Working from the four provided excerpts as the current text. No file lookup needed — the audit is self-contained. Verdicts below.

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**SCENE 05A — Ch05 blind-contour aftermath, June POV:**

- **VOICE CONVERGENCE: CLEAN** — Checked each speaker against card. Mara runs her translate-for-Luis tic ("He means the distortion only reads from--"; "What he's telling you is it works from the side"); Luis stays terse/structural ("Move left. The eye's wrong."). Strongest counter-candidate: Mara's "which means he cheated, which means he failed" is syllogistic enough to read as generic-clever, but it's grounded in the actual exercise rule and framed as her performance, so it stays hers.
- **MONOTONE Q/A: CLEAN** — Rhythm is announce→correct→re-correct, not question-answer. Closest exchange I weighed: "Move left." / "He means the distortion only reads from--" / "Move left." — that's command interrupted by translation, not Q/A ping-pong.
- **MISSING INTERIORITY: CLEAN** — June's mind orients throughout ("June knew the maneuver from the inside"). Strongest counter: the "Move left" beat is action-heavy, but it resolves into interiority ("the drawing came apart the way it was supposed to").
- **QUESTIONS-AS-STATEMENTS: CLEAN** — No genuine question is flattened. Nearest candidate: "Tell him it's better than mine." — an imperative-as-plea, correctly declarative.
- **FAKE-MCCARTHY MINIMALISM: CLEAN** — Luis's terseness is card-accurate and wrapped in rich narration ("where two lines crossed and lied about her mouth"). Strongest counter: the doubled bare "Move left" — but it's functional blocking (repositioning June), not portentous stripping.
- **JARGON-TRADING: CLEAN** — The one technical claim ("the distortion only reads from--") is immediately dramatized ("the eye sliding an inch off its socket, the whole face admitting it had been made blind"). Nothing traded untranslated.
- **ATTRIBUTION OPACITY: CLEAN** — Every line tags or resolves. Strongest counter: "He means the distortion only reads from--" is untagged in a four-person room, but the "He means" construction is Mara's signature and Luis cuts her off ("'Move left,' Luis said, to June this time"). Resolved inside one line.
- **FAKE-SHARP: CLEAN** — This is the scene's exposure point. Strongest counter: "You can see it's me. You're not supposed to be able to see it's me." — antithesis that "sounds quotable," but it's literally true of a blind-contour exercise and delivered by a performer mid-performance, so it's speakable-as-performance, not aphorism-for-its-own-sake. No zinger lands where a character should be quiet: Luis's flat "The eye's wrong" holds the low register.
- **INTERIORITY-OVERCORRECTION: CLEAN** — June never explains a line after it lands. Strongest counter: the closing pair — narration reads Mara's maneuver ("so that what the room looked at was Mara looking at him") and then June re-reads it ("nobody reached the work without her escort"). Weighed as a double-explain; it isn't — the second beat adds June's autobiography (self-recognition), the intended payoff of putting her in POV, not a restatement.
- **REVISION ORDERS:** none.

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**SCENE 06A — Ch06 Ben Suffolk seed, Theo POV:**

