808->#1809 gap 100ms 曲线：`metrics/1808_to1809_gap_mono_100ms_bins.json`
- #1808/#1809 boundary 20ms 曲线：`metrics/1808_to1809_boundary_200ms_mono_20ms_bins.json`
- #1809 exact 100ms 参照曲线：`metrics/1809_exact_then_her_ref_mono_100ms_bins.json`
- 频谱/声道摘要：`metrics/audio_frequency_space_1808_supplement.json`
- 帧色彩指标：`metrics/frame_color_metrics_1808_supplement.json`
- 联系图：`metrics/656_contact_1808_then_me_to1809_then_her_chain.jpg`。格序为：#1807->#1808 gap mid ref、#1808 start、#1808 mid、#1808 tail、#1808->#1809 gap mid、#1809 start ref、#1809 mid ref、#1809 tail ref。

## T0 对照

```text
#1806 甲瑞：对
#1807 甲瑞：你先说话
#1808 甲瑞：然后是我
#1809 甲瑞：然后是她
#1810 阿蒙：这里不能抽烟
```

T0 锁定 #1808 为甲瑞台词，时间 `02:17:15.233-02:17:16.066`。它前接 #1807 `你先说话`，后接 #1809 `然后是她`。本页只确认 #1808 在 `你 / 我 / 她` 的话轮队列中把 `我` 入列，不确认任何完整自白、发言内容已经出现或真实表达空间已经建立。

## 声音指标

| 窗口 | 时间 | duration | RMS / mean | peak / max | 说明 |
|---|---:|---:|---:|---:|---|
| #1807->#1808 gap ref | `02:17:14.000-02:17:15.233` | `1.233s` | `-20.475dBFS` | `-5.207dBFS` | #1807 后的非静音接续 |
| #1807/#1808 boundary ref | `02:17:15.133-02:17:15.333` | `0.200s` | `-24.421dBFS` | `-12.114dBFS` | `然后是我` 进入前后 |
| #1808 exact mono | `02:17:15.233-02:17:16.066` | `0.833s` | `-20.681dBFS` | `-8.676dBFS` | `然后是我` |
| #1808->#1809 gap | `02:17:16.066-02:17:17.766` | `1.700s` | `-27.693dBFS` | `-13.862dBFS` | 自我入列后到 `她` 的降能等待 |
| #1808/#1809 boundary 200ms | `02:17:17.666-02:17:17.866` | `0.200s` | `-27.302dBFS` | `-16.154dBFS` | `然后是她` 进入前后 |
| #1809 exact ref | `02:17:17.766-02:17:18.533` | `0.767s` | `-30.088dBFS` | `-16.154dBFS` | 后接第三顺序项参照 |
| #1808-#1809 chain | `02:17:15.233-02:17:18.533` | `3.300s` | `-24.865dBFS` | `-8.676dBFS` | `然后是我` 到 `然后是她` 的整链 |

#1808 exact 100ms 曲线为：

```text
-24.204 / -17.556 / -17.997 / -20.689 / -20.575 / -22.263 / -23.962 / -23.017 / -22.724 dBFS
```

这条曲线显示 #1808 在第二、三格迅速抬到 `-17.556/-17.997dBFS`，随后退回 `-20` 到 `-23dBFS`。它不是像 #1802-#1806 的低位 `对` 那样拖在边缘，而是明确占到前景；但它的占前景没有携带内容，只携带次序。#1808 说出的不是“我要说什么”，而是“接着轮到我”。

#1808->#1809 gap 100ms 曲线为：

```text
-24.954 / -26.743 / -26.990 / -26.763 / -26.148 / -23.908 / -26.828 / -25.351 / -25.345 / -28.610 / -29.329 / -30.999 / -35.553 / -34.851 / -33.797 / -35.855 / -33.273 dBFS
```

这个 gap 有极少量 `<=-40dBFS` 的 10ms 静音比例 `0.005882`，整体仍不是纯静默。它比 #1807->#1808 gap 的 RMS=`-20.475dBFS` 明显下降到 `-27.693dBFS`，说明 `然后是我` 之后现场把能量让给等待，而不是立刻生成自我陈述。#1808 把 `我` 放入队列，随后这项队列又被较低能的等待递给 #1809 `然后是她`。

#1808/#1809 boundary 20ms 曲线为：

```text
-38.125 / -34.958 / -34.022 / -33.723 / -29.749 / -25.566 / -23.478 / -24.514 / -25.367 / -25.929 dBFS
```

#1809 exact 100ms 参照曲线为：

```text
-24.878 / -29.127 / -34.460 / -31.290 / -32.944 / -33.982 / -31.902 / -32.389 dBFS
```

#1809 exact RMS=`-30.088dBFS`，比 #1808 exact 的 `-20.681dBFS` 低近 `9.4dB`。这不等于 #1809 结构不重要，而说明在这条 `你 / 我 / 她` 队列里，#1808 是把自我登记进顺序的较前景节点，#1809 则以更低能的方式补上第三人称槽位。

频谱和声道继续降级。#1808 exact spectral centroid=`285.759Hz`，low_20_250 ratio=`0.719112`，speech_250_4000 ratio=`0.278050`，high/air 只有 `0.001245/0.001593`；#1808->#1809 gap low_20_250 ratio=`0.740506`；#1809 exact low_20_250 ratio=`0.716918`。所有窗口 stereo LR correlation 约为 `1.000000`、side_mid_ratio 近似 `0`。这里支持居中同相的人声和低中频身体/房间/材料现场，不支持设备声、无线电、通信声、系统 UI、声道空间打开、节拍、和声、乐器层或可确认独立配乐。

## 画面指标与联系图

| 帧 | mean_luma | dark_lt40_ratio | 说明 |
|---|---:|---:|---|
| #1807->#1808 gap mid ref | `56.503` | `0.236513` | #1808 前同场较亮 |
| #1808 start | `54.273` | `0.281450` | `然后是我` 开始时仍是近身围绕身体场 |
| #1808 mid | `53.735` | `0.291105` | 中段没有切到自白空间或发言席 |
| #1808 tail | `54.592` | `0.278831` | 尾部仍未给出新空间 |
| #1808->#1809 gap mid | `55.752` | `0.259646` | 自我入列后等待仍在同场 |
| #1809 start ref | `54.296` | `0.275958` | `然后是她` 接入同场 |
| #1809 mid ref | `55.452` | `0.265825` | 手部/身体围绕持续 |
| #1809 tail ref | `57.569` | `0.229658` | 尾部略抬亮但没有新对象兑现 |

联系图显示，#1808 到 #1809 没有发生制度空间切换。中央低位裸露上身身体持续处于围拢中心，前景白衣/身体边界和右侧竖纹衣袖继续遮挡，手部动作在中心身体附近维持，后方仍是白色棚布和低矮空间边界。画面没有把 `我` 独立标出为安全自白者、导演席、发言席、话筒、剧本页、提示板或新场景。#1808 的 `我` 因而不是被画面确认的完整主体，而是在同一围绕场中被排进话轮表。

