# Plain-Translation Audit — Chapter 08 "Social Debt" (binding-register defense)

audited text: `output/chapters/chapter_08.md` (cross-checked against raw `output/drafts/claude/chapter_08.round_01.md`)
stance: skeptical editor; generative-not-evaluative; no praise
calibration samples used by name: **Theo voice-card operation snapshot + Dialogue Spec** (`output/style_and_voice.md`), **Ch06 "Sightlines" narrator sample** (gallery-route logistics, ll. 3–9), **Ch04 Sonia's-table dialogue sample** (booth seating, clementine, grilled-cheese order), **Ch06 bodega cortado exchange**, **Odile / Mara / Luis / Priya / Ben / June Dialogue Specs**
locked text: chapter title; Week 3 study, red folder, Sonia envelope, faced-to-wall storage
summary verdict (formal verdict at end): **DRIFT-FOUND — 6 orders (5 REPLACE, 1 VARY)**

Input note: two codex citations are stale — `chapter_08.shared_vocab.md` clears "It was the way you said it" at "line 37" and the tic audit defends it, but that line exists only in the raw draft (raw l. 43); the final chapter already cut it. The clearance is moot, not wrong.

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## Per-paragraph verdicts

**LOCKED** — "Chapter Eight: Social Debt" — skipped, listed under calibration's inviolable text (title).

**HOLDS** — "Theo rinsed the last water jar twice..." (l. 3) — sample compared: Ch06 narrator sample l. 3 (step-counting, asking the desk kid twice) — binding-register rewrite is worse because: "He rinsed the jar twice and waited for everyone to leave" deletes the alibi logic (the second rinse manufactured as a reason to stay), which is the voice card's interiority rhythm (inventory → risk calculation) rendered in one object. Density loss, no fidelity gain.

**HOLDS** — "The study was where he had left it..." (l. 5) — **HIGH-RISK COMPARISON 1 of 5** — sample compared: Ch06 narrator sample ("a co-op show... whose checklist lived on a clipboard by the desk"). Binding-register rewrite attempted: *"From across the room it looked like cleanup: paper, palettes, the bristle brushes nobody had claimed in three weeks. That was the idea."* The rewrite is worse because "the small graveyard of bristle brushes" is the sentence that makes the camouflage logic work — unclaimed things accumulate where nobody asks questions, which is exactly where Theo is hiding the panel — and "graveyard" is studio vernacular for the dead-brush jar, not mood abstraction. The flat list keeps the facts and loses the argument "That was the idea" depends on. Note an executed repair here: raw l. 5 ended with the portable maxim "Trash kept secrets better than anything labeled"; the final correctly cut it. HOLDS as printed.

**HOLDS** — "He had a plan because plans assembled themselves..." (l. 7) — sample compared: Theo Dialogue Spec lexicon (key, label, schedule; "I can, let me") — binding-register rewrite is worse because: this paragraph already *is* the binding register — SOLIDS card, damp-towel experiment, Wednesday pickup, "By Thursday it would never have existed." The only material a plainer pass could remove is "looked exactly the same, only insulted," and cutting it breaches the lightly-comic floor for zero density gain.

**HOLDS** — "He lifted the newsprint to wrap it properly..." (l. 9) — sample compared: Theo voice-card ("his noticing is domestic where hers is optical") — binding-register rewrite is worse because: the defect list is concrete craft (muddy forehead, brown door, impossible arm, primed white wedge), and the single figure — the scarf "like it had moved in" — carries plot information (the borrowed scarf becoming permanent in their fiction). Stripping the figure removes the fact. Week 3 study continuity stated here is locked and untouched.

**HOLDS** — "The problem was the stance..." (l. 11) — sample compared: Theo operation snapshot ("knows where every key is and not what he wants") — binding-register rewrite is worse because: "both true at once" is the literal painting fact (the stance is toward-and-away), not an installed duality; "four square inches of accurate" and "taking notes without his own permission" are the culpability engine the chapter card requires. A plainer version reports the stance; this one indicts him for knowing it.

