Mastering the Sword Manual, sweeping across the globe

The two students from the express class entered and saw a woman lying in the hallway with a pink suitcase next to her.

Her skin was very fair, her hair was spread out on the tiled floor like in a shampoo commercial, her eyelashes were long, her lips were slightly pursed, and her side-lying position perfectly accentuated her waistline, with a pink sweater clinging to a section of her exposed collarbone.

In short, this scene looks great on camera.

Chen Haonan walked over, squatted down, and called out twice, "Comrade, comrade, what's going on?"

The woman ignored him, her breathing remained steady, and her eyelids did not move.

Huang Yong picked up the walkie-talkie and communicated with the command center: "We have seen a woman lying on the ground. She is not waking up when we call her. Should we call 120 to come and take a look?"

This statement is very accurate.

This is a unique language technique used by veteran fast-paced actors: it sounds like they are considering the situation on the ground, but in reality, they are applying pressure while simultaneously issuing a disclaimer to the camera.

Damn it, they charge you for sending an ambulance!

The command center replied, "Okay, received, please wait a moment."

After that, the command center did not issue any new instructions.

I don't know what the command center was thinking, or rather, I don't know what the recording team was thinking.

In short, the scene shifts, and Chan Ho-nam and Wong Ng are already standing at the entrance of 1601.

Huang Yong knocked on the door, the kind of slap that could be heard throughout the entire floor: "Come on, 1601, open the door."

A male voice came from 1601: "Who goes there?"

The knocking grew louder: "Hurry up! Who is this woman outside?"

The way you ask questions is very important.

She's already your problem.

No evidence or confirmation is needed; she's lying at your doorstep, so she's your problem.

If you can't explain it, then you're the one who hit him.

By opening the door, you solidify the relationship.

If you don't open the door, you're just committing assault.

The first lesson in Da Yang's Logic: The burden of proof lies with the defendant.

The walkie-talkie crackled with inquiries from the command center: "Is the woman responsive? Does she appear to be injured?"

Huang Yong picked up the walkie-talkie and replied, "She doesn't appear to be injured, but she's not communicating with us."

After saying that, he looked up and glanced in the direction of the woman and the suitcase: "Who made the call to the police? You should find out."

This scene should be frozen in time and magnified.

Huang Yong, 56 years old, has been a police officer for 25 years.

With 25 years of police experience—a full quarter of a century—all he could say when faced with such a simple emergency was, "Who made the call? You should find out."

Who did he say it to? He said it to Chan Ho-nam, he said it to the camera, but he didn't say it to the woman on the ground.

The person who called the police was right there, lying on the tiled floor half a meter away from him. Without asking her anything, he went straight to the closed door.

Because the woman has already accomplished her task: to provide sufficient visual tension.

The man inside the door is the real star of today's show.

After the conversation ended, Huang Yong continued knocking on the door, this time even louder.

The man inside replied, "Stop knocking."

Huang Yong: "Who is this woman outside the door to you?"

Man: "Ask her yourself, I don't know her."

Huang Yong: "Open the door, we need to find out what's going on. Why are you so scared?"

coming.

"Why are you so afraid?" is arguably the most vicious rhetoric: it's an immediate accusation.

If you dare not open the door, it means you have something to hide.

If you have a guilty conscience, it means you are guilty.

As for the legal right of a normal person not to open the door to strangers... Da Yang is not wealthy yet, so we should save on some things.

Man: "I don't want to drive for you. Why would I drive for you?"

Narration, first paragraph: "The situation on the scene was somewhat baffling."

Narrator, second paragraph: "Chen Haonan and Huang Yong deduced that the person lying on the ground was the woman who called the police. But at this moment, her eyes were closed and she did not answer the questions from the patrol team. The person refusing to open the door in room 1601 was probably the assailant mentioned by the caller. Neither party in the dispute was able to cooperate with the police investigation. This was the first time the two patrol team members had encountered such a situation."

We need to pause here and take a moment to look at this narration.

"infer."

Since you deduced that the person lying on the ground was the one who called the police, why didn't you go up and ask her? Was she unconscious?

The answer is hidden in the last sentence of the narration: "Neither of the parties involved in the dispute is able to cooperate with the police investigation."

This is a very cunning arrangement.

It misrepresented the fact that "the fast team voluntarily gave up questioning the person who reported the incident" as "neither party cooperated".

Yes, she wasn't cooperating. She lay on the ground pretending to be dead. How many times did you try? Once.

He squatted down, called out "Comrade," and then gave up.

In the shot, Huang Yong turns his head and continues banging on the door: "Hurry up! What's the matter? Open the door and we'll talk."