- **VOICE CONVERGENCE: CLEAN** — Ben verbose/logistical/self-mocking; Priya brisk/directive. Strongest counter: Priya's "It stays on the list" echoes Ben's "so it stays on the list" — but it's a deliberate concession (she repeats his phrase to hand him the win, "and let him have it"), not a merge.
- **MONOTONE Q/A: CLEAN** — Announce/direct structure, no questions. Nearest: "Put the phone down for one room." — an imperative, not a Q prompting an A.
- **MISSING INTERIORITY: CLEAN** — Theo's mind carries the reveal ("Theo looked up from counting exits"; the blocked-in calendar; "An apartment nobody had signed for had a month built around it"). Strongest counter: the closing two lines ("Two van quotes..." / "It stays on the list") run without a Theo tag-back — a short pure-dialogue tail after a heavy interiority load. Acceptable for a seed; noting it as the thinnest interiority stretch.
- **QUESTIONS-AS-STATEMENTS: CLEAN** — No suppressed questions. "Phone down for this wall" is a clean imperative.
- **FAKE-MCCARTHY MINIMALISM: CLEAN** — Ben is anti-minimalist; Priya's clip ("Phone down for this wall") carries warmth. Strongest counter: that same clipped line — but it's card-accurate clinical-directive, not affected terseness.
- **JARGON-TRADING: CLEAN** — Real-estate/moving terms all self-translate ("the study is a closet"; "a scam, but it is a cheap scam").
- **ATTRIBUTION OPACITY: CLEAN** — Both speakers tagged; Theo silent-focalized. Strongest counter: "to the paintings and not to Priya" — an added directional tag, if anything over-clear.
- **FAKE-SHARP: CLEAN** — Ben's jokes are card-sanctioned deflection (plans/jokes standing in for "I'm scared," which hasn't arrived yet — this is a "seed"). Strongest counter: "live in this gallery minus the ceiling" and the narration button "An apartment nobody had signed for had a month built around it." — the first is Ben's spatial math-joke (speakable when nervous); the second is narration, which is permitted its compression and is earned by the concrete calendar list preceding it.
- **INTERIORITY-OVERCORRECTION: CLEAN** — Strongest counter: Theo infers the anxiety-planning from the calendar, then Ben says "The move is the part I did first." Weighed as narration pre-explaining the dialogue; it isn't — Theo's beat shows the *fact* of over-planning, Ben's line supplies the *motive* ("If the boxes are numbered, I can hold the rest of it"). Complementary, escalating.
- **REVISION ORDERS:** none.

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**SCENE 19A — Ch19 Luis/Mara hinge, Theo POV:**

- **VOICE CONVERGENCE: CLEAN** — Luis structural, Mara's smoothing tic breaking on-arc (she starts "Luis--" and does *not* finish the correction), Theo reaching for logistics. Strongest counter: both Luis ("The room can count") and Mara ("Everyone counted, Theo... Everyone did") hinge on *count* within five lines. Checked as convergence; it's a deliberate handoff — Luis states the mechanical fact, Mara translates it to the human one (her card's operation exactly). Different warmth, different rhythm, shared motif.
- **MONOTONE Q/A: CLEAN** — No questions; statement/interiority driven. Nearest: "You blocked in her stool." / "It's the room." / "Tonight the room has seven." — compact statement→rebuttal→counter, which then opens into longer lines and interiority rather than sustaining a beat.
- **MISSING INTERIORITY: CLEAN** — Dense and physical ("His other hand had gone to the far jar... He took both hands back"; "heard himself reach for the logistics because they were the one thing still under his feet"). No counter-candidate for absence.
- **QUESTIONS-AS-STATEMENTS: CLEAN** — "Nobody's going to ask what." is a genuine declarative reassurance, not a flattened question.
- **FAKE-MCCARTHY MINIMALISM: CLEAN** — Terseness is Luis's card; narration stays lush ("the stool riding the pencil line"). Strongest counter handled under FAKE-SHARP.
- **JARGON-TRADING: CLEAN** — Studio terms ("blocked in," "the station for two") translate through action: the brush "moving toward the painted stool" shows what "blocked in" means; two jars at opposite ends show "the station."
- **ATTRIBUTION OPACITY: CLEAN** — Strongest counter: the excerpt opens "'You blocked in her stool,' he said." — "he" before Luis is named, resolved two lines down ("Luis set the jars in the sink"). Minor, self-clearing.
- **FAKE-SHARP: CLEAN** — Highest-risk scene in the batch; scrutinized hardest. Strongest counters: "The room can count. Nobody's going to ask what." and "Move it or paint it. Don't half do both." Both cleared: the first is three plain words plus Luis's established room-personification, delivered as care in his flat register (not a zinger at a wrong emotional beat — the calm *is* his tenderness); the second is literal craft advice, and the colloquial grammar slip "half do both" is a speech-real detail that keeps it speakable rather than polished-quotable. Luis's maxim lines are framed by plain observation ("You blocked in her stool") and non-verbal business (sink, tap, towel), so he doesn't tip into fortune-cookie.
- **INTERIORITY-OVERCORRECTION: CLEAN** — Strongest counter: the "the setup is legible" fact recurs — Luis ("The room can count"), Theo's hands ("close the number before the picture said it for him"), Mara ("Everyone counted"), Theo's confession about the jars. Checked as explaining-twice; each pass changes agent and facet (mechanical fact → physical panic → universal absolution → the tender motive of pre-filled water "when she came back"). Theo reacts and confesses; he never explains another character's line. Layering, not doubling. Flagging the density as one facet away from overcorrection.
- **REVISION ORDERS:** none.