**HOLDS** — "It was not on the rack, and she had neither seen it..." (l. 13) — sample compared: Theo voice-card ("interiority rhythm: inventory of needs, risk calculation") — binding-register rewrite is worse because: "felt the specific relief of a problem becoming a package" converts feeling into logistics, which is the card's mandated channel; "and was relieved" names the emotion and breaks it. Note executed repair: raw's balanced pair ("It would not read as a class exercise. It would read as evidence.") was compressed to one sentence in final.

**HOLDS** — "He had the trash bag open... Odile came up the way she did everything in the building..." (l. 15) — **HIGH-RISK COMPARISON 2 of 5** — sample compared: Odile voice-card ("if focalized from outside, render through action and timing") + Theo relationship-specific register ("filial irritation and awe"). Binding-register rewrite attempted: *"Odile came up unhurried, coat on, reading glasses in her hair. She crossed to the rack first, straightened one panel a centimeter, and arrived at the sink, the table, and him in that order."* The rewrite keeps the blocking and the audit-order-of-arrival, but loses "as if the building should be grateful," which is the only registration of Odile's authority before she speaks; without it, "Nothing stays up here that isn't on the rack" arrives unweighted. The clause is Theo's judgment of his aunt, scene-bound, not narrator philosophy. Worse on dramatic content; HOLDS.

**HOLDS** — "Her eyes moved from the bag to the taped bundle..." (l. 17) — sample compared: Ch06 narrator sample — binding-register rewrite is worse because: the paragraph is already plain; "newsprint concealed nothing from a woman who had run a studio for forty years" is information (why the concealment fails), not flourish.

**HOLDS (dialogue) / LOCKED (facts)** — "'Nothing stays up here that isn't on the rack'..." through "...'That comes down too. Lights.'" (ll. 19–25) — sample compared: Odile Dialogue Spec ("Eat. Then decide to be tragic." / "Looking is the assignment.") — conversation form checked only against its own form sample: "Take it flat," "You're going anyway," "Lights" match her imperative economy exactly; no oracle register, clues stay material (folder pulled without hunting, envelope pre-written) per the pre-reveal guardrail. Theo's broken "It's- ... I was clearing the table" meets the plain-speech floor as visible deflection. The red folder and SONIA envelope at l. 23 are LOCKED continuity facts — skipped.

**HOLDS** — "She left ahead of him..." (l. 27) — sample compared: Theo voice-card + Ch06 narrator sample — binding-register rewrite is worse because: "posted notices" already replaced raw's "weather reports" shimmer per the tic order, and "occasionally placed with suspicious accuracy" is a mandated Odile-knew reread plant; flattening to "her errands were not negotiable" deletes the plant. "The only way to lose was to ask a follow-up question" was weighed at the Aphorism Gate (cleared below).

**HOLDS** — "The bag went in the bins behind the building..." (l. 29) — sample compared: Ch06 narrator sample — binding-register rewrite is worse because: this is pure decision-logistics ("did the math on whether a panel slid under coffee grounds... closed the lid"); "Tomorrow was the same as tonight, logistically" is the rationalization in his own lexicon. Nothing to plain-translate without restating it.

**HOLDS** — "Sonia's at nine-fifteen on a class Tuesday..." (l. 31) — **HIGH-RISK COMPARISON 3 of 5** — sample compared: Theo voice-card ("a habit of cataloguing what people need"). The risk is the generalized observation "sitting the way people sit when they have announced they are only staying for one coffee and are on their second" — generic-you adjacent, essay-shaped. Binding-register rewrite attempted: *"...and June at the outside edge with her tote on her lap, on her second coffee after telling everyone she was staying for one."* The rewrite keeps the facts but loses the mechanism of the joke — the gap between June's public announcement and her behavior, observed as a *type* — and typing people's behavior is Theo's cataloguing habit per the card, not narrator essayism. Rewrite is worse on comic content, equal on density; HOLDS, narrowly.

