Read all targets: Ch24 (full ledger scene through Theo's return), Ch18 (full), Ch7/10/19 jar/care thread, the residue-sweep set (01, 04, 07, 10, 11, 13, 14, 18, 19, 20, 22, 23, 24), and the post-Batch4 critique. Verdict below.

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CH24 ODILE COST: COST-LANDS
- evidence: The Batch3-flagged "narration walks past it" is repaired with physical staging, not just interior claim. The scene plants Odile-as-record at the top ("You're work that left the building. I keep a record.") and marks the page as her proof: "the page was what she had offered instead: the proof in her own hand, meant to stay in the binder after the class and the building and Theo's errands had all been closed out." The tear is then staged as a contested taking: "June put one hand on the rings. Odile's thumb stayed on the lower corner. June tore the page clean out along the perforation... The binder kept its shape and lost its first night. Odile's hand stayed where the paper had been." Thumb-held → torn → hand left on nothing → "binder... lost its first night" registers the loss on Odile (her archive, her version), not only June's gesture. The coda confirms it wordlessly: Odile "laid one finger on the drawer that held After Class, not opening it, only marking it."
- strongest counter-candidate: The claiming-meaning clause survives intact — "because if anyone was going to decide what that first night meant, it was going to be the one whose name got written down without her" — and Odile's verbal cost is still two words ("'No,' she agreed. 'It wasn't.'") from a woman retiring out of a binder that's "closed out" anyway. This is the exact UNDERLANDED failure Batch4 predicted. It survives because the clause is now the consequence of a physically-rendered taking rather than the sole frame, and the "retiring makes it free" objection is pre-empted by the text naming the page the one thing "meant to stay... after... all been closed out" — the single durable loss for a record-keeper. Landing is understated (Odile does not flinch) but the thumb/empty-hand/"lost its first night" images carry it. (OVEREXPLAINED edge: "the proof in her own hand, meant to stay in the binder..." is the closest to caption, but it sets stakes; the decisive image — her hand on nothing — is left unexplained.)
- repair order if failing: n/a — passes.

CH18 MONTAGE: TIGHTER
- evidence: The chapter is montage by design but productive on three threads (studies/vocation, Philly-vs-Kessler decision, cohort rupture) and it now contains real dramatized beats, contra the Batch4 "no scene partner" note. The Sunday scene is a full two-hander: "'The blue dish is mine,' Mara said... 'Bring it Tuesday. Sit by me. Ruth is bringing a ruler and I need another painter at the table.' / June held the foil brick level. 'I don't know about Tuesday.'" The Friday micro-beat dramatizes the rupture's social cost concretely: "'We saved you a plate,' Mara wrote, and June heated soup from a can. She ate standing up, the wet third study propped against the toaster, the phone facedown beside the bowl." The five studies are plot, not texture — they are the leaving-side of After Class and pay off in Ch20 and Ch23. No structural expansion needed before final-candidate testing.
- strongest counter-candidate: The Saturday beat — "Saturday she de-pilled the scarf" — a whole day-unit on grooming, the most cuttable stretch, inside four consecutive "On [day]" summary openings (Wed–Sat) that read as a skim cadence. It survives because it carries the Week-6 cadmium-fleck callback and the reframe that is the chapter's post-Ch17 engine: "the knot right, the room wrong, the keys wrong... At the time the exactness had flattered her. Now it bothered her" — June re-reading Theo's Week-3 accuracy as presumption. Two of the five days are dramatized and every summary day earns thread-work, so no single beat is a cut-or-dramatize blocker.
- repair order if failing: n/a — passes. (Not CUT-HARM: rupture pressure is intact and strong — "Okay. No chair.", the declined dinner, the soup beat, "Thank you for October," and the Monday laptop decision "she wasn't going to let that choose the next thing too.")

JAR / CARE REPETITION: RESOLVED
- evidence: Ch7 plants the jar-device as dialogue: "'I filled your jars,' he said. 'The sink line gets long after seven.'" The Batch4-flagged Ch10 echo ("'You filled my jar.' / 'I filled all the jars.' / 'Sure,'") is gone — re-pointed to the stool with a different object and inverted direction (he takes the bad one for himself): "'You took the bad one.' / 'It leans less if you know before you sit.' / 'Sure,' she said." Ch19 then pays the jar-device unspent: "he filled two before he could decide otherwise and left both, one on each side of the ground" → "before the two filled jars could be read as a place laid for someone who was not coming" → "jars filled, stool turned out from the table at the angle of someone coming right back." The specific jar-as-place-setting image arrives fresh at Ch19.
- strongest counter-candidate: Ch10 still stages Theo filling jars as action ("He filled the water jars two at a time at the slop sink"; Odile clocks "all eight filled to the same line"). This survives as RESOLVED because it is ambient establishment of the compulsion that Ch19 later loads with meaning — the setup, not a pointed care-exchange that spends the device. The flagged defect was the duplicate dialogue beat; that is removed, and the compulsion is supposed to recur so Ch19 can escalate it.
- repair order if failing: n/a — passes. (Not OVER-VARIED: Theo's care signature is still dense in Ch10 — jars, the bad stool, glassine/rack, shims — Ch10 is the "Hands" chapter and it's intact.)

SQUARED / SIGNIFICANCE RESIDUE: RESIDUE-ACCEPTABLE
- evidence: The Batch4 instances are cut or functionalized. Ch1's "squared the stack against the edge of the desk. It did not need it." and "straightened a crate label that was already straight" are gone; the crate-label gesture is now functional ("He pressed one loose corner of a crate label back against the slat"). The significance flags are gone: "That helped." (Ch1) now ends on action — "He didn't ask if she was sure. 'All right,' he said."; "a thing she would think about later..." (Ch1), "That was new." (Ch13), and "She filed that away without knowing yet what it was for." (Ch22) are absent. Remaining square/straight gestures are character-keyed and load-bearing: Theo runs plumb/level/count ("made the panels beside it plumb"; "measured a third time anyway"; "counted twice"), Odile out-precisions him ("hung the clipboard back one degree straighter than he'd left it"), and Mara's is a deliberate inversion ("Her fingers wanted to square the cup to the rag; she left it a little off").
- strongest counter-candidate: Ch24 "Her hands wanted a job, so she gave them the napkins, squaring the stack to the table's edge" — the closest verbal echo of the cut Ch1 "squared the stack," plus Ch20 "turned the receipt square with the table edge." These survive as specific, not tic: the Ch24 one is tied to June's "hands wanted a job" signature at a restraint beat and literalizes the epigraph ("LET THE ROOM DO ITS PART") — control-urge spent on napkins instead of managing Luis's care-move; the Ch20 one is singular and object-specific (the Tasker decision-token, immediately after she declines). Neither is free-floating. (Significance-flag worst case now is wry, self-undercutting character voice — Ch24 "counted that, privately, as growth"; Ch22 "where later it would confuse her. That was fine. Her life had earned one confusing receipt." — not portentous captions.)
- repair order if failing: n/a — passes. (Not OVER-CUT: control/body-object behavior is intact and distributed by character-specific vocabulary — Theo plumb/count, Ruth parallel/thirds, Odile one-degree-straighter, June square, Mara resisted.)

OVERALL: CLEAN
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