All inputs read and cross-checked. The verification below is my full response, in the Required verdict format.

# Comedy Doctor — Chapter 09 ("Local Work") — Round 2 Verification

id: comedy_doctor | owner: claude | tier: risk
chapter: `output/chapters/chapter_09.md` (current revision) | round 1 audit: `output/critiques/claude/chapter_09.comedy_doctor.md` (13 orders) | cross-checked: `output/critiques/claude/chapter_09.dialogue_doctor_round3.md` (CLEAN), `output/tics.md`, voice cards (June, Asha, Nia, global rules), `premise/READING_GUIDE.md` §2/§4/§6/§8, `premise/patterns/reading_guide_bans.tsv`, mechanical gate report (0 open findings, 0 allowlisted).
target-reader calibration unchanged from round 1: O'Leary warmth, Emily Henry at ~60% banter density, Morisaki quiet; "lightly comic, quiet interiority over quip density"; the chapter card's "economic specificity" dial licenses the billing/fiscal substrate for this chapter only.

## Round 1 order execution — verified line by line against the current text

1. **Order 1 (eye-level trade aphorism).** EXECUTED. "They're always eye level. Nobody hangs anything at the baseboard." is gone; Asha's turn is now "This wall's got a stripe of them." (l. 11) — this wall's evidence, no freestanding trade wisdom. The replacement is functional scene speech, not a joke attempt; the beat's comedy lives in June's "Eye level, naturally." (l. 9), exactly as the order predicted it could.
2. **Order 2 (arts-nonprofit miracle quip).** EXECUTED. "renewed annually by miracle" is gone; the budget clause now reads "a budget that paid small invoices in halves when the grant check cleared" (l. 13) — a concrete payment behavior in June's invoicer lexicon, the order's named available material (the net-45 reality). Re-inventoried below as item 3 and it passes.
3. **Order 3 (wall-agon trim).** EXECUTED. The sentence ends at "Four hours of her life." (l. 13); "if the wall cooperated" is cut. The agon now runs exactly three foreground beats: "The wall's been here. The wall wins." (l. 27), "look like the wall has a rash" (l. 31), "would learn it from the wall eventually" (l. 119). Counted every other wall sentence for hidden fourth instances: "the way the wall was beige, through neglect" (l. 99) renders the wall passive, not adversarial; "the wall dried toward being one thing" (l. 107) is descriptive; "the highest review the wall could receive" (l. 111) makes the wall a recipient, not a combatant — none re-inflates the agon. Three stands. Inheritance flag for Ch 10 repeated below.
4. **Order 4 (stock "forty minutes if you don't talk to me").** EXECUTED, via the order's first option. The jab is gone; the estimate is now fused to the measurement taken four lines earlier: "That's an extra hour." / "Forty minutes. Eleven feet and change, one coat to the corner." (l. 33–35), with "eleven feet and change" walked off at l. 31. The number reads computed, not quoted from the trade, and it was not softened into politeness — it is a flat downbid of Asha's estimate.
5. **Order 5 (shellac-lid second-person aside).** EXECUTED. "the lid you could never get clean" is gone; now "the little can with shellac crust around the lid" (l. 39) — this can's specific crust, no generalizing "you," no comic claim. De-comedized to plain texture, a sanctioned resolution.
6. **Order 6 (NYC closet stock joke).** EXECUTED. The closet is gone; the math is priced against this book's numbers: "her share of a place would cost less than the room she was losing here" (l. 71) — the January-ending sublet the order named. Plain comparative fact now; the comic load moved nowhere portable.
7. **Order 7 (customs stamp).** EXECUTED. Now "a thumbs-up June had treated like a PAID stamp" (l. 63) — the order's suggested fix verbatim, re-sourced into June's billing world. Re-inventoried below as item 18; pressed and passed. Note: PAID-stamp is fiscal, not legal-forensic, so it does not breach the spent legal-clerical register (tics.md Ch 08 row) — it rides the chapter's licensed economic dial.
8. **Order 8 ("legally finish").** EXECUTED. "could now legally finish" is gone; now "the coffee she had carried from the deli at seven and was only now sitting still long enough to finish" (l. 61) — the literal rule (first sit since seven), no borrowed meme syntax. De-comedized to plain texture.
9. **Order 9 ("Real money or arts money?").** EXECUTED, via the order's first option. The stock binary is gone; Asha's triage is re-aimed at what June hadn't said: "Renewal odds?" (l. 81) — the order's named target verbatim — answered substantively ("She said decent," l. 83), with the non-portable line "Call her before Friday. People tell three people before they post." (l. 85) still carrying the comic weight of the triage.
10. **Order 10 ("historical record").** EXECUTED. Now "brushed crumbs onto the drop cloth, where they stuck to dried drips from older jobs" (l. 103) — the mock-archival overlay converted to the literal drop-cloth fact the order suggested, serving the chapter's work-history texture instead of decorating it.
11. **Order 11 (polygraph).** EXECUTED. Now "a fingertip signature that looked nothing like her name" (l. 105) — the order's suggested replacement verbatim. No forensic register; the spent legal-clerical family (tics.md Ch 08 row) is now breached zero times in the chapter. The replacement is plain fact, and it quietly rhymes with the chapter's erasure thread (l. 107: nobody "would be able to stand in this room and prove she had been in it") — better than the simile it replaced.
12. **Order 12 (self-captioned busy-hands).** EXECUTED. The sentence ends at "drop cloth folded paint-side-in" (l. 123); "the way she folded everything when busy hands kept her face uninteresting" is gone. The pack-out actions show the concealment uncaptioned, and the foamcore decision that follows lands harder for it. Reading guide §5 compliance restored.
13. **Order 13 ("like a delivery").** EXECUTED. Now "the phone buzzing twice in June's pocket" (l. 125). Simile cut; the double buzz and the two saved contacts (l. 131) carry it.