## 稳定支持

- #1808 是自我入列回返：它接住 #1807 的 `你先说话`，把 `我` 写成第二个话轮槽位。
- `然后` 是本句的结构核心。它让 #1808 依附前一句，不是独立开场，也不是自我表达的自由起点。
- `是我` 把说话人自己列入流程，但不是完整自白、内容回答或心理主体完成。
- #1808 exact RMS=`-20.681dBFS`，#1808->#1809 gap RMS=`-27.693dBFS`，#1809 exact RMS=`-30.088dBFS`；这支持 #1808 是较前景的队列中继，而不是 #1809 之后的内容完成。
- 画面保持同一近身围绕身体场，没有给出新空间、发言席、导演台、剧本页、提示板或清场。

## 不支持

- 不支持把 #1808 写成对 #1801 `啥来着` 的内容回答、下一幕内容确定、剧本被想起、流程修复完成、叙事自然切换、外部剪辑事实或新场景实际到达。
- 不支持把 `然后是我` 写成甲瑞完整自白、自我表达完成、自由发言空间建立、说话主体获得完整自主权、真实邀请完成、完整 consent、关系修复或安全中止。
- 不支持把 #1808->#1809 的 1.700s gap 写成纯静默、音乐桥、设备提示、无线电、通信声、系统 UI、声道空间打开或可确认独立配乐。
- 不支持把画面写成话筒、发言席、剧本页、提示板、幕次标题、导演台、外部安全空间、出口、清场、新空间或下一幕答案已经出现。

## 文中引用的图像资料

以下图像由本篇已有文件引用对应；保留历史引用范围，图像展示不增加新的事实判断。

![656_contact_1808_then_me_to1809_then_her_chain.jpg](/research/images/96c43c7a8dc320e812d0.webp)

headingPath: 4K无字幕母文件137分15秒第1808然后是我自我入列回返复核

text: 4K无字幕母文件137分15秒第1808然后是我自我入列回返复核

text: 片源与资产

text: 片源： 〔本地资料路径省略〕 无字幕 28g 4k.mov

text: 当前主证据目录： 〔本地资料路径省略〕

text: 外置 T0 payload： 〔本地资料路径省略〕

text: 1808 exact 音频： audio/1808_exact_then_me_mono.wav 、 audio/1808_exact_then_me_stereo.wav

text: 前后等待与参照： audio/1807_to1808_gap_ref_mono.wav 、 audio/1807_to1808_boundary_200ms_ref_mono.wav 、 audio/1808_to1809_gap_mono.wav 、 audio/1808_to1809_boundary_200ms_mono.wav 、 audio/1809_exact_then_her_ref_mono.wav 、 audio/1808_1809_chain_mono.wav

text: 声音摘要： metrics/audio_summary_1808_supplement.json

text: 1808 exact 100ms 曲线： metrics/1808_exact_then_me_mono_100ms_bins.json

text: 1808->#1809 gap 100ms 曲线： metrics/1808_to1809_gap_mono_100ms_bins.json

text: 1808/#1809 boundary 20ms 曲线： metrics/1808_to1809_boundary_200ms_mono_20ms_bins.json

text: 1809 exact 100ms 参照曲线： metrics/1809_exact_then_her_ref_mono_100ms_bins.json

text: 频谱/声道摘要： metrics/audio_frequency_space_1808_supplement.json

text: 帧色彩指标： metrics/frame_color_metrics_1808_supplement.json

text: 联系图： metrics/656_contact_1808_then_me_to1809_then_her_chain.jpg 。格序为：#1807->#1808 gap mid ref、#1808 start、#1808 mid、#1808 tail、#1808->#1809 gap mid、#1809 start ref、#1809 mid ref、#1809 tail ref。

text: T0 对照

text: T0 锁定 #1808 为甲瑞台词，时间 02:17:15.233-02:17:16.066 。它前接 #1807 你先说话 ，后接 #1809 然后是她 。本页只确认 #1808 在 你 / 我 / 她 的话轮队列中把 我 入列，不确认任何完整自白、发言内容已经出现或真实表达空间已经建立。

text: 声音指标

text: 窗口 时间 duration RMS / mean peak / max 说明

text: #1807->#1808 gap ref 02:17:14.000-02:17:15.233 1.233s -20.475dBFS -5.207dBFS #1807 后的非静音接续

text: #1807/#1808 boundary ref 02:17:15.133-02:17:15.333 0.200s -24.421dBFS -12.114dBFS 然后是我 进入前后

text: #1808 exact mono 02:17:15.233-02:17:16.066 0.833s -20.681dBFS -8.676dBFS 然后是我

text: #1808->#1809 gap 02:17:16.066-02:17:17.766 1.700s -27.693dBFS -13.862dBFS 自我入列后到 她 的降能等待

text: #1808/#1809 boundary 200ms 02:17:17.666-02:17:17.866 0.200s -27.302dBFS -16.154dBFS 然后是她 进入前后

text: #1809 exact ref 02:17:17.766-02:17:18.533 0.767s -30.088dBFS -16.154dBFS 后接第三顺序项参照

text: #1808-#1809 chain 02:17:15.233-02:17:18.533 3.300s -24.865dBFS -8.676dBFS 然后是我 到 然后是她 的整链

text: 1808 exact 100ms 曲线为：

text: 这条曲线显示 #1808 在第二、三格迅速抬到 -17.556/-17.997dBFS ，随后退回 -20 到 -23dBFS 。它不是像 #1802-#1806 的低位 对 那样拖在边缘，而是明确占到前景；但它的占前景没有携带内容，只携带次序。#1808 说出的不是“我要说什么”，而是“接着轮到我”。

text: 1808->#1809 gap 100ms 曲线为：

text: 这个 gap 有极少量 <=-40dBFS 的 10ms 静音比例 0.005882 ，整体仍不是纯静默。它比 #1807->#1808 gap 的 RMS= -20.475dBFS 明显下降到 -27.693dBFS ，说明 然后是我 之后现场把能量让给等待，而不是立刻生成自我陈述。#1808 把 我 放入队列，随后这项队列又被较低能的等待递给 #1809 然后是她 。

text: 1808/#1809 boundary 20ms 曲线为：

text: 1809 exact 100ms 参照曲线为：

headingPath: 1809 exact RMS= -30.088dBFS ，比 #1808 exact 的 -20.681dBFS 低近 9.4dB 。这不等于 #1809 结构不重要，而说明在这条 你 / 我 / 她 队列里，#1808 是把自我登记进顺序的较前景节点，#1809 则以更低能的方式补上第三人称槽位。

text: 频谱和声道继续降级。#1808 exact spectral centroid= 285.759Hz ，low_20_250 ratio= 0.719112 ，speech_250_4000 ratio= 0.278050 ，high/air 只有 0.001245/0.001593 ；#1808->#1809 gap low_20_250 ratio= 0.740506 ；#1809 exact low_20_250 ratio= 0.716918 。所有窗口 stereo LR correlation 约为 1.000000 、side_mid_ratio 近似 0 。这里支持居中同相的人声和低中频身体/房间/材料现场，不支持设备声、无线电、通信声、系统 UI、声道空间打开、节拍、和声、乐器层或可确认独立配乐。