The woman lay on the side the whole time, only 0.5 meters away from the two fast-paced workers.

0.5 meters, a distance you can reach by stretching your leg.

But the students in the fast class never looked at her for more than a second; all their attention was on the door.

The man inside replied, "What is it? Ask away."

Huang Yong: "You opened the door and spoke, we want to see. You're so afraid of the fast-paced class."

This is the first time on camera that the student from the "Fast Track Class" has revealed their identity: "Fast Track Class".

Man: "First, let me make it clear to you, I am not afraid."

Huang Yong interrupted: "If you're not afraid, open the door and let me see."

The man said, "I've made it clear to you: if you dare touch this door, I'll immediately sue you for trespassing."

Chan Ho-nam finally spoke.

He's been holding it in for a long time.

Throughout the entire negotiation, he remained the one squatting to the side without saying a word.

Now he felt he should say something, especially to the camera: "According to you, no matter what happens inside, you can just not open the door?"

Evidence? Signs? Any anomalies in physical parameters?

Pshaw! Just because the door is closed doesn't mean something's going on inside.

The man wasn't fooled and stuck to his guns: "Why should I open the door for you? Give me a reason."

Huang Yong: "There's something going on inside you, we need to check it out."

This is enough.

The Da Yang Public Security Administration Punishment Law does not explicitly state any preconditions for breaking down a door.

Or rather, it was written very vaguely: "emergency situation".

The camera then shifts again.

Huang Yong used a walkie-talkie to communicate with the command center: "We are now requesting reinforcements to the scene. The man is refusing to open the door. Do you see any reinforcements coming from the station?"

Why are reinforcements needed?

The woman was breathing normally and was not in any danger. There was no blood or unusual sounds coming from 1601.

The only reason they probably need reinforcements is that the door isn't open.

More people are needed to deal with a closed door.

Chan Ho-nam: "This door must be opened today."

His tone was resolute.

It seems a murder is taking place in 1601.

It seems that every second of delay could have irreversible consequences.

The truth is: they've been knocking on the door for over ten minutes.

It was quiet inside and quiet outside; the only noise coming from the fast-paced class was from inside.

The camera then cuts to a pre-recorded scene, showing a person sitting in a chair speaking directly to the camera.

Chan Ho-nam sat there, having changed into a clean uniform, with the soft lights of the television station behind him.

His expression was sincere, and his tone was calm, as if he were recounting his life creed.

Chan Ho-nam: "He's a man."

Chan Ho-nam: "The woman fell outside."

Chan Ho-nam: "You're just going to ignore it?"

Chan Ho-nam: "From a legal perspective,"

Chan Ho-nam: "It's based on my professional standards."

Chan Ho-nam: "It still comes down to my feelings."

Chan Ho-nam: "I want to go through this door too."

Law and emotion.

The fact that these two words were juxtaposed and spoken by a law enforcement officer was the most chilling moment of the entire program.

The law is rational, has boundaries, and follows procedures.

Emotions are arbitrary, biased, and boundless.

What does it mean when "emotion" and "law" can be listed side by side?

This means that law enforcement officers can choose any tool at any time.

Today, a woman is beautiful, her reclining pose is photogenic, and her pink suitcase has a pleasing color scheme. Her emotions tell her it's time to go in, and so the law happens to support her.

Tomorrow, a migrant worker will report the same crime to the police and lie in the same stairwell. Your emotions will tell you that he's just an alcoholic, someone you wouldn't even want to look at.

The camera returns to the scene of the crime.

Emergency responders and reinforcements finally arrived one after another.

Here, we need to focus on one important prop.

The emergency responders went upstairs, carrying their equipment boxes. They were well-trained and professional.

They knelt down beside the woman, checked her pupils by lifting her eyelids, pressed her pulse, and listened to her breathing with a stethoscope.

The conclusion is clear: all physiological indicators are normal, there is no external injury, no blood loss, and no danger to life.

Afterwards, the paramedics took a thermal blanket from the equipment box, unfolded it, laid it flat, and placed it under the woman.

The movements were very gentle and precise, as if they were treating a real critically ill patient.

For whom?

Of course it wasn't a woman! She wasn't cold; she was lying comfortably on the tiled floor of the temperature-controlled corridor, pretending to be dead.

Of course, it's not the fast class either. Anyone with eyes can tell it's an act.

The only subject of the display is the lens.

Thermal blankets have a special function on television screens: they can make everything look more serious.

It's one thing for a person to be lying on the ground.

A person lying on the ground with a thermal blanket is another matter.