**All 13 orders executed.** Seven were repaired into stronger character-sourced material (orders 1, 2, 4, 7, 9, 10, 11); six were resolved by de-comedizing to plain texture (orders 3, 5, 6, 8, 12, 13) — cutting was an explicitly valid resolution for each, and the density check below confirms no DRY drift resulted.

## INVENTORY (full re-inventory of the current text)

1 — "exactly where the incoming artist would stand at four o'clock and form an opinion of everyone who had ever worked in the building" (l. 3) — mechanism: hyperbolic stakes escalation — source: character — funniness: 2 — portable: no — dramatic work: sets visibility/judgment stakes, pays off at the walk-through — workshopped: no
2 — "Peel. Quarter-size. Eye level, naturally." (l. 9) — mechanism: deadpan fatalism — source: character — funniness: 2 — portable: no — dramatic work: opens June/Asha shorthand — workshopped: no
3 — "a budget that paid small invoices in halves when the grant check cleared" (l. 13) — mechanism: institutional poverty as payment behavior, deadpan — source: character (June's invoicer knowledge) — funniness: 2 — portable: no (pressed against the stock miracle-grant quip it replaced: "paid in halves when the grant check cleared" is a specific observed behavior, not circulating arts-scene wit) — dramatic work: prices Marisol's world; feeds the paycheck-vs-invoices triage — workshopped: no
4 — "Patch, prime, paint. One line on the invoice. Four hours of her life." (l. 13) — mechanism: ironic compression, bookend setup — source: situation — funniness: 2 — portable: no — dramatic work: the chapter's frame — workshopped: no
5 — "Hands only. Nothing above the wrists required." (l. 15) — mechanism: mock scope-of-work clause — source: character — funniness: 2 — portable: no — dramatic work: the policy the foamcore beat breaches — workshopped: no
6 — "Her knees told her about the concrete floor through the drop cloth and she told them it was billable." (l. 17) — mechanism: personification deflated by billing register — source: character — funniness: 2 — portable: no — dramatic work: billable-spine the fourth square violates — workshopped: no
7 — "another up top where a previous painter had gotten bored" (l. 19) — mechanism: forensic-attribution deadpan — source: character (June reading the wall's history) — funniness: 2 — portable: no — dramatic work: motivates the full-face repaint — workshopped: no
8 — "a clean shape announcing itself like a price sticker" (l. 21) — mechanism: register collision (retail into color perception) — source: character — funniness: 2 — portable: no — dramatic work: makes the color problem money-shaped — workshopped: no
9 — "It's the same paint. It's the wall that's wrong." (l. 25) — mechanism: deadpan reattribution of blame — source: character (Asha) — funniness: 2 — portable: no — dramatic work: sets up items 10 and 36 — workshopped: no
10 — "The wall's been here. The wall wins." (l. 27) — mechanism: fatalist concession (wall-agon 1 of 3) — source: character — funniness: 2 — portable: no — dramatic work: thesis-in-miniature — workshopped: no
11 — "Twenty-two patches, it'll look like the wall has a rash." (l. 31) — mechanism: craft hyperbole (wall-agon 2 of 3) — source: character — funniness: 2 — portable: no — dramatic work: motivates the repaint and the estimate exchange — workshopped: no
12 — "That's an extra hour." / "Forty minutes. Eleven feet and change, one coat to the corner." (l. 33–35) — mechanism: computed-downbid deadpan — source: character (June; the measurement is hers from l. 31) — funniness: 2 — portable: no — dramatic work: peer negotiation under the truck deadline — workshopped: no
13 — "if the driver's early I will personally lie down in the loading dock and let him wait on top of me." (l. 37) — mechanism: logistical hyperbole — source: character (Asha) — funniness: 2 — portable: no — dramatic work: makes the deadline physical; earns the granted forty minutes — workshopped: no
14 — "Spot-prime first or Marisol's paying us both to come back Thursday." (l. 37) — mechanism: consequence deadpan — source: character (Asha) — funniness: 2 — portable: no — dramatic work: craft authority; keeps Asha June's peer, not her audience — workshopped: no
15 — "Three squares. Anyone would do three squares." / "Nobody needed the fourth." (l. 41–43) — mechanism: protesting-too-much self-prosecution — source: character — funniness: 2 — portable: no — dramatic work: the chapter's central beat — workshopped: no
16 — "That's not the wall." / "It's a test." / "Of what?" / "The middle square's the match." + Asha going to pad the elevator (l. 47–55) — mechanism: true-but-evasive alibi deadpan; withheld prosecution as timing — source: character (both) — funniness: 2 — portable: no — dramatic work: Asha sees and declines to say so — workshopped: no