text: 画面指标与联系图

text: 帧 mean_luma dark_lt40_ratio 说明

text: #1807->#1808 gap mid ref 56.503 0.236513 #1808 前同场较亮

text: #1808 start 54.273 0.281450 然后是我 开始时仍是近身围绕身体场

text: #1808 mid 53.735 0.291105 中段没有切到自白空间或发言席

text: #1808 tail 54.592 0.278831 尾部仍未给出新空间

text: #1808->#1809 gap mid 55.752 0.259646 自我入列后等待仍在同场

text: #1809 start ref 54.296 0.275958 然后是她 接入同场

text: #1809 mid ref 55.452 0.265825 手部/身体围绕持续

text: #1809 tail ref 57.569 0.229658 尾部略抬亮但没有新对象兑现

text: 联系图显示，#1808 到 #1809 没有发生制度空间切换。中央低位裸露上身身体持续处于围拢中心，前景白衣/身体边界和右侧竖纹衣袖继续遮挡，手部动作在中心身体附近维持，后方仍是白色棚布和低矮空间边界。画面没有把 我 独立标出为安全自白者、导演席、发言席、话筒、剧本页、提示板或新场景。#1808 的 我 因而不是被画面确认的完整主体，而是在同一围绕场中被排进话轮表。

text: 稳定支持

text: 1808 是自我入列回返：它接住 #1807 的 你先说话 ，把 我 写成第二个话轮槽位。

text: 然后 是本句的结构核心。它让 #1808 依附前一句，不是独立开场，也不是自我表达的自由起点。

text: 是我 把说话人自己列入流程，但不是完整自白、内容回答或心理主体完成。

text: 1808 exact RMS= -20.681dBFS ，#1808->#1809 gap RMS= -27.693dBFS ，#1809 exact RMS= -30.088dBFS ；这支持 #1808 是较前景的队列中继，而不是 #1809 之后的内容完成。

text: 不支持

text: 不支持把 #1808 写成对 #1801 啥来着 的内容回答、下一幕内容确定、剧本被想起、流程修复完成、叙事自然切换、外部剪辑事实或新场景实际到达。

text: 不支持把 然后是我 写成甲瑞完整自白、自我表达完成、自由发言空间建立、说话主体获得完整自主权、真实邀请完成、完整 consent、关系修复或安全中止。

text: 文中引用的图像资料

text: 以下图像由本篇已有文件引用对应；保留历史引用范围，图像展示不增加新的事实判断。


title: P19：戏剧/剧场内部人称技术第八批入口

category: 声画与理论笔记

series: P19-戏剧剧场内部人称技术第八批

markdown:
# P19：戏剧/剧场内部人称技术第八批入口

本文为研究档案公开版，保留来源版本的论述与限制。公开时间：2026-09-08；不表示已完成同行评审。 本文属于公开研究资料（历史笔记、研究稿或来源记录）：已完成格式、来源限制与重复项筛查，尚未完成逐篇独立事实复核；原文中的解释、候选判断和未确认内容均按其原有限制阅读。

来源版本日期：2026-06-18

证据边界：本卡组承接 P18 的缺口审计：专门分析戏剧/剧场内部的人称技术。外部戏剧术语、剧场理论和代表作品只作 T4 形式参照；进入《人类投降派》时必须回到 T0/T1/T2/T3 声画证据、Owner 校正和证据层级，不得把剧场传统反向用于裁决片内事实、人物心理、真实关系、consent、现实伤害、声源归属、导演意图、生产史或全片终极解释。

# P19：戏剧/剧场内部人称技术第八批入口

## 这一批补什么

P18 已经把人称压成“发生权分配表”。

但那里对戏剧/剧场仍然不够细。

戏剧不是电影的前身。

戏剧更像一台更裸露的机器：

```text
谁上台。
谁站在暗处。
谁被叫成角色。
谁能独白。
谁能旁听。
谁共同听见。
谁在台外压场。
谁在谢幕后仍然没有被放走。
```

所以 P19 的核心句是：

```text
剧场不是人说话的地方。
剧场是人被位置使用的地方。
```

这句话要接住前面的全部判断：

```text
独白一上台，就不再私有。
共同听见，不等于共同审判。
被提醒在看，不等于被允许裁决。
不在台上，也能压住现场。
结束之后，名字开始接管。
```

## 第八批十一张

- [01 舞台入口与幕布：人上台以前，位置已经开口](/research/hs-c5157379e3636008)
- [02 角色与扮演：人戴上名字以后，不再只按自己说话](/research/hs-f86a5f58fe7ef2ec)
- [03 独白与旁白：内心一上台，就不再私有](/research/hs-7579f071c219b756)
- [04 aside 旁白与偷听：说给观众听，不等于把裁决交出去](/research/hs-1e09a66a698230fa)
- [05 合唱队与观众席：共同听见，不等于共同审判](/research/hs-f0955533ebecd6a8)
- [06 第四墙与破墙：被提醒在看，不等于被授权](/research/hs-2ede45317da6eebb)
- [07 戏中戏与元戏剧：舞台在舞台里暴露观看机器](/research/hs-122624c17540d1df)
- [08 舞台指示与调度：非角色文字先安排世界](/research/hs-788754e39627a505)
- [09 后台、台外声与候场：不在台上，也能压住现场](/research/hs-ea44726b0f00743f)
- [10 道具、布景与灯光：物和光替角色分配位置](/research/hs-e1a56fe5d488ed6f)
- [11 谢幕、剧目单与报幕：名字重新排队，人才算离场失败](/research/hs-3aa1d4f6de8cd07e)

## 本批覆盖表

| 形式 | 主人称动作 | 接入卷 | 关键刹车 |
|---|---|---|---|
| 舞台入口/幕布 | 零人称先摆位置，观众进入同一暗处。 | 卷零、卷四。 | 入场不是同意。 |
| 角色/扮演 | 名字先套住身体，第一人称变成借口。 | 卷一。 | 角色不是本人，表演也不是免责。 |
| 独白/旁白 | 私密内心被送到公共听觉。 | 卷一、卷三。 | 独白不是事实终点。 |
| aside/偷听 | 观众获得秘密通道，但没有获得法槌。 | 卷四。 | 被告知不等于被授权。 |
| 合唱队/观众席 | 共同耳朵形成第四人称。 | 卷四。 | 大家听见不等于大家审判。 |
| 第四墙/破墙 | 观看位置被显影。 | 卷四。 | 醒来不是登基。 |
| 戏中戏/元戏剧 | 舞台暴露舞台，观看机器被看见。 | 卷四、卷六。 | 看见结构不等于站在结构外。 |
| 舞台指示/调度 | 非角色文字先安排行动。 | 卷零、卷六。 | 写在括号里不等于片内事实。 |
| 后台/台外声/候场 | 缺席者和未登场者压住现场。 | 卷三、卷五。 | 听见不等于知道来源。 |
| 道具/布景/灯光 | 物、空间和光替人分配可见性。 | 卷零、卷三。 | 物证不是自动真相。 |
| 谢幕/剧目单/报幕 | 结束以后名字、职能和观众重新排队。 | 卷五。 | 名字不是赦免，也不是结案。 |