**HOLDS (conversation form)** — "'We defended the booth'..." through "'The head count worked.'" (ll. 33–37) — sample compared: Ch04 Sonia's-table sample ("Eight... The corner, if that's legal" / "You'd better") — ordinary lines stay ordinary: "I said we were six. It wasn't magnificent, it was a head count" is functional, self-deflating, well over the unquotable-dialogue floor. Note: raw's "It was the way you said it" (a delivery-rating line) was cut in final — correct call regardless of the codex clearance.

**HOLDS / LOCKED (fact)** — "There was a saved seat, not a gap that happened to exist..." (l. 39) — sample compared: Ch04 table sample + Theo voice-card geometry — binding-register rewrite is worse because: "the equidistant point that meant communal" is Theo reading the table as logistics (information: the fries are everyone's), and Sonia's "Tell her the answer is still no but I'm thinking about it" is a material reread plant in plain diner speech. The Sonia-envelope delivery is a LOCKED fact — untouched. Note the final also cut raw's "waved like he was arriving by sea" and the maître-d' figure; both executed repairs.

**DRIFTED** — original (l. 43): *"That was the whole transaction, and it took Theo a second to absorb that Luis had clocked the folder, identified the contents as paint by shape and context, issued the relevant material fact, and required nothing further."* — binding-register version: *"That was the whole transaction. Theo waited for the follow-up question, and there wasn't one. No one else at the table had even looked at it. The folder lay on the bench taking up the width of a small guest."* — What the rewrite preserves: Theo's surprise, the cohort's no-questions acceptance, the comedy of the folder-as-guest, and the tie to l. 27 (follow-up questions as the thing one does not ask). What drift it removes: a four-verb analytic caption that explains Luis's beat after the beat has landed — the exact theme-gloss the codex tic audit (tic 7, raw ll. 49–51) ordered trimmed; the order was executed on raw l. 51 but this sentence survived verbatim minus one word. Luis's own lines ("Not against the wall. Radiator's behind that panel. Lay it on the seat.") match his Dialogue Spec ("Move left. You'll see it better.") and HOLD. The rewrite is not worse on density (Luis's inference is recoverable from his radiator line), drama, or fidelity. **ORDER: REPLACE**

**HOLDS (conversation form)** — "Sonia's daughter came by with the pot..." / "'I remembered.'" / "'You're the only one in this city who has.'" (ll. 45–47) — sample compared: Ch04 Priya-clementine sample ("Did you eat?" / clementine into the coat pocket, uncommented) — care move rendered through object with no caption; the final correctly deleted raw l. 51's gloss ("the whole shape of the evening... opened accounts in both their names"). Nothing left to translate.

**DRIFTED** — original (l. 49): *"The folder stayed exactly where it was. Somehow it took up more room."* — binding-register version: *"The folder stayed exactly where it was. It took up more room."* — What the rewrite preserves: the full beat — object as feeling, the lie gaining mass as the table gets kinder. What drift it removes: "Somehow," a habitual-qualifier hedge (the tic-5 family the codex audit ordered reduced) that wobbles a sentence whose contradiction does the work unaided; this is also the first of two "somehow"s in the chapter (see l. 101). Not worse on any axis. **ORDER: REPLACE**

**HOLDS (conversation form)** — "'Okay,' Mara said, 'announcement...'" through "'Different disease. Same drawer.'" (ll. 51–61) — sample compared: Mara / Ben / Priya Dialogue Specs and the Ch06 Suffolk-note exchange — Mara's "People can say no. I am saying it out loud before we all forget to ask" is her plain-speech-floor line; Ben's "I'd have made a slide deck" and "Different disease. Same drawer" match his spec shape ("I checked the train. Twice, which I know is not a personality") — self-aimed, stakes-attached, weighed at the Aphorism Gate and cleared below. Priya's fries-toward-Luis move is her card's condition-adjusting care, uncaptioned. Functional dialogue mass is above the half floor.