17 — "The cover had not worked. Asha had seen the wrong square and chosen the elevator anyway." (l. 57) — mechanism: deadpan after-action report — source: character — funniness: 2 — portable: no — dramatic work: rhymes with the book's larger failing cover — workshopped: no
18 — "a thumbs-up June had treated like a PAID stamp" (l. 63) — mechanism: billing-register simile — source: character (June's invoice lexicon; "treated like" keeps it her behavior, not narrator decoration) — funniness: 2 — portable: no (pressed: a PAID stamp on a thumbs-up only signifies inside June's freelance frame, which the chapter spine is built from) — dramatic work: closes the Nia thread's dormancy; feeds the unanswered-thread close at l. 131 — workshopped: no
19 — "You'd be good at the parts nobody romanticizes." (l. 65) — mechanism: anti-mystique compliment — source: character (Nia, voice-card exact) — funniness: 2 — portable: no — dramatic work: keeps the offer serious — workshopped: no (composed in-fiction; it is a text message)
20 — "Not a favor. I need someone who can run a job and fix the press. You're the shortest list I have." (l. 69) — mechanism: compliment-by-logistics — source: character (Nia) — funniness: 2 — portable: no — dramatic work: strips pity — workshopped: no
21 — "a job in Philadelphia that involves keys." / "Keys to what?" (l. 75–77) — mechanism: synecdoche/understatement — source: character (both) — funniness: 2 — portable: no (keys lifted from Nia's text; the book's access motif) — dramatic work: shows what June actually heard — workshopped: no
22 — Asha pressing the peeled label "to the bucket between them like she was tagging it for the manifest" (l. 81) — mechanism: professional habit leaking into lunch — source: character (Asha; her l. 7 label system grounds it) — funniness: 2 — portable: no — dramatic work: marks the conversation as cargo — workshopped: no
23 — "Call her before Friday. People tell three people before they post." (l. 85) — mechanism: freelance-network mechanics stated as law — source: character (Asha) — funniness: 2 — portable: no — dramatic work: real urgency on the Nia path — workshopped: no
24 — "The math here is a hobby I do at night." (l. 87) — mechanism: self-aimed inversion — source: character (June) — funniness: 2 — portable: no — dramatic work: stakes stated sideways — workshopped: no
25 — "The math here is bad… It's bad on purpose, I think, at this point." (l. 89) — mechanism: picked-up-phrase extension into deadpan conspiracy — source: character (Asha) — funniness: 2 — portable: no (dialogic pickup of June's coin) — dramatic work: validates without advising — workshopped: no
26 — "the corner with the window if you count the airshaft as a window" (l. 89) — mechanism: deadpan qualification — source: character (Asha) — funniness: 2 — portable: no — dramatic work: prices the NY path with defects on record — workshopped: no
27 — "someone who won't microwave fish" (l. 89) → "Rent on the first… No fish in the microwave. Probably a photo of whatever you keep in a corner." (l. 97) — mechanism: bathos + repetition-with-variation, third term landing on the book's real question — source: character (Asha relaying Dana) — funniness: 2 — portable: no as a unit (the triplet ends aimed at June's hidden foamcore) — dramatic work: converts a sublet gag into the chapter's question — workshopped: no (re-pressed after the round-2/3 dialogue rehost: the fish recurrence is a literal requirement restated in answer to a direct question, not an epigram redeployed)
28 — "How cheap is forgive?" (l. 91) — mechanism: token pickup of Asha's "Cheap enough to forgive" — source: character (June) — funniness: 2 — portable: no — dramatic work: June engaging the NY path through the joke — workshopped: no
29 — "High hundreds. Heat is weird. Freight elevator sticks. Twenty-four-hour access." (l. 93) — mechanism: anti-sales asyndeton, defects first, prize last — source: character (Asha) — funniness: 2 — portable: no — dramatic work: keeps New York priced, not cute — workshopped: no
30 — "I can send you Dana's number. No speech required." (l. 93) — mechanism: ask-sizing deadpan — source: character (Asha, no-mystique card lane) — funniness: 2 — portable: no (confirmed literal by l. 97: the actual requirements are rent, a rule, a photo) — dramatic work: removes the performance June exits to avoid — workshopped: no
31 — "a thing she was doing the way the wall was beige, through neglect, on a drift" (l. 99) — mechanism: register collision (the chapter's literal wall priced into the decision) — source: character interiority (June-optical) — funniness: 2 — portable: no (requires this morning's drifted gallery white) — dramatic work: fuses worksite and life-choice; the chapter's two plots become one figure — workshopped: no