## 总图

```mermaid
flowchart TD
    A["零人称：舞台、幕布、入口先在"] --> B["角色：名字套住身体"]
    B --> C["独白：内心公开化"]
    C --> D["aside：秘密通道给观众"]
    D --> E["合唱/观众席：共同听见"]
    E --> F["第四墙/破墙：观看位置显影"]
    F --> G["戏中戏/元戏剧：舞台暴露舞台"]
    A --> H["舞台指示/调度：非角色文字安排世界"]
    H --> B
    H --> I["后台/台外/候场：不在场者压场"]
    I --> C
    A --> J["道具/布景/灯光：物和光分配可见性"]
    J --> E
    G --> K["谢幕/剧目单/报幕：结束后的名字机器"]
    I --> K
```

这张图不是戏剧史。

它是剧场内部的人称工程图。

剧场每一层都在回答同一个问题：

```text
人以为自己在台上。
其实台早就把人安排好了。
```

## 外部调研线索

这些线索只作 T4 术语参照：

- [Digital Theatre+: Theatre glossary](https://www.digitaltheatreplus.com/blog/theatre-glossary-definitions-everyone-should-know)
- [Theatrecrafts: Stage management glossary](https://theatrecrafts.com/pages/home/topics/stage-management/glossary/)
- [Wikipedia: Fourth wall](https://en.wikipedia.org/wiki/Fourth_wall)
- [Wikipedia: Metatheatre](https://en.wikipedia.org/wiki/Metatheatre)
- [Wikipedia: Curtain call](https://en.wikipedia.org/wiki/Curtain_call)
- [Wikipedia: Theatrical property](https://en.wikipedia.org/wiki/Theatrical_property)

## 本批给总目标补上的东西

P19 让“戏剧/剧场”不再只是四个例子：

```text
哈姆雷特。
戈多。
俄狄浦斯。
布莱希特。
```

它把剧场拆成内部器官：

```text
入口。
角色。
独白。
偷听。
合唱。
破墙。
戏中戏。
指示。
后台。
道具。
谢幕。
```

这样回到《人类投降派》时，我们不必把电影硬说成“像某部戏”。

我们只需要看见更本质的同构：

```text
电影和戏剧都不是让一个主体表达自己。
它们都在制造一个主体以为自己可以表达自己的现场。
```

所以 P19 的最终刹车是：

```text
剧场能公开人。
剧场不能替人结案。
```

headingPath: P19：戏剧/剧场内部人称技术第八批入口

text: P19：戏剧/剧场内部人称技术第八批入口

text: 这一批补什么

text: P18 已经把人称压成“发生权分配表”。

text: 但那里对戏剧/剧场仍然不够细。

text: 戏剧不是电影的前身。

text: 戏剧更像一台更裸露的机器：

text: 所以 P19 的核心句是：

text:
剧场不是人说话的地方。
剧场是人被位置使用的地方。

text: 这句话要接住前面的全部判断：

text: 第八批十一张

text: 01 舞台入口与幕布：人上台以前，位置已经开口

text: 02 角色与扮演：人戴上名字以后，不再只按自己说话

text: 03 独白与旁白：内心一上台，就不再私有

text: 04 aside 旁白与偷听：说给观众听，不等于把裁决交出去

text: 05 合唱队与观众席：共同听见，不等于共同审判

text: 06 第四墙与破墙：被提醒在看，不等于被授权

text: 07 戏中戏与元戏剧：舞台在舞台里暴露观看机器

text: 08 舞台指示与调度：非角色文字先安排世界

text: 09 后台、台外声与候场：不在台上，也能压住现场

text: 10 道具、布景与灯光：物和光替角色分配位置

text: 11 谢幕、剧目单与报幕：名字重新排队，人才算离场失败

text: 本批覆盖表

text: 形式 主人称动作 接入卷 关键刹车

text: 舞台入口/幕布 零人称先摆位置，观众进入同一暗处。 卷零、卷四。 入场不是同意。

text: 角色/扮演 名字先套住身体，第一人称变成借口。 卷一。 角色不是本人，表演也不是免责。

text: 独白/旁白 私密内心被送到公共听觉。 卷一、卷三。 独白不是事实终点。

text: aside/偷听 观众获得秘密通道，但没有获得法槌。 卷四。 被告知不等于被授权。

text: 合唱队/观众席 共同耳朵形成第四人称。 卷四。 大家听见不等于大家审判。

text: 第四墙/破墙 观看位置被显影。 卷四。 醒来不是登基。

text: 戏中戏/元戏剧 舞台暴露舞台，观看机器被看见。 卷四、卷六。 看见结构不等于站在结构外。

text: 舞台指示/调度 非角色文字先安排行动。 卷零、卷六。 写在括号里不等于片内事实。

text: 后台/台外声/候场 缺席者和未登场者压住现场。 卷三、卷五。 听见不等于知道来源。

text: 道具/布景/灯光 物、空间和光替人分配可见性。 卷零、卷三。 物证不是自动真相。

text: 谢幕/剧目单/报幕 结束以后名字、职能和观众重新排队。 卷五。 名字不是赦免，也不是结案。

text: 总图

text: 这张图不是戏剧史。

text: 它是剧场内部的人称工程图。

text: 剧场每一层都在回答同一个问题：

text:
人以为自己在台上。
其实台早就把人安排好了。

text: 外部调研线索

text: 这些线索只作 T4 术语参照：

text: Digital Theatre+: Theatre glossary

text: Wikipedia: Fourth wall

text: Wikipedia: Metatheatre

text: Wikipedia: Curtain call

text: Wikipedia: Theatrical property

text: 本批给总目标补上的东西

text: P19 让“戏剧/剧场”不再只是四个例子：

text:
哈姆雷特。
戈多。
俄狄浦斯。
布莱希特。

text: 它把剧场拆成内部器官：

text: 这样回到《人类投降派》时，我们不必把电影硬说成“像某部戏”。

text: 我们只需要看见更本质的同构：

text: 所以 P19 的最终刹车是：

text:
剧场能公开人。
剧场不能替人结案。


title: 2026-07-04 4K无字幕母文件29到38分甲瑞第101到150句 exact-line 复核

markdown:
# 2026-07-04 4K无字幕母文件29到38分甲瑞第101到150句 exact-line 复核

本文为研究档案公开版，保留来源版本的论述与限制。公开时间：2026-09-08；不表示已完成同行评审。 本文属于公开研究资料（历史笔记、研究稿或来源记录）：已完成格式、来源限制与重复项筛查，尚未完成逐篇独立事实复核；原文中的解释、候选判断和未确认内容均按其原有限制阅读。

来源版本日期：2026-07-04

证据边界：本页为甲瑞逐句声画标注第101-150句首轮 exact-line 回填页。T0 台词、说话人、全片句号和时间码仍以角色逐时轴台词账及分卷为准；本页只回填窄句声能与 broad T1 视觉边界，不把画、黑、亮、水、眼睛、镜子、消失、走来、走吧、果断、决心、触摸、鱼缸、里面或游泳升级为真实画具、真实水域、真实镜面、真实消失、完整动作、心理事实、关系授权或对象兑现。