**HOLDS** — "Theo laughed, and meant it, and did the inventory under the table..." (l. 63) — **HIGH-RISK COMPARISON 4 of 5** — sample compared: Theo voice-card ("tics: mental inventories of what people need; must vary and not become catalog prose"). Binding-register rewrite attempted: dissolving the catalog into separate scene beats (*"Mara needed the plan ratified, so he ratified it. He laughed at Ben's joke and let it retire..."*). The rewrite is worse because: the four-item ledger, each entry a different need-type and priced ("which cost nothing to give"), is the chapter's debt accounting made visible one page before "the math stopped helping" — dissolving it orphans the turn at l. 77; the catalog is this chapter's single inventory (no route-card replay, per the codex repeat-risk check) and ends on June, where the phone-checking simile keeps it behavior, not essay. "Inspecting the crust as if it owed her a clean edge" puts June's own lexicon ("edge") in Theo's mouth correctly — he is learning her vocabulary. HOLDS.

**HOLDS (conversation form)** — "'The crust is decent'..." through "'I just usually don't read out the results.'" (ll. 65–69) — sample compared: June Dialogue Spec (owned words: "decent," "alleged," exact; "That part works. Sorry...") — "The crust is decent" and "alleged cherry" are her lexicon verbatim; "I rank everything. I just usually don't read out the results" was weighed at the Aphorism Gate and cleared below as self-aimed character disclosure, not maxim.

**HOLDS / DRIFTED (split)** — ll. 71–75. The ratification exchange HOLDS: "Junes included. Both of you. That's the whole point of a standing table" against Mara's spec; June's "I'm in" is her plain-speech-floor line. Then:
**DRIFTED** — original (l. 75): *"Her fingers folded the corner of her napkin once, a small pleat. Theo noticed because noticing had become the problem, and because he had no right to ask what the pleat meant."* — binding-register version: *"Her fingers folded the corner of her napkin once, a small pleat. He saw it, filed it, and had no right to ask what it meant."* — What the rewrite preserves: the pleat (June's voice-card stress tell — "folds paper corners" — planted correctly), Theo's involuntary registration in his own lexicon ("filed"), and the lie's cost (no right to ask). What drift it removes: "noticing had become the problem," a self-summarizing theme caption already established at l. 11 ("taking notes without his own permission") and the third entry in a "the problem" echo chain (see Verbatim-Echo Gate). Not worse on density, drama, or fidelity. **ORDER: REPLACE**

**DRIFTED** — original (l. 77, final three sentences): *"Sitting here, the math stopped helping. You could not make a lie smaller by doing one more thing in secret. The bin was not honesty. The bin was just a second concealment with better hygiene."* — binding-register version: *"Sitting here, the math stopped helping. The painting had already happened; the bin only meant June would never get a vote on it. That was the arrangement he was already ashamed of, with the evidence removed."* — What the rewrite preserves: the full decision hinge (binning is concealment squared, not subtraction), the chapter card's required recognition, the "evidence" thread from l. 13, and Theo's practical-to-plain stress register. What drift it removes: a generic-you portable maxim plus a recursive-negation epigram pair — the precise shapes the codex tic audit flagged (tics 6 and 8) and licensed only as "one direct recognition"; the final kept three thesis sentences in pull-quote form. The voice card bars Theo from polished aphorisms; the rewrite is *more* specific (it names June and the vote she never gets), so it is not worse on density or drama and is better on fidelity. The paragraph's opening two sentences (Mara planning December, the folder "as if it had been invited too") HOLD as printed. **ORDER: REPLACE** (this also executes the Aphorism Gate finding below)

**HOLDS (conversation form)** — "'Your panel didn't go on the rack'" through "'Huh,' June said. She ate a fry." (ll. 79–97) — sample compared: June and Theo Dialogue Specs; Ch06 cortado exchange for register of ordinary volley. Per the followability test: a cold reader can state that June asked where the panel went, learned it exists and is hidden, and that Theo refused full disclosure while conceding one honest item — "Parts of it didn't work. One part did. I'm not done deciding what that means" is his plain-speech-floor line and his card's allowed plainness. "Witness protection" is June's one high-density line in the scene, scene-specific and card-true (honest warning dressed as a joke — she is telling him she noticed). "He heard himself not use it" transformatively inverts Ch06's "heard himself do it" (growth, not echo). The "lives" volley is cleared at the Verbatim-Echo Gate below. Note executed repairs: raw's italicized drafted-answer dash construction and June's extra "That's more than I expected to get" were both cut.

