All inputs read. The four repairs are verifiable in the current text; the quotability order needs arithmetic checked carefully — by round 1's own counting rules, Odile now stands at six aphorism-grade lines against the order's explicit "five or fewer" condition for retaining "I am sorry for both of you." That is the one residual. Here is the full audit:

---

# Audit: Comedy Doctor — Chapter 10, Round 2 (verification after Codex comedy repair)

id: comedy_doctor | owner: claude | tier: risk | round: 2
chapter: `output/chapters/chapter_10.md` | register: comic, guide-mandated every chapter | target reader: warm/precise/lightly-comic per READING_GUIDE §2 (O'Leary warmth, Henry at 60% banter, Morisaki smallness)
round 1 source: `output/critiques/claude/chapter_10.comedy_doctor.md` (3 item-level blocking findings + 1 verdict-level tracker breach, 4 revision orders)
repair memo: `output/critiques/codex/chapter_10.comedy_repair_memo.md` — all four orders accepted, none rejected
cross-checks consulted: Dialogue Doctor round 2 (CLEAN — its five repairs touched three comedy sites, re-scored below); mechanical gate (open=0; `tells-2.1-hands-body-watch` ×24 licensed by the week-4 hands showcase cap; no `load-bearing` hit against `premise/patterns/reading_guide_bans.tsv`); tics tracker (Ch07 Odile-quotability order "nearer 3" governs; no Ch10 row yet).

Stance: skeptical professional editor. Each round 1 order verified against quoted current text, then the full six-field inventory re-run on the whole chapter to catch repair-introduced regressions. The memo's claim of full execution is not taken on trust; order 4 fails its own stated numerical condition (shown below).

---

## ROUND 1 ORDER VERIFICATION

1. **(#1, wing-nut tail) EXECUTED.** Before: "faster than the city could replace them." Current l.7: "He'd bought them at the hardware on Canal after Week Two, on the theory that a room with eight easels and one Odile would empty the little bin by December." The laugh now ends inside Theo's actual supply chain — the little bin at the named hardware, on a procurement timeline — instead of jumping to narrator-scale municipal hyperbole. "One Odile" as a unit of wear survives as the character joke it always was. No punchline syntax; the sentence is a man reasoning about stock levels. Re-scored funniness 2, workshopped no (inventory #1).

2. **(#6, pen setup) EXECUTED, by divergent but valid means.** Before: "a pen Priya appeared to have opinions about" — stock idiom. Current l.19: "Ben with a newspaper folded to the crossword and Priya's good pen already uncapped in his hand." The order asked for the concrete opinion; the repair instead made the opinion material: it is *her* pen, it is *the good* one, and it is already commandeered and uncapped before class starts. The content the idiom only gestured at is now in the object. The l.103 payoff — "Priya capped Ben's pen for him." — is strengthened: the possessive migrates from "Priya's good pen" to "Ben's pen" across the evening, which is the couple's whole arrangement in two noun phrases, and the capping is her care move, not a vibe callback. Checked the migration as a possible continuity error: it reads as deliberate (the pen is hers; it is effectively his; she caps it), and a cold reader can follow it. Re-scored funniness 2, portable no, workshopped no (inventory #6, #27).

3. **(#7, baguette simile) EXECUTED.** Before: "rubber-banded at the top like a baguette she'd forgotten to eat." Current l.19: "tote on her shoulder, the roll of old drawings riding high and uncovered at the top." The simile is cut outright; the replacement is not a comic item at all — it is Theo's protective-logistics noticing, and it does the practical setup the order specified: "riding high and uncovered" seeds his glassine offer at l.121 ("If it's riding in the tote it'll pick up everything in there"), with the verb "riding" recurring to bind setup to payoff. June's entrance is now guarded, not adorable. The chapter's one narrator-overlay item is gone; overlay count is now zero.

4. **(verdict-level, Odile quotability 9 → target ≤5) PARTIALLY EXECUTED.** The ordered demotions are all done and done well: "The painted become painters" is cut, leaving the one-word "Switch." (l.69); "Photographs are cheating. Mime is worse." is demoted to plain rule language — "Photographs don't count. Mime doesn't count." (l.29); "Rest is not a love" is shed (the card epigraph owns the love/good-for distinction, as ordered); "That is the entire comment" is cut and the anticlimax is now *performed* — "He waited for the rest. She moved on." (l.85) — which is funnier than the announced version. The four named holds are intact. **But the order's retention condition fails by one.** Recount of aphorism-grade Odile lines in the current text: "It is how I learn things about people." (l.17), "If it is, I am sorry for both of you." (l.33), "The room is finished, Brennan. Sit in it." (l.37), "You are standing in her light." (l.79), "Then you posed all evening. You just didn't know it." (l.99), "Do not improve anything." (l.137) — **six**. ("Folded hands are rest." (l.29) was the margin candidate and is judged rule mechanics, not a detachable wisdom line; "You looked at one thing for an hour" is plain observation whose wit was deliberately moved into the silence.) Round 1's order stated: "'I am sorry for both of you' may stay if the count lands at five or fewer after the demotions." It landed at six including it. Five of the six are held by round 1's own reasoning (the four named holds, plus "standing in her light," whose literal half is structural — he is physically blocking June's view of the subject she is painting). The arithmetic therefore points at exactly one line. Residual order below.