# 2026-07-04 4K无字幕母文件29到38分甲瑞第101到150句 exact-line 复核

## 复核对象

母文件：

```text
〔本地资料路径省略〕 无字幕 28g 4k.mov
```

本页回填 [甲瑞逐句声画标注-第101-150句-2026-06-26](/research/hs-03f8d438931bf3fd) 的首轮 exact-line 声音统计，并把既有中点帧、30-40 分钟慢扫和声音补列合并成可引用证据底盘。它覆盖 `J101-J150` 共 50 个甲瑞有效句，时间从 `00:29:10.566` 到 `00:37:51.033`。

## 提取口径

```text
ffmpeg -hide_banner -nostats -ss <start_seconds> -t <duration_seconds> -i "〔本地资料路径省略〕 无字幕 28g 4k.mov" -vn -ac 1 -af volumedetect -f null -
```

`mean_volume/max_volume` 只作为窄句声能指标，不直接等同情绪强度、角色真实心理、声画同步、动作完成、对象真实出现、配乐或设备声。`n_samples` 取 volumedetect 日志末尾的有效窗口样本数；日志开头的初始化 `n_samples: 0` 不作为结果。

## exact-line 声音统计

| J号 | 全片句号 | 时间 | 台词 | duration | n_samples | mean_volume | max_volume | 写作边界 |
|---|---:|---|---|---:|---:|---:|---:|---|
| J101 | #280 | `00:29:10.566-00:29:11.333` | `她过来` | `0.767s` | `73632` | `-21.9 dB` | `-9.6 dB` | 短句强可听；过来是声中牵引，不证明画面走近完成。 |
| J102 | #281 | `00:29:14.400-00:29:15.433` | `我画他` | `1.033s` | `99168` | `-20.8 dB` | `-4.2 dB` | 画他是声音动作，不证明真实画具或绘制动作完成。 |
| J103 | #282 | `00:29:16.566-00:29:17.333` | `在` | `0.767s` | `73632` | `-24.0 dB` | `-12.6 dB` | 位置词悬置，不单独给出可见对象。 |
| J104 | #283 | `00:29:17.066-00:29:18.100` | `这边黑` | `1.034s` | `99264` | `-24.2 dB` | `-10.6 dB` | 黑是声中分区，需回到画面光影，不能写成实体黑物。 |
| J105 | #284 | `00:29:19.733-00:29:21.300` | `我在水里跳舞` | `1.567s` | `150432` | `-19.7 dB` | `-5.0 dB` | 水里跳舞声能较强，但画面不支持真实水域或跳舞完成。 |
| J106 | #285 | `00:29:20.233-00:29:21.300` | `这边黑` | `1.067s` | `102432` | `-18.8 dB` | `-5.0 dB` | 黑分区强推出，不等于对象被看清。 |
| J107 | #286 | `00:29:22.933-00:29:23.833` | `那边亮` | `0.900s` | `86400` | `-23.2 dB` | `-10.4 dB` | 亮是光区关系，不写成真相显影。 |
| J108 | #287 | `00:29:27.533-00:29:28.733` | `变得特别长` | `1.200s` | `115200` | `-24.4 dB` | `-11.3 dB` | 尺度词维持，不证明真实物理延长。 |
| J109 | #288 | `00:29:36.033-00:29:36.800` | `她` | `0.767s` | `73632` | `-22.5 dB` | `-11.2 dB` | 单字指代可听，不锁身份。 |
| J110 | #289 | `00:29:36.433-00:29:37.200` | `妈妈（爸爸）` | `0.767s` | `73632` | `-23.1 dB` | `-11.1 dB` | 称谓漂移不由声音或单帧裁决。 |
| J111 | #290 | `00:29:37.366-00:29:37.733` | `她` | `0.367s` | `35232` | `-24.7 dB` | `-14.3 dB` | 短促指代，不锁对象。 |
| J112 | #291 | `00:29:39.200-00:29:39.566` | `她` | `0.366s` | `35136` | `-28.5 dB` | `-17.7 dB` | 指代回落，不写成退出或失败。 |
| J113 | #292 | `00:29:45.200-00:29:48.066` | `我画他我画他然后` | `2.866s` | `275136` | `-20.4 dB` | `-1.0 dB` | 绘制重复保持前景；仍不证明画具、笔触或对象完成。 |
| J114 | #293 | `00:29:46.733-00:29:48.900` | `她向我走过来` | `2.167s` | `208032` | `-21.7 dB` | `-2.2 dB` | 行动句与 J113 重叠，不证明真实走来或反打回应。 |
| J115 | #294 | `00:29:49.700-00:29:51.133` | `可是我` | `1.433s` | `137568` | `-23.3 dB` | `-6.1 dB` | 转折强可听，句义未完成。 |
| J116 | #295 | `00:29:50.566-00:29:51.733` | `那边是黑的` | `1.167s` | `112032` | `-18.9 dB` | `-6.1 dB` | 黑分区本段强点之一，不等于对象实体显现。 |
| J117 | #296 | `00:29:52.566-00:29:53.600` | `可是我` | `1.034s` | `99264` | `-24.6 dB` | `-11.0 dB` | 转折回到中强，不写心理迟疑。 |
| J118 | #297 | `00:29:54.533-00:29:55.633` | `那边是亮的` | `1.100s` | `105600` | `-26.7 dB` | `-13.2 dB` | 亮分区较低，不等于败退或看见完成。 |
| J119 | #298 | `00:29:55.533-00:29:56.400` | `可是我` | `0.867s` | `83232` | `-26.8 dB` | `-13.5 dB` | 转折继续被保留，不写成心理事实。 |
| J120 | #299 | `00:29:59.366-00:30:02.566` | `所有的颜色都在上面` | `3.200s` | `307200` | `-25.9 dB` | `-10.9 dB` | 颜色在声中归位，不证明画面交出完整色彩对象。 |
| J121 | #300 | `00:30:03.200-00:30:04.066` | `可是我` | `0.866s` | `83136` | `-24.6 dB` | `-10.0 dB` | 转折短句，不给新动作完成。 |
| J122 | #301 | `00:30:17.400-00:30:18.933` | `他朝我走来` | `1.533s` | `147168` | `-21.9 dB` | `-8.4 dB` | 朝来是台词动作，不证明画面朝来。 |
| J123 | #302 | `00:30:24.400-00:30:25.433` | `往后退` | `1.033s` | `99168` | `-31.8 dB` | `-17.2 dB` | 撤退句低位，不等于人物真实退场或关系退让。 |
| J124 | #313 | `00:31:28.366-00:31:29.733` | `我在你的眼睛里` | `1.367s` | `131232` | `-25.2 dB` | `-11.0 dB` | 眼睛入口不是镜面证明，也不证明被看见。 |
| J125 | #314 | `00:31:31.600-00:31:32.666` | `看不到自己` | `1.066s` | `102336` | `-24.9 dB` | `-12.2 dB` | 看不到是回执失败词，不写成器官事实或镜面事实。 |
| J126 | #330 | `00:32:14.333-00:32:15.566` | `在你的眼睛里` | `1.233s` | `118368` | `-26.7 dB` | `-11.6 dB` | 重复眼睛位置，仍不交出真实镜像。 |
| J127 | #331 | `00:32:17.733-00:32:19.400` | `看不到任何东西` | `1.667s` | `160032` | `-35.1 dB` | `-17.9 dB` | 本段显著低位；低声不是静默，也不是失败结案。 |
| J128 | #332 | `00:32:22.433-00:32:23.700` | `我消失了` | `1.267s` | `121632` | `-29.4 dB` | `-15.1 dB` | 消失句不是强声高潮，也不证明物理离画。 |
| J129 | #333 | `00:32:36.500-00:32:37.766` | `你消失了` | `1.266s` | `121536` | `-31.5 dB` | `-18.6 dB` | 对方消失仍是声中判断，不证明真实消失。 |
| J130 | #337 | `00:33:02.866-00:33:03.700` | `为什么不是我` | `0.834s` | `80064` | `-32.0 dB` | `-17.7 dB` | 追问低位，不写成身份事实。 |
| J131 | #339 | `00:33:09.333-00:33:10.333` | `为什么不是你` | `1.000s` | `96000` | `-30.6 dB` | `-16.9 dB` | 问句推回对方，但不锁定心理或身份。 |
| J132 | #342 | `00:34:01.000-00:34:02.266` | `是的你只能是我` | `1.266s` | `121536` | `-20.6 dB` | `-4.5 dB` | 身份句强起，但走廊背影不能反推口型终裁。 |
| J133 | #343 | `00:34:03.566-00:34:04.566` | `算了你走吧` | `1.000s` | `96000` | `-24.2 dB` | `-5.3 dB` | 走吧不是稳定放行或关系授权。 |
| J134 | #352 | `00:34:40.233-00:34:42.666` | `我过去从来没有这么果断过` | `2.433s` | `233568` | `-24.5 dB` | `-9.6 dB` | 果断是台词自述，不写成心理事实。 |
| J135 | #353 | `00:34:47.500-00:34:49.500` | `可是对不起我` | `2.000s` | `192000` | `-24.6 dB` | `-7.9 dB` | 道歉转折不等于责任结清。 |
| J136 | #354 | `00:34:50.200-00:34:52.400` | `我不明白这次为什么这么突然` | `2.200s` | `211200` | `-14.2 dB` | `0.0 dB` | 本卷强点之一；强声不等于解释权胜利或心理透明。 |
| J137 | #359 | `00:35:09.566-00:35:10.400` | `不是你的错` | `0.834s` | `80064` | `-28.8 dB` | `-13.3 dB` | 免责句低位，不等于关系修复完成。 |
| J138 | #366 | `00:35:46.233-00:35:47.266` | `这很麻烦` | `1.033s` | `99168` | `-23.8 dB` | `-9.1 dB` | 回到床面后仍强可听，不写心理诊断。 |
| J139 | #369 | `00:35:53.500-00:35:55.266` | `我已经下定决心了` | `1.766s` | `169536` | `-12.5 dB` | `0.0 dB` | 本卷最强句；决心强声不证明现实决定或许可完成。 |
| J140 | #375 | `00:36:11.500-00:36:13.066` | `对不起对不起` | `1.566s` | `150336` | `-26.0 dB` | `-12.5 dB` | 道歉重复不等于和解或结清。 |
| J141 | #376 | `00:36:13.066-00:36:14.566` | `我不擅长说话` | `1.500s` | `144000` | `-24.8 dB` | `-8.1 dB` | 不擅长是台词自述，不写成能力诊断。 |
| J142 | #380 | `00:36:35.533-00:36:36.300` | `能` | `0.767s` | `73632` | `-28.3 dB` | `-13.2 dB` | 能是入口短答，不等于许可完成。 |
| J143 | #381 | `00:36:36.100-00:36:37.200` | `这像一个` | `1.100s` | `105600` | `-30.7 dB` | `-16.1 dB` | 容器比喻启动，不给实体容器。 |
| J144 | #382 | `00:36:37.766-00:36:41.633` | `能触摸到你` | `3.867s` | `371232` | `-25.7 dB` | `-10.2 dB` | 触摸被说出，不证明抵达、受力或授权。 |
| J145 | #383 | `00:36:39.100-00:36:40.200` | `像一个鱼缸` | `1.100s` | `105600` | `-27.2 dB` | `-13.6 dB` | 鱼缸是比喻入口，不证明玻璃、水声或真实容器。 |
| J146 | #384 | `00:36:42.733-00:36:43.566` | `我` | `0.833s` | `79968` | `-27.4 dB` | `-14.6 dB` | 单字我不单独完成主体稳定。 |
| J147 | #385 | `00:36:43.766-00:36:44.833` | `你在里面` | `1.067s` | `102432` | `-32.0 dB` | `-19.1 dB` | 里面是容器语法，不证明真实进入或关系授权。 |
| J148 | #386 | `00:36:45.533-00:36:47.366` | `好喜欢` | `1.833s` | `175968` | `-28.3 dB` | `-15.5 dB` | 喜欢是声中表述，不等于同意、回应或和解。 |
| J149 | #387 | `00:36:49.033-00:36:49.766` | `游泳` | `0.733s` | `70368` | `-28.7 dB` | `-14.3 dB` | 游泳不证明真实水域或游泳动作。 |
| J150 | #397 | `00:37:50.266-00:37:51.033` | `谢谢你` | `0.767s` | `73632` | `-30.5 dB` | `-17.0 dB` | 谢意低位收束，不等于债务结清或关系完成。 |