**HOLDS** — "She turned back into the table's traffic... 'People come back to warm rooms'..." (l. 99) — sample compared: Luis Dialogue Spec ("Paint has weight." / "Mara is not wrong. She is early.") — gate analysis below; the narration after it ("settled by the only authority she recognized... Theo let the count stand") characterizes Mara's deference (her card's "Luis says..." dynamic) and Theo's counting habit, not the sentence's craft — it does not breach the dialogue-diagnosis ban. Rewrite would only delete the count, a drama loss.

**DRIFTED** — original (l. 101): *"...and it was somehow the most expensive part of the night."* — binding-register version: *"...and it was the most expensive part of the night."* — What the rewrite preserves: the whole sentence and the chapter-title cash-out ("expensive" is the debt ledger's own vocabulary, earned by the table evidence as the tic-2 order required). What drift it removes: the chapter's second "somehow" hedge (see l. 49) — the qualifier mutes the one sentence in the paragraph that must land flush. The rest of the paragraph HOLDS: the litigated-cherry callback, the scarf's "third week of unreturned service," and "the wave you give someone you will see Tuesday because there is a table now" (generic-you weighed and cleared: anchored to Tuesday and the table, it is the plot stated as a gesture). **ORDER: REPLACE**

**HOLDS** — "He walked back to Marchetti Rooms with the folder flat under his arm." (l. 103) — sample compared: Ch06 narrator sample — one logistics sentence; nothing to translate.

**HOLDS** — "The gallery at ten was his favorite version of it..." (l. 105) — sample compared: Theo voice-card ("checks locks, performs competence") — binding-register rewrite is worse because: "everything in the building either labeled or about to be" is his lexicon as worldview, and "checked the lock the second time that the second time always demanded" renders compulsion precisely; "checked the lock twice" loses the self-aware loop, a drama loss with zero density gain. "He distrusted that about himself" is the necessary tell that comfort-in-the-stockroom is the caretaker trap, not coziness.

**HOLDS** — "The flat file in the corner was his own filing system..." (l. 107) — sample compared: Ch06 narrator sample — pure system description; every clause is information the l. 113 decision depends on (label slots, his handwriting, searchability).

**HOLDS** — "Still not good. The arm was still wrong..." (l. 109) — **HIGH-RISK COMPARISON 5 of 5** — sample compared: Theo voice-card + the l. 9 defect inventory it reprises. Binding-register rewrite attempted: a fresh-worded re-assessment (*"Nothing had improved on the walk..."*). The rewrite is worse because the paragraph's structure — the same checklist re-run item by item with nothing changed except the verdict's direction — is the decision dramatized: scene one's list of reasons to bin becomes a list of what he is keeping, ending on the white wedge ("would have to know her better to get"), which is the chapter's irreversible change and forward hook. The balanced fragments ("Not the part he had gotten. The part he had not") carry the deciding emphasis the codex tic-10 order preserved. The paragraph HOLDS as a unit; its "still" anaphora draws a VARY order at the Verbatim-Echo Gate below.

**HOLDS** — "The trash was eight steps away. Wednesday pickup. The math still worked." (l. 111) — sample compared: Ch06 narrator sample — three logistics beats; the irony (the math works and he disobeys it) is the drama, and it is cleared as transformative repetition below.

**HOLDS / LOCKED (fact)** — "He took a fresh sheet of glassine..." (l. 113) — sample compared: Theo voice-card risk-calculation rhythm — binding-register rewrite is worse because: "drawers got opened, drawers were his own system and his own system was searchable" steps through the paranoia one clause at a time, each adding a fact (opened → his → searchable); the blank label slot is the secret entering his system unindexed, all information. "One anonymous rectangle in a row of anonymous rectangles" is the executed tic-4 repair (raw's "family" removed) and the doubled "anonymous" is the point. The faced-to-wall storage is a LOCKED fact — untouched.