32 — "You could not fail to move into a thing that did not exist." (l. 99) — mechanism: rueful paradox — source: character interiority — funniness: 2 — portable: no — dramatic work: names why real options hurt; the midpoint's expiry logic in June's own ledger voice — workshopped: no (pressed for epigram shape: plain words in her card's perception–judgment–self-rebuke rhythm, free-indirect, not quotation-seeking)
33 — "I'd call. I don't know if I'd go." + "I've said yes to stable things that ate my painting time. I've also said no to rent money and hated myself by Tuesday. That's not advice." (l. 103) — mechanism: symmetrical double-indictment, disclaimed — source: character (Asha's card contradiction) — funniness: 2 — portable: no — dramatic work: keeps both cities serious — workshopped: no
34 — "The truck was twelve minutes late, which Asha noted aloud, to the driver, with the date." (l. 105) — mechanism: escalating prepositional precision — source: character (Asha) — funniness: 2 — portable: no — dramatic work: pays off the two-o'clock pressure — workshopped: no
35 — "She made herself say so, internally, in those words." (l. 109) — mechanism: self-administered compliance deadpan — source: character (June) — funniness: 2 — portable: no — dramatic work: dramatizes the vocational grief under "working as designed" — workshopped: no (pressed against §5's no-announcing rule: it disciplines her own internal phrasing, not a care move; the dialogue round 3 audit cleared the same line against dialogue-diagnosis)
36 — "wore the good kind of terrible jacket" (l. 111) — mechanism: insider paradox taxonomy — source: character (June's one-glance optical read) — funniness: 2 — portable: no, narrowly (unchanged from round 1; still the thinnest margin in the chapter) — dramatic work: the artist in five words — workshopped: no
37 — "crossed the freshly painted wall without slowing down, which was the highest review the wall could receive" (l. 111) — mechanism: inverted praise — source: situation — funniness: 2 — portable: no — dramatic work: the vocation theme in comic form — workshopped: no
38 — Walk-through irony: "Could this one be warmer?… It reads cold to me. Almost blue." / "It's the same paint. It's the same white on every wall." / June "kept this to herself with some effort" (l. 113–119) — mechanism: situational irony, the June/Asha exchange replayed by civilians with the roles reversed and the wrong wall — source: situation — funniness: 2 — portable: no — dramatic work: vindicates June's invisible expertise at zero credit — workshopped: no
39 — "The artist would learn it from the wall eventually, the way everyone did." (l. 119) — mechanism: wall-as-teacher closer (wall-agon 3 of 3) — source: character — funniness: 2 — portable: no — dramatic work: closes the wall figure; folds June into the same education — workshopped: no
40 — "It's perfect, thank you, send me the hours tonight." (l. 121) — mechanism: praise-to-invoice compression — source: character (Marisol)/situation — funniness: 2 — portable: no (pressed: "send me the hours" alone would travel, but the single-breath fusion with "It's perfect" is this chapter's economic register doing its closing work) — dramatic work: even the compliment arrives as billing; the job's terms stated one last time — workshopped: no
41 — "The scrap was trash by every definition the invoice recognized." (l. 123) — mechanism: register collision (invoice as ontology) — source: character interiority (June's billing frame) — funniness: 2 — portable: no — dramatic work: the keep-or-toss thesis beat; the invoice-self and the painter-self split on the page — workshopped: no (pressed the composed shape: it is June's free-indirect logic at the exact decision the sentence governs, in her licensed lexicon, and the next sentence acts on it)
42 — "Six weeks if you can show up with a level. Pays late. Pays real." (l. 125) — mechanism: low-bar deadpan + staccato anti-sales — source: character (Asha; card: "pays late, but it pays") — funniness: 2 — portable: no — dramatic work: Kessler path real, defect attached — workshopped: no
43 — "Don't make her chase you. That's rude even when everyone is broke." (l. 129) — mechanism: manners-under-poverty deadpan — source: character (Asha) — funniness: 2 — portable: no — dramatic work: enforces seriousness toward Nia — workshopped: no
44 — "her contacts now contained two cities, alphabetized together as if that settled anything" (l. 131) — mechanism: deflation of false resolution — source: character interiority — funniness: 2 — portable: no — dramatic work: renders the mandated no-decision close comically, not wistfully — workshopped: no
45 — "seven billable hours, one line item, *patch/prime/paint, project room, walls to neutral*" (l. 131, closing item 4's frame) — mechanism: ironic compression bookend ("walls to neutral" doubling as June's stance on the two cities) — source: situation/character — funniness: 2 — portable: no — dramatic work: the chapter's frame closed — workshopped: no