## broad 视觉边界

| 句群 | 画面来源 | 可写事实 | 不支持 |
|---|---|---|---|
| J101-J123 | [2026-06-26-甲瑞逐句声画标注第101-150句中点帧联系表复核](/research/hs-a4b87d4997f46016)、[2026-06-25-4K无字幕母文件P3慢扫30到35分钟感受眼睛消失SAUNA数字2走廊证明复核](/research/hs-f335a0809685069d) | `我画他 / 黑 / 亮 / 所有颜色` 落在近脸、条纹衬衫、黄绿硬光、黑幕、顶棚、裸灯和叠化身体层之间；声音在给分区和对象，画面多给材料层。 | 不支持真实画具、真实水域、真实绘制完成、真实走来/后退或对象身份锁死。 |
| J124-J131 | 同上 | 眼睛链落在极近身体、手部遮挡、蓝紫硬光、床面和脸部局部之间；`看不到` 与 `消失` 主要是回执失败语法。 | 不支持实体镜子、器官事实、真实镜像、真实消失、物理离画或心理诊断。 |
| J132-J137 | [2026-06-25-4K无字幕母文件P3慢扫30到35分钟感受眼睛消失SAUNA数字2走廊证明复核](/research/hs-f335a0809685069d) | 走廊背影和夜间街道承载甲瑞声音；画面给白墙、门窗、管线、地面、车辆、斑马线和城市灯。 | 不支持从背影/街景反推口型终裁、身份事实、心理果断或关系放行完成。 |
| J138-J150 | [2026-06-26-甲瑞逐句声画标注第101-150句中点帧联系表复核](/research/hs-a4b87d4997f46016)、[2026-06-25-4K无字幕母文件P3慢扫35到40分钟床面水化鱼缸无眼漂亮白光复核](/research/hs-d02e5b7b488d2c71) | 紫红床面、白床单、头发、手臂、肩颈和极近身体承接鱼缸/触摸/里面/游泳链。 | 不支持真实鱼缸、真实水声、真实游泳、完整触摸授权、身体接触终裁或关系结清。 |