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**SCENE 24A — Ch24 blue dish payoff, June POV:**

- **VOICE CONVERGENCE: CLEAN** — June dry/exact, Luis one-word placement, Priya's ask-first flaw dramatized ("brought June a coffee she hadn't asked for, caught herself doing it, and set it down anyway"). Strongest counter: June's "Once for no reason" and Priya's "You want that" are both dry — but confessional-dry vs. diagnostic-dry, different functions.
- **MONOTONE Q/A: CLEAN** — Minimal dialogue, no Q/A. No sustained candidate.
- **MISSING INTERIORITY: CLEAN** — June tracks throughout ("June was the only one who tracked how it got there"; "It had too much milk"). Strongest counter: Luis's blocking runs external, but it's explicitly framed as June's watching.
- **QUESTIONS-AS-STATEMENTS: CLEAN** — Strongest counter: "You want that." punctuated flat. Checked precisely — this is not a question flattened into a statement; it's Priya *asserting* rather than asking (her card's control tendency), correctly declarative. Earned.
- **FAKE-MCCARTHY MINIMALISM: CLEAN** — June's fragments are emotional compression; Luis's "There." pairs with concrete action. Narration is rich ("cobalt going almost green at the rim where the kiln had starved the glaze"), the opposite of the cosplay.
- **JARGON-TRADING: CLEAN** — "checking the foot the way potters' friends learn to do" self-translates the gesture; "the kiln had starved the glaze" is shown in the color.
- **ATTRIBUTION OPACITY: CLEAN** — Strongest counter: "Luis, put it over by the--" untagged, but the vocative plus her routing behavior fix it to Mara; "Luis was already moving" confirms.
- **FAKE-SHARP: CLEAN** — The *dialogue* is deliberately un-aphoristic and plain ("I washed it." / "There." / "You want that."). Strongest counters are all narration — "a dish that came back full was a dish that got to come back," "He'd put the food where the traffic already was and told the room he'd done it." These are quotable, but the mode scopes speakable dialogue, and narration is allowed its sharpness; cleared. Noting that their cumulative quotable-density feeds the same underlining tendency the next finding names.
- **INTERIORITY-OVERCORRECTION: FAIL** — The focalizer states the same mechanism twice, verbatim, adding nothing on the second pass. Setup (Luis's intent, inferred by June): "where anyone crossing to see *After Class* would pass it and take one **without deciding to**." Payoff (~40 words later): "People took them crossing to the work, **without deciding to**." The payoff sentence confirms the plan by repeating the exact phrase rather than advancing; the genuine new information lives only in the *following* sentences ("a dish on a table in a crowded room. June was the only one who tracked how it got there"). Same focalizer, same beat, restated. Strongest counter-candidate I weighed for a pass: read it as intentional setup/payoff refrain — but the verbatim core in a 40-word span reads as the focalizer's mind re-running itself, not a chosen motif, and it compounds the scene's already-high quotable-narration load.
- **REVISION ORDERS:**
  1. Recast the payoff so it verifies the mechanism through a fresh concrete image instead of re-running "without deciding to" — e.g., a specific hand taking one mid-crossing, or the foil thinning to show the cobalt through it. Keep "without deciding to" at exactly one placement (the payoff, where the plan lands) and strike or reword it in the setup so the phrase pays off once rather than echoing itself.

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**OVERALL: BLOCKING (1 finding)**
