# Cover-the-Names Voice Test - Chapter 09

DISTINCT - June/Asha worksite exchange - evidence: June: "The wall's been here. The wall wins" pins June's dry visual correction; Asha: "Truck's at two. I need the elevator padded by one-thirty..." pins Asha's schedule/work-network register. Strongest swap candidate: "Forty minutes" could belong to either worker by content, but the surrounding eleven-feet-and-change estimate is June's optical precision.

DISTINCT - June/Nia text/lunch report - evidence: Nia: "You'd be good at the parts nobody romanticizes" is brisk, written, stability-first; June: "A printshop. Six months. Programs and fixing the press. Paycheck, not invoices" compresses and translates through embarrassment. Strongest swap candidate: "Keys to what?" is plain and could be generic, but it is Asha's practical intake question inside the bucket-lunch exchange.

DISTINCT - June/Asha lunch exchange - evidence: June: "How cheap is forgive?" repeats Asha's phrasing as a dry object-check; Asha: "Studio rent on the first... Pays late. Pays real. I can send both" is invoice/rate shorthand. Weakest line: "I'd call. I don't know if I'd go" could be June, but the next sentence "If you pass, send her my name" makes Asha's own stake explicit.

DISTINCT - incoming artist/Marisol/June walk-through - evidence: artist: "Could this one be warmer? It reads cold to me" is client-perception language; Marisol: "It's the same paint" is admin/material correction; June's reaction stays interior/action: "tightened one hand on the rail."

Chapter verdict: VOICES-HOLD. Weakest DISTINCT exchange is the lunch Q/A sequence because both women use clipped work shorthand; it survives through Asha's network/rate vocabulary and June's self-directed math/visual language.

REVISION ORDERS: None.