## 可回填结论

- `JA-P0-C` 的前 50 句已具备 exact-line 声音底盘：`J101-J150` 覆盖画/黑亮颜色、眼睛/消失、走廊街道和鱼缸/触摸/游泳入口。
- 本卷最强声能不是 `我消失了`，而是 `J136` 与 `J139`；消失链整体更低，决定/突然链更强。后续写甲瑞时必须保留这个差异。
- `眼睛 / 镜子 / 消失` 只能写成声画回执失败，不写成真实器官、真实镜面或物理消失。
- `鱼缸 / 里面 / 游泳` 只能写成床面近身关系被容器和水域语法改写，不写成真实水、真实鱼缸、真实游泳或关系授权。
- `JA-P0-C` 仍未完全闭合：队列还包括第151-200卷开头的 `J151-J160` no-eyes 与水化入口，下一步应接 [甲瑞逐句声画标注-第151-200句-2026-06-26](/research/hs-f889c59a3522e469)。

headingPath: 2026-07-04 4K无字幕母文件29到38分甲瑞第101到150句 exact-line 复核

text: 2026-07-04 4K无字幕母文件29到38分甲瑞第101到150句 exact-line 复核

text: 复核对象

text: 母文件：

text: 〔本地资料路径省略〕 无字幕 28g 4k.mov

text: 本页回填 甲瑞逐句声画标注-第101-150句-2026-06-26 的首轮 exact-line 声音统计，并把既有中点帧、30-40 分钟慢扫和声音补列合并成可引用证据底盘。它覆盖 J101-J150 共 50 个甲瑞有效句，时间从 00:29:10.566 到 00:37:51.033 。

text: 提取口径

text: mean_volume/max_volume 只作为窄句声能指标，不直接等同情绪强度、角色真实心理、声画同步、动作完成、对象真实出现、配乐或设备声。 n_samples 取 volumedetect 日志末尾的有效窗口样本数；日志开头的初始化 n_samples: 0 不作为结果。

text: exact-line 声音统计

text: J号 全片句号 时间 台词 duration n_samples mean_volume max_volume 写作边界

text: J101 #280 00:29:10.566-00:29:11.333 她过来 0.767s 73632 -21.9 dB -9.6 dB 短句强可听；过来是声中牵引，不证明画面走近完成。

text: J102 #281 00:29:14.400-00:29:15.433 我画他 1.033s 99168 -20.8 dB -4.2 dB 画他是声音动作，不证明真实画具或绘制动作完成。

text: J103 #282 00:29:16.566-00:29:17.333 在 0.767s 73632 -24.0 dB -12.6 dB 位置词悬置，不单独给出可见对象。

text: J104 #283 00:29:17.066-00:29:18.100 这边黑 1.034s 99264 -24.2 dB -10.6 dB 黑是声中分区，需回到画面光影，不能写成实体黑物。

text: J105 #284 00:29:19.733-00:29:21.300 我在水里跳舞 1.567s 150432 -19.7 dB -5.0 dB 水里跳舞声能较强，但画面不支持真实水域或跳舞完成。

text: J106 #285 00:29:20.233-00:29:21.300 这边黑 1.067s 102432 -18.8 dB -5.0 dB 黑分区强推出，不等于对象被看清。

text: J107 #286 00:29:22.933-00:29:23.833 那边亮 0.900s 86400 -23.2 dB -10.4 dB 亮是光区关系，不写成真相显影。

text: J108 #287 00:29:27.533-00:29:28.733 变得特别长 1.200s 115200 -24.4 dB -11.3 dB 尺度词维持，不证明真实物理延长。

text: J109 #288 00:29:36.033-00:29:36.800 她 0.767s 73632 -22.5 dB -11.2 dB 单字指代可听，不锁身份。

text: J110 #289 00:29:36.433-00:29:37.200 妈妈（爸爸） 0.767s 73632 -23.1 dB -11.1 dB 称谓漂移不由声音或单帧裁决。

text: J111 #290 00:29:37.366-00:29:37.733 她 0.367s 35232 -24.7 dB -14.3 dB 短促指代，不锁对象。

text: J112 #291 00:29:39.200-00:29:39.566 她 0.366s 35136 -28.5 dB -17.7 dB 指代回落，不写成退出或失败。

text: J113 #292 00:29:45.200-00:29:48.066 我画他我画他然后 2.866s 275136 -20.4 dB -1.0 dB 绘制重复保持前景；仍不证明画具、笔触或对象完成。

text: J114 #293 00:29:46.733-00:29:48.900 她向我走过来 2.167s 208032 -21.7 dB -2.2 dB 行动句与 J113 重叠，不证明真实走来或反打回应。

text: J115 #294 00:29:49.700-00:29:51.133 可是我 1.433s 137568 -23.3 dB -6.1 dB 转折强可听，句义未完成。

text: J116 #295 00:29:50.566-00:29:51.733 那边是黑的 1.167s 112032 -18.9 dB -6.1 dB 黑分区本段强点之一，不等于对象实体显现。

text: J117 #296 00:29:52.566-00:29:53.600 可是我 1.034s 99264 -24.6 dB -11.0 dB 转折回到中强，不写心理迟疑。

text: J118 #297 00:29:54.533-00:29:55.633 那边是亮的 1.100s 105600 -26.7 dB -13.2 dB 亮分区较低，不等于败退或看见完成。

text: J119 #298 00:29:55.533-00:29:56.400 可是我 0.867s 83232 -26.8 dB -13.5 dB 转折继续被保留，不写成心理事实。

text: J120 #299 00:29:59.366-00:30:02.566 所有的颜色都在上面 3.200s 307200 -25.9 dB -10.9 dB 颜色在声中归位，不证明画面交出完整色彩对象。

text: J121 #300 00:30:03.200-00:30:04.066 可是我 0.866s 83136 -24.6 dB -10.0 dB 转折短句，不给新动作完成。

text: J122 #301 00:30:17.400-00:30:18.933 他朝我走来 1.533s 147168 -21.9 dB -8.4 dB 朝来是台词动作，不证明画面朝来。

text: J123 #302 00:30:24.400-00:30:25.433 往后退 1.033s 99168 -31.8 dB -17.2 dB 撤退句低位，不等于人物真实退场或关系退让。

text: J124 #313 00:31:28.366-00:31:29.733 我在你的眼睛里 1.367s 131232 -25.2 dB -11.0 dB 眼睛入口不是镜面证明，也不证明被看见。

text: J125 #314 00:31:31.600-00:31:32.666 看不到自己 1.066s 102336 -24.9 dB -12.2 dB 看不到是回执失败词，不写成器官事实或镜面事实。