---

## INVENTORY (full re-run against current text):
1 — "a room with eight easels and one Odile would empty the little bin by December" (l.7) — mechanism: hyperbole-as-procurement-logic — source: character — funniness: 2 — portable: no (Canal hardware, the bin, the four spares) — dramatic work: installs the maintenance compulsion and the exact wing nut June paints at l.89 — workshopped: no (repaired; verified above)
2 — "Calling it early would have misunderstood the job. He was on time for the part of class that nobody else attended." (l.9) — mechanism: deadpan reframe — source: character — funniness: 2 — portable: no — dramatic work: chapter thesis as self-justification — workshopped: no (first clause still stiff; unchanged from round 1, non-blocking then and now)
3 — "with her coat already off, which meant she'd been in the building for an hour and had chosen not to be helped" (l.11) — mechanism: deadpan inference — source: character — funniness: 2 — portable: no — dramatic work: Odile's autonomy vs. Theo's helper-logic; reread-consistent — workshopped: no
4 — "It is always loose. It is how I learn things about people." (l.17) — mechanism: deadpan surveillance reveal — source: character — funniness: 2 — portable: no — dramatic work: reread plant; held per order 4 — workshopped: no
5 — "Luis carrying a net bag of oranges like a man who had been told to bring his own model" (l.19) — mechanism: simile-turns-literal — source: situation — funniness: 2 — portable: no — dramatic work: seeds the assignment's logic before the card — workshopped: no
6 — "Priya's good pen already uncapped in his hand" (l.19) — mechanism: implication (prized object pre-commandeered) — source: character — funniness: 2 — portable: no — dramatic work: material setup for the l.103 capping; possessive-migration variation — workshopped: no (repaired; verified above)
7 — "You filled my jar." / "I filled all the jars." / "Sure," she said. (l.21–25) — mechanism: deadpan call-out of camouflaged care — source: character — funniness: 2 — portable: no — dramatic work: the painting's thesis an hour early — workshopped: no
8 — "Photographs don't count. Mime doesn't count. If the hands stop, your brush stops. Folded hands are rest." (l.29) — mechanism: deadpan rule cadence (mime as the absurd contingency) — source: character — funniness: 2 — portable: no — dramatic work: rule-setting with teeth, now without quotation polish — workshopped: no (demoted per order 4; the comedy survived the demotion)
9 — "Only if coffee is the love of his life. If it is, I am sorry for both of you." (l.31–33) — mechanism: conditional deadpan escalating to pity — source: character — funniness: 2 — portable: no — dramatic work: defines the love-test, pre-cuts Theo's habit-candidates — workshopped: no (but counts against the quotability ceiling; see order)
10 — "The room is finished, Brennan. Sit in it." (l.37) — mechanism: imperative deflation — source: character — funniness: 2 — portable: no — dramatic work: the chapter's order in four words; held — workshopped: no
11 — "a skill Mara reported with the pride of a woman who had vetoed his other two options" (l.39) — mechanism: implication — source: character — funniness: 2 — portable: no — dramatic work: a marriage negotiation in one clause — workshopped: no
12 — "He's deciding between two," June said. / "Which was generous, since the true number was zero." (l.43–45) — mechanism: cover-story deflation — source: character — funniness: 2 — portable: no — dramatic work: June covering; the lie's social cost named — workshopped: no
13 — "That's a chore." (l.51) — mechanism: category correction — source: character — funniness: 2 — portable: no — dramatic work: enforces the card's love/good-for distinction — workshopped: no
14 — "a roll of masking tape he had no memory of picking up" (l.57) — mechanism: unconscious-compulsion physical comedy — source: character — funniness: 2 — portable: no — dramatic work: displacement embodied; pays off at l.101 — workshopped: no
15 — "which the assignment permitted and his curiosity did not" (l.61) — mechanism: zeugma — source: character — funniness: 2 — portable: no — dramatic work: desire as rule-parsing — workshopped: no
16 — "he gave the shine ten minutes it possibly didn't deserve. Wet paint, it turned out, was the kind of problem you could fall into." (l.63) — mechanism: understatement with double meaning — source: character — funniness: 2 — portable: no — dramatic work: first true absorption; the romance unnamed — workshopped: no
17 — "Theo heard both of them the way you hear traffic." (l.65) — mechanism: deadpan absorption simile — source: character — funniness: 2 — portable: no — dramatic work: marks the hour he forgets the jars — workshopped: no
18 — "Switch," Odile said. (l.69) — mechanism: one-word timing cut (lands on Theo's jar-refill half-truth) — source: character — funniness: 2 — portable: no — dramatic work: ends the relapse pretext mid-gesture — workshopped: no (demotion product of order 4; the timing does what the cut aphorism did)
19 — "Ben was solving eleven across with his full upper body" (l.73) — mechanism: physical specificity — source: character — funniness: 2 — portable: no — dramatic work: causes the spill that launches the relapse spree — workshopped: no
