performed. No artist context, catalogue, category, or reception entered the read; the placement is derived from the supplied text alone. Visceral: -20. Fixated, unmoving heartbreak.

A narrator wants no one but a person who has already moved on, scans every room he enters for their face, revisits the cafe where they met and the regret of having looked at all, names his own possible delusion and his sense of being hard to love, and closes on the same unanswered questions about whether the bond survives.

static_portrait The opening posture is exclusive wanting with the other person already dancing with somebody else; the closing posture is the same chorus of unanswered questions, repeated with one line altered. Nothing in the narrator changes across the text. The bridge holds the only flicker of self-examination, a suggestion that the narrator may be reading things into ordinary behaviour, and it goes nowhere: the chorus returns immediately and unchanged.

Orange 3 fires on the pain held in place with nothing moving through it, which is the shape of the whole text. Orange 10 fires weakly in the bridge, where the sense of being hard to love is stated as a felt condition and left standing. R1 governs the exclusivity claims: the lines about wanting nobody else and about one person being the final piece are standard romance intensifiers, not a scarcity worldview, and they are not graded. R4 case (a) governs the fixation: the other person has already gone, so the searching is clinging after loss with no power behind it, and there is no surveillance, threat, or ownership over anyone present. R16 governs the rest: the yearning, the regret, and the naming of pain are a sympathetic human want with no quotable ego-flex, objectification, celebrated intoxication, or targeted contempt anywhere on the page. Removal test: the down-signals sit around a chorus that is pure unanswered question, so the payload does not carry the song. Harm: -18. Pervasiveness: discrete.

Blue 1 fires weakly and once, in the bridge suggestion that the narrator may be reading things in. It is abandoned in the same breath. No other blue or violet tenet activates; the scope is one person, one room, one bond. Transcendence: 4.

Sits at the -24 static wallow: unprocessed pain, no malice toward anyone, no ratification of the state as identity. Slightly above that entry because the bridge does question the narrator's own reading and because the specificity of the room-scan and the cafe keeps it observed rather than sunk. Well clear of -42, which requires the dysfunction claimed as identity and a refusal to self-examine; this text does neither. Precedents: -24 Center: -20

- Saturation: 0. The fixation fires steadily, as at the placement. - Resolution: -1. Closes on an open question, less decisive than the placement. - Register: +1. The room-scan and cafe detail are specific and precise. - Reach: -1. One person, one room, one bond.

No discrete Degraded or Corrupted artifact sits apart from the arc; the down-signals ARE the portrait and were scored on the harm axis. Contamination: none

Decent territory, at -24 and slightly above it, because the dominant arc is an unmoving portrait of wanting someone already gone, held without malice and briefly questioned by the narrator himself.

aligned

does not fire. The single infernal reference is a figure of speech about the other person's ill will, and no doctrinal framework is load-bearing.

0.9. Full lyrics present, dominant arc unambiguous; the one contested call is whether the bridge's self-questioning lifts the read, and it is too brief to.

Decent territory, at -24 and slightly above it, because the dominant arc is an unmoving portrait of wanting someone already gone, held without malice and briefly questioned by the narrator himself.