text: J126 #330 00:32:14.333-00:32:15.566 在你的眼睛里 1.233s 118368 -26.7 dB -11.6 dB 重复眼睛位置，仍不交出真实镜像。

text: J127 #331 00:32:17.733-00:32:19.400 看不到任何东西 1.667s 160032 -35.1 dB -17.9 dB 本段显著低位；低声不是静默，也不是失败结案。

text: J128 #332 00:32:22.433-00:32:23.700 我消失了 1.267s 121632 -29.4 dB -15.1 dB 消失句不是强声高潮，也不证明物理离画。

text: J129 #333 00:32:36.500-00:32:37.766 你消失了 1.266s 121536 -31.5 dB -18.6 dB 对方消失仍是声中判断，不证明真实消失。

text: J130 #337 00:33:02.866-00:33:03.700 为什么不是我 0.834s 80064 -32.0 dB -17.7 dB 追问低位，不写成身份事实。

text: J131 #339 00:33:09.333-00:33:10.333 为什么不是你 1.000s 96000 -30.6 dB -16.9 dB 问句推回对方，但不锁定心理或身份。

text: J132 #342 00:34:01.000-00:34:02.266 是的你只能是我 1.266s 121536 -20.6 dB -4.5 dB 身份句强起，但走廊背影不能反推口型终裁。

text: J133 #343 00:34:03.566-00:34:04.566 算了你走吧 1.000s 96000 -24.2 dB -5.3 dB 走吧不是稳定放行或关系授权。

text: J134 #352 00:34:40.233-00:34:42.666 我过去从来没有这么果断过 2.433s 233568 -24.5 dB -9.6 dB 果断是台词自述，不写成心理事实。

text: J135 #353 00:34:47.500-00:34:49.500 可是对不起我 2.000s 192000 -24.6 dB -7.9 dB 道歉转折不等于责任结清。

text: J136 #354 00:34:50.200-00:34:52.400 我不明白这次为什么这么突然 2.200s 211200 -14.2 dB 0.0 dB 本卷强点之一；强声不等于解释权胜利或心理透明。

text: J137 #359 00:35:09.566-00:35:10.400 不是你的错 0.834s 80064 -28.8 dB -13.3 dB 免责句低位，不等于关系修复完成。

text: J138 #366 00:35:46.233-00:35:47.266 这很麻烦 1.033s 99168 -23.8 dB -9.1 dB 回到床面后仍强可听，不写心理诊断。

text: J139 #369 00:35:53.500-00:35:55.266 我已经下定决心了 1.766s 169536 -12.5 dB 0.0 dB 本卷最强句；决心强声不证明现实决定或许可完成。

text: J140 #375 00:36:11.500-00:36:13.066 对不起对不起 1.566s 150336 -26.0 dB -12.5 dB 道歉重复不等于和解或结清。

text: J141 #376 00:36:13.066-00:36:14.566 我不擅长说话 1.500s 144000 -24.8 dB -8.1 dB 不擅长是台词自述，不写成能力诊断。

text: J142 #380 00:36:35.533-00:36:36.300 能 0.767s 73632 -28.3 dB -13.2 dB 能是入口短答，不等于许可完成。

text: J143 #381 00:36:36.100-00:36:37.200 这像一个 1.100s 105600 -30.7 dB -16.1 dB 容器比喻启动，不给实体容器。

text: J144 #382 00:36:37.766-00:36:41.633 能触摸到你 3.867s 371232 -25.7 dB -10.2 dB 触摸被说出，不证明抵达、受力或授权。

text: J145 #383 00:36:39.100-00:36:40.200 像一个鱼缸 1.100s 105600 -27.2 dB -13.6 dB 鱼缸是比喻入口，不证明玻璃、水声或真实容器。

text: J146 #384 00:36:42.733-00:36:43.566 我 0.833s 79968 -27.4 dB -14.6 dB 单字我不单独完成主体稳定。

text: J147 #385 00:36:43.766-00:36:44.833 你在里面 1.067s 102432 -32.0 dB -19.1 dB 里面是容器语法，不证明真实进入或关系授权。

text: J148 #386 00:36:45.533-00:36:47.366 好喜欢 1.833s 175968 -28.3 dB -15.5 dB 喜欢是声中表述，不等于同意、回应或和解。

text: J149 #387 00:36:49.033-00:36:49.766 游泳 0.733s 70368 -28.7 dB -14.3 dB 游泳不证明真实水域或游泳动作。

text: J150 #397 00:37:50.266-00:37:51.033 谢谢你 0.767s 73632 -30.5 dB -17.0 dB 谢意低位收束，不等于债务结清或关系完成。

text: broad 视觉边界

text: 句群 画面来源 可写事实 不支持

text: J101-J123 2026-06-26-甲瑞逐句声画标注第101-150句中点帧联系表复核 、 2026-06-25-4K无字幕母文件P3慢扫30到35分钟感受眼睛消失SAUNA数字2走廊证明复核 我画他 / 黑 / 亮 / 所有颜色 落在近脸、条纹衬衫、黄绿硬光、黑幕、顶棚、裸灯和叠化身体层之间；声音在给分区和对象，画面多给材料层。 不支持真实画具、真实水域、真实绘制完成、真实走来/后退或对象身份锁死。

text: J124-J131 同上 眼睛链落在极近身体、手部遮挡、蓝紫硬光、床面和脸部局部之间； 看不到 与 消失 主要是回执失败语法。 不支持实体镜子、器官事实、真实镜像、真实消失、物理离画或心理诊断。

text: J132-J137 2026-06-25-4K无字幕母文件P3慢扫30到35分钟感受眼睛消失SAUNA数字2走廊证明复核 走廊背影和夜间街道承载甲瑞声音；画面给白墙、门窗、管线、地面、车辆、斑马线和城市灯。 不支持从背影/街景反推口型终裁、身份事实、心理果断或关系放行完成。

text: J138-J150 2026-06-26-甲瑞逐句声画标注第101-150句中点帧联系表复核 、 2026-06-25-4K无字幕母文件P3慢扫35到40分钟床面水化鱼缸无眼漂亮白光复核 紫红床面、白床单、头发、手臂、肩颈和极近身体承接鱼缸/触摸/里面/游泳链。 不支持真实鱼缸、真实水声、真实游泳、完整触摸授权、身体接触终裁或关系结清。

text: 可回填结论

text: JA-P0-C 的前 50 句已具备 exact-line 声音底盘： J101-J150 覆盖画/黑亮颜色、眼睛/消失、走廊街道和鱼缸/触摸/游泳入口。

text: 本卷最强声能不是 我消失了 ，而是 J136 与 J139 ；消失链整体更低，决定/突然链更强。后续写甲瑞时必须保留这个差异。

text: 眼睛 / 镜子 / 消失 只能写成声画回执失败，不写成真实器官、真实镜面或物理消失。

text: 鱼缸 / 里面 / 游泳 只能写成床面近身关系被容器和水域语法改写，不写成真实水、真实鱼缸、真实游泳或关系授权。

text: JA-P0-C 仍未完全闭合：队列还包括第151-200卷开头的 J151-J160 no-eyes 与水化入口，下一步应接 甲瑞逐句声画标注-第151-200句-2026-06-26 。