20 — "Luis's orange peel had reached a length that deserved infrastructure, so Theo fetched it a paper plate." (l.73) — mechanism: escalation into municipal register — source: character + situation — funniness: 2 — portable: no — dramatic work: peak of the spree; becomes June's painted evidence — workshopped: no
21 — "Sit down," Odile said. "You are standing in her light." (l.79) — mechanism: double-meaning rebuke — source: character — funniness: 2 — portable: no — dramatic work: ends the spree; literally blocks June's view of her subject — workshopped: no (counts against the ceiling but its literal half is structural)
22 — "Luis had eaten the model and started another." (l.83) — mechanism: deadpan literalism — source: situation — funniness: 2 — portable: no — dramatic work: assignment lived — workshopped: no
23 — "You looked at one thing for an hour," she said. He waited for the rest. She moved on. (l.85) — mechanism: anticlimax/timing reversal, now performed by action — source: character — funniness: 2 — portable: no — dramatic work: highest praise as procedure; improved by the order-4 cut — workshopped: no
24 — "Third easel," Luis said. "The screw." (l.91) — mechanism: laconic recognition — source: character (Luis verdict 1 of his 2-cap this appearance) — funniness: 2 — portable: no — dramatic work: the room identifies Theo by his repair before he does — workshopped: no
25 — "It's very him," Mara said, and meant it kindly, and that was the trouble with it. (l.93) — mechanism: kindness-as-indictment — source: character + situation — funniness: 2 — portable: no — dramatic work: the chapter's pain carried by its comedy — workshopped: no
26 — "Did you sit?" / "Mostly not." / "Then you posed all evening. You just didn't know it." (l.95–99) — mechanism: reframe deflation — source: character — funniness: 2 — portable: no — dramatic work: the verdict on Theo's evening; held — workshopped: no
27 — "Priya capped Ben's pen for him." (l.103) — mechanism: callback care move with possessive migration — source: character — funniness: 2 — portable: no (now materially set up by #6) — dramatic work: the card's thesis enacted in five words — workshopped: no
28 — "The cap on the tube was a smaller, better likeness of him than the Week Three portrait with his name on the back." (l.113) — mechanism: metonymic self-recognition — source: character — funniness: 2 — portable: no — dramatic work: the recognition pivot; paid off at l.135 — workshopped: no
29 — "People paint a hand holding a brush like a fist around a dagger. It's looser than that. You saw it." (l.115) — mechanism: corrective simile inside craft praise — source: character (June's precise-praise care move, deflecting the painting-of-her into teaching) — funniness: 2 — portable: no — dramatic work: her devastating-praise channel; licenses Theo's l.117 observation — workshopped: no (NEW TO INVENTORY: present in round 1 text but uninventoried; caught by this re-run. Work shown: the simile alone is workshop-generic and would travel, but the item is June converting exposure into exactness per her card, and "You saw it" is the load it carries; the function pins it to this scene)
30 — "You make it look like you could set the brush down whenever you wanted." / "I could," June said, and nudged the panel straighter on the ledge. (l.117–119) — mechanism: loaded understatement (two words holding six quit years) — source: character — funniness: 2 — portable: no — dramatic work: the quit present without being named; ache under deadpan — workshopped: no (NEW: dialogue-repair product, re-scored here; no replacement epigram smuggled in)
31 — "Theo. You don't have to do anything about it." / "I know," he said as he made room. (l.125–129) — mechanism: action undercutting speech — source: character — funniness: 2 — portable: no — dramatic work: compulsion continuing under new knowledge — workshopped: no
32 — "It is the one with your name on it," she said. ... "The left hand's underdone. In mine. Don't tell anyone." (l.135) — mechanism: correction-as-revelation, exit on self-aimed deflation — source: character — funniness: 2 — portable: no — dramatic work: collapses the portrait/hands distinction; now unexplained after the dialogue repair, which sharpened it — workshopped: no
33 — "Lock up," she said. "Do not improve anything." (l.137) — mechanism: paradox imperative — source: character — funniness: 2 — portable: no — dramatic work: names the compulsion; disobeyed at l.143; held — workshopped: no
34 — "it looked like a man checking a watch he wasn't wearing" (l.139) — mechanism: simile of purposelessness — source: character — funniness: 2 — portable: no — dramatic work: hands with no love, made visible — workshopped: no
35 — "Sundays produced laundry, the walk, the gallery's intake paperwork, the good coffee place that had closed." (l.139) — mechanism: list deflation — source: character — funniness: 2 — portable: no — dramatic work: the unexamined life as inventory — workshopped: no
36 — "walked to Sonia's, where somebody would be one chair short, and he could fix that" (l.143) — mechanism: ironic relapse close — source: character + situation — funniness: 2 — portable: no — dramatic work: refuses a premature cure; planted at l.103 — workshopped: no

