ALLWAYS 060 — IN THE FRAME — V02
61 seconds /960×768 /30fps /deliberately silent.

A private archive re-edit of staged fiction from Charlie Chaplin's The Immigrant (1917), not a new documentary sequence. The restricted opening and the wide-opening control use identical source order, duration and original reactions. The only difference is the opening crop. On-screen cards explicitly mark the flashback and return. Staging is labeled throughout.

SCOPE
This is an archival interpretation of prompt060's theorem, not execution of its literal new scene with consenting adult performers, chairs/bag/worktable. No modern testimony, performer consent or documentary reality is fabricated. The archive footage is staged fiction; source relationships stay within one continuous source scene. Acceptance of the adaptation must be distinguished from a claim that the exact worktable proof was produced.

WHAT CAN BE OBSERVED
The opening crop makes Chaplin's gestures more isolated; the wide control shows the uniformed figure's physical restraint. The earlier sequence contains a lost-money intertitle, money handling, a covert reaching gesture, and the uniformed observer. The later continuation shows the woman's own response to money discovered in her pocket and her intervention with the uniformed figure. Direction of the small transfer is inferred from sequence context; no invented dialogue states it. The original accusation card belongs to the fiction. No editorial label diagnoses a real person or social category.

The ending stops while all three remain engaged, before the uniformed figure's departure and before the subsequent embrace. It preserves the beginning of a change in demeanor and the other participants' responses. Whether this avoids a conventional exonerated-hero ending is for the critic to judge; removing later happiness cannot itself prove an unresolved social relationship.

SOUND
The transfer audio is entirely removed and replaced by digital silence. No footsteps, chair scrapes, paper sounds, words or score have been fabricated. There is no recorded worktable sound, because that scene has not been staged. The output is explicitly a silent re-edit; it is not a restoration of the source's exhibition soundtrack.

SOURCE AND FORAGE
The source item metadata carries a public-domain label. This records the uploader's claim, not an independent audit or permission to publish. Source_record includes exact transfer identifier, URL, hash and timebase; source original download is preserved in this kit. The search began in MovingImageArchive and Cineosis caches: five cached candidates were visually inspected and rejected for insufficient relations. Two semantic archive searches returned48 clips; direct media/API downloads of a promising workplace clip were403. InternetArchive supplied two complete films for inspection. Success in Business was rejected as a promotion parable rather than evidence of this social encounter. Its contact sheets/metadata are retained; the unused47,199,380-byte candidate transfer is omitted from the kit to avoid duplicating unused media. The Immigrant became the sole film source. Search ranks and tags were never treated as observed relations.

RECOVERY
build.py recreates both films from the included selected source. Requires Python3, Pillow, ffmpeg/libx264, ffprobe and DejaVuSans. Run python3 film60/build.py from the kit parent. Exact output timeline is TIMELINE_V02.json; source reactions/labels are mapped in CONTEXT_AND_REACTION_MAP.json. Original source audio is omitted, not remixed. sourcefps29.97 becomes30 via normal sampling, with no intentional speed change. The crop is translated/uniformly scaled; other shots fit full320×240 frame at3× size above48px footer.

CRITIC SCOPE
Actual independent review records accompany this file. Image/temporal-frame review does not establish native normal-speed cadence. Full audiovisual acceptance remains pending wherever the critic cannot actually view/listen. No reference-superiority verdict is permissible without viewing the reference. Losers creator-page text was inspected, but its full film was not watched.

V01→V02 REPAIR
Two independent critics accepted the core visual reframing. A withheld acceptance on the conventional departure/exoneration ending. B flagged the long counting passage and ambiguous money direction. V02 removes source404–412, restores426–428 immediate aftermath, and ends at457 beforedeparture while allthree remain. Duration61s. Giving remains an inference supported by low hand movement plus later discovery; it is not certified as a fully visible handover. V01checkpoint and bothactualreviewrounds retained.

FINAL REVIEW STATUS
Independent critics A and B both PASS the narrowed archival visual reframing. A keeps the broader escape from fixed hero/beneficiary roles INCONCLUSIVE; both retain transfer-of-money as a context-supported inference. Full new chair/worktable proof NOT PERFORMED. Native normal-speed pacing/whole audiovisual acceptance INCONCLUSIVE. V02 is retained as the strongest recoverable archival study; adding unrelated footage would not establish the missing negotiated shared task.