On the all-2 column, since a verification round scoring everything 2 should be suspicious: round 1's seven funniness-1 items were items 3, 4, 5, 14, 18, 19, 34, 36, 41, 42 of that inventory — every one was either repaired into the 2-scored items above (round 1 items 3→silently absorbed by l. 9/11, 4→new item 3, 18→new item 18) or de-comedized out of the inventory entirely (round 1 items 5, 14, 19, 34, 36, 41, 42 → plain texture at l. 13, 39, 61, 103, 105, 123, 125, verified under order execution). Nothing was scored up; the 1s were removed from the comic ledger by repair or by ceasing to be comic attempts. Also swept for new attempts hiding as texture: "somebody's dolly had kissed the wall" (l. 13) is literal trade idiom, not a joke (and not a romance wink — the kiss damages); the second-person craft instruction ("you arrived, you made a damaged white room…", l. 15; "the angle you would examine a swatch," l. 71) is June's established instructional narration mode, not the portable second-person aside order 5 removed.

## Running-gag / tracker checks

- **Legal-clerical register, spent for Ch 09** (tics.md Ch 08 row): now breached **zero** times. Polygraph and customs stamp are both out; "PAID stamp" (l. 63) and "every definition the invoice recognized" (l. 123) are fiscal, riding the chapter card's licensed economic dial, not the spent legal-forensic family. "Signed the release" (l. 105) is literal logistics.
- **Wall-agon**: trimmed to 3 per order 3 (items 10, 11, 39). **Carry to tracker: the wall-agon does not inherit into Ch 10.**
- **Secret-object personification 4/4 cap; no panel/folder personification in Ch 09** (tics.md l. 135): foamcore stays an object throughout ("stuck up out of the tote… she did not push it down," l. 133) — compliant.
- **Scarf personification cap spent** (tics.md l. 136): three appearances (l. 17, 123, 125), all plain folded objects — compliant.
- **Fiscal/debt register, do-not-inherit** (tics.md l. 133): saturated here by license (chapter card prose dial). **Carry to tracker: spent again from Ch 10; Theo's hands chapter must not arrive pre-invoiced.**
- **"Alleged" callback (≤1 remaining)**: unused. **Standalone "Oh."**: unused. **Coffee-ordering tic**: coffee is a prop, not a ritual — compliant. **Asha voice card**: rate/room/late/invoice nouns throughout, no inspirational talk; "Cheap enough to forgive" card line intact at l. 89.