## FOCUSED CHECKS (work shown):
- **Repair-introduced regressions:** the three new comic-adjacent passages ("empty the little bin by December," "Priya's good pen already uncapped in his hand," "I could" + the nudge) are all character-sourced, non-portable, and free of punchline syntax. The non-comic replacement at June's entrance ("riding high and uncovered at the top") was checked for residual cuteness: none; it is logistics that pays off at l.121. The demotions at l.29, l.69, and l.85 were checked for collateral damage: the mime rule still lands as deadpan, "Switch." gains timing from Theo's half-truth the sentence before, and the performed walk-away at l.85 is stronger than the spoken tag it replaced.
- **Oversweetening re-check:** the two round 1 sweeteners (#6 stock idiom, #7 baguette) are gone. June's entrance is now guarded. The rescue spree still ends in public correction and becomes June's painted indictment; the sharp beats stay sharp ("and that was the trouble with it"; "Then you posed all evening"; "It did not say, what can you do correctly"). The paper plate (#20) remains the chapter's cuteness ceiling and nothing was added above it. No sweetening introduced.
- **Dialogue-repair overlap:** the Dialogue Doctor's five repairs touched three comedy sites (l.17 jars-silence, l.119, l.135). All three were re-scored above; the l.17 replacement ("looked at the jars, all eight filled to the same line, and dealt the top card") renders Odile's non-comment as action without claiming the cut line's laugh, and assigns no communicative weight to silence.
- **Tracker caps:** Luis verdicts 1 of 2; Ben's beat is physical, not the spent self-deprecation shape; one functional squaring beat (the panel stack, l.9) inside the chapter's own compulsion spine; no coffee-ordering tic ("the good coffee place that had closed" is diagnosis, not ordering); hands density licensed by the week-4 showcase cap; no `load-bearing` (gate-confirmed, 0 open findings).
- **Odile quotability:** count and adjudication in ORDER VERIFICATION item 4. Six aphorism-grade lines against an explicit ≤5 retention condition; "Folded hands are rest." considered and judged rule mechanics, not a seventh.

## DISTRIBUTION:
- Density: high and licensed — week-4 hands showcase, full-ensemble class chapter.
- Mechanism variety: deadpan family ~11 of 36 against physical comedy, callbacks, literalism, zeugma, escalation, implication, anticlimax, understatement. Not MONOTONOUS.
- Source: character 31, situation 5, narrator-overlay **0** (was 1; the baguette cut eliminated it).
- Sweetness: clean (see focused checks). Cringe: none; everything sits inside the comp register.
- Tracker: Odile quotable-grade count 6 — down from 9, still one over the order's ceiling of 5.

## CHAPTER VERDICT: **CLEAR** — all 36 inventory items score funniness 2, character/situation-sourced throughout, zero portable, zero workshopped, mechanisms varied. Strongest surviving item: «"It's very him," Mara said, and meant it kindly, and that was the trouble with it.» (l.93). Weakest surviving item: «Calling it early would have misunderstood the job.» (l.9) — the stiff first clause noted in round 1 stands unchanged; its second sentence still rescues it, and it remains non-blocking. CLEAR does not waive the one residual order below.

## REVISION ORDERS:
1. **Residual from round 1 order 4 (verdict-level): Odile quotability at 6 against the explicit ≤5 retention condition.** The demotions were executed; the conditional was not checked. Five of the six surviving quotables are held by round 1's own reasoning, so the surgical cut is the sixth: at l.33, keep "Only if coffee is the love of his life." — the conditional that defines the love-test and pre-cuts Theo's candidates — and **drop the pity tail "If it is, I am sorry for both of you."** Priya's question is still answered, the rule still has teeth, and the count lands at 5. Do not demote "You are standing in her light" instead; its literal half is structural to June's painting of him. On commit, append the Ch10 tics row with the final Odile count (target met = 5) per the round 1 instruction.

No other orders. Round 1 orders 1–3 are verified executed with no regressions; the chapter is committable once order 1 above is applied and the tics row is written.