## Distribution checks

- **Density**: the revision removed five overlay similes and three portable quips; checked for DRY drift by walking the chapter's beat map — every comic load-point round 1 identified still carries (worksite shorthand l. 9–37, the alibi sequence l. 41–57, the lunch triage l. 75–103, the walk-through l. 111–119, the close l. 131). Longest joke-free stretch remains the rolling/reading sequence (l. 59–71), which is earned quiet around the offer. Still at the top of the "lightly comic" commitment. Not DRY, not THIN.
- **Mechanism variety**: deadpan still dominates (~16 of 45) as the register dictates, supported by situational irony, hyperbole, synecdoche, register collision, repetition-with-variation, inverted praise, bathos, paradox. The round-1 MONOTONOUS risk — the five-instance narrator-overlay wit-simile cluster (customs stamp, legally, historical record, polygraph, delivery) — is now **zero instances**; the two surviving narration similes (items 18, 31) are both generated from June's own lexicon. Not MONOTONOUS.
- **Sweetness — Philadelphia**: passes, and improved. "Renewal odds?" (l. 81) makes Asha vet the offer instead of taxonomizing it; Nia's anti-romanticism (items 19, 20), the Friday deadline (item 23), and the manners rule (item 43) all keep the offer heavy. Strongest counter-candidate: "a job… that involves keys" (item 21) — still passes; the exchange immediately re-expands it ("Programs and fixing the press. Paycheck, not invoices," l. 79).
- **Sweetness — New York-too-cute**: passes. Every charm beat still carries a priced defect (airshaft window, weird heat, sticking elevator, "Pays late," "High hundreds"). Counter-candidate: "Probably a photo of whatever you keep in a corner" (item 27) remains the most charming line and remains a question aimed at the hidden work, not a bow.
- **Cringe**: none for the O'Leary/Henry-60%/Morisaki reader. Closest candidate re-checked: "let him wait on top of me" (item 13) — single beat, character-sourced, passes.
- **Warmth floor**: walk-through comedy (item 38) re-checked — the young artist is never mocked aloud; June's restraint is the joke; item 39 folds June into the same education she received at l. 19 that morning. Compliant.
- **Reading-guide bans inside comic items**: "load-bearing" (all spellings) — zero hits, confirmed against the gate report (0 open findings) and by direct read. No smirk/chuckle/"a beat"; no dialogue diagnosis (nearest candidates "Knowing her, she means it" l. 83 and "No speech required" l. 93 both pressed; both characterize habits/ask-size, not language — concurring with dialogue round 3).

## Chapter verdict

**CLEAR** — all 13 round-1 orders verified executed; 45 inventory items, all funniness-2, all non-portable, none workshopped; sources overwhelmingly character/situation (43 of 45); the overlay-simile cluster is eliminated rather than repainted. Strongest item: the walk-through irony (item 38 — "Could this one be warmer?… It's the same paint. It's the same white on every wall."), where the swatch plot pays off as situation comedy at zero credit to June. Weakest surviving item: "wore the good kind of terrible jacket" (item 36), unchanged from round 1, passing on June's optical compression by the chapter's narrowest portability margin — acceptable, but it should not get siblings in later chapters.

**Zero blocking findings. The chapter is committable on comedy.**

## REVISION ORDERS

None.

---

**Non-blocking notes for the orchestrator:**
1. The round 3 Dialogue Doctor's evidence at its l. 63 citation quotes the superseded text ("applied to it like a customs stamp"); the current text reads "treated like a PAID stamp." The dialogue verdict's substance holds — the current phrasing also rates no one's language — but the stale quote suggests the comedy repairs landed after (or were not re-read into) that audit's line check. No re-run required; recording for the audit trail.
2. Tracker rows to append at commit: wall-agon trimmed to 3, non-inheritable by Ch 10; fiscal/billing register licensed and saturated in Ch 09, spent again from Ch 10; legal-clerical register breaches now zero; "good kind of terrible jacket" pattern (expensive-ugly taxonomy) used once, should not recur.