**HOLDS** — "He turned off the stockroom light..." (l. 115) — sample compared: Theo voice-card checklist behavior — the checklist *is* his form; "one extra item... that would never appear on any list he wrote" is information (the secret now lives inside his closing routine). Rewrite can only paraphrase.

**HOLDS** — "He set the alarm and went home owing everyone." (l. 117) — sample compared: Theo voice-card + Ch06's ending (thumb finding the empty pocket) — gate analysis below; rewrite tests ("He set the alarm and went home" / "He set the alarm, and the list he carried home was all debts") are worse on dramatic content (first drops the chapter's consequence; second performs it). HOLDS.

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## Aphorism Gate (zero tolerance)

**APHORISM-GATE — "You could not make a lie smaller by doing one more thing in secret." (l. 77, with the attached pair "The bin was not honesty. The bin was just a second concealment with better hygiene.")** — FAIL. Generic-you, no scene noun in the lead sentence, fully portable: it functions as an epigraph with the chapter removed. The recursive-negation pair behind it is pull-quote-shaped even with "bin" in it. The codex tic audit licensed *one* direct recognition; the final shipped a three-sentence thesis run in maxim form, in the narration of a character whose card reads "never says: polished aphorisms about care." **ORDER: de-quotablize via the l. 77 REPLACE above** (the recognition survives; the portable shape does not).

**APHORISM-GATE — "People come back to warm rooms." (l. 99)** — PASS, shown work. The shape is maxim-adjacent, but: (1) Luis's Dialogue Spec licenses exactly this gnomic-concrete fragment ("Paint has weight."); (2) the room is literal — Luis is the man who flagged the radiator behind that same booth panel at l. 41, so "warm" is a material fact about Sonia's in December before it is anything else; (3) it is his single line of the scene, answering Mara's December question with usable information, and the style sheet's quotable-density restriction is a density rule Odile alone escapes — one dry ruling is within Luis's card. Strongest counter-reading considered: that Mara's "settled by the only authority she recognized" installs pull-quote framing; rejected because the clause rates Mara's deference (her established "Luis says..." dynamic), not the sentence.

**APHORISM-GATE — "He set the alarm and went home owing everyone." (l. 117)** — PASS, shown work. Tested as the chapter's likeliest epigraph candidate: it fails portability — "everyone" has no referent outside the chapter, and the sentence makes no general claim; it is a one-man ledger entry, not a truth about people. It sits flush against the concrete closing checklist (side door, alarm, unlabeled panel), which is the same consequence-naming compression the Ch06 narrator sample ends on (the empty route-card pocket). The codex tic-11 clearance is concurred with, independently.

Cleared counter-candidates (strongest considered): "I rank everything. I just usually don't read out the results" (l. 69) — character self-disclosure, no truth-claim, June's card owns it; "Different disease. Same drawer." (l. 61) — Ben's self-aimed diagnosis in his spec's exact shape; "the only way to lose was to ask a follow-up question" (l. 27) — house-specific rule about Odile, not portable; "June needed the night to stay exactly this size" (l. 63) — scene-bound interiority, collapses without the table. Also noting the raw draft's "Trash kept secrets better than anything labeled" (raw l. 5) and "Every ordinary kindness... was a deposit into an account... opened under a false name" (raw l. 79) were both correctly removed before final; this gate confirms neither resurfaced elsewhere.

## Verbatim-Echo Gate

**VERBATIM-ECHO — "still" ×5 (l. 109): "Still not good." / "was still wrong" / "was still a door" / "still held" / "was still exactly, indefensibly right"** — FOUND. After the paragraph-opening "Still not good," each subsequent "still" repeats the same datum (no change) verbatim; by the fourth it is patterned rhythm, not information, and no calibration entry declares it a load-bearing motif. **ORDER: VARY — keep "Still not good," "was still wrong," and the stance's "still"; drop the adverb from the door and scarf sentences ("The brown door was a door. The scarf knot held the bottom of the picture together like it had been hired to.")** — both jokes survive intact, the drumbeat thins to three.

**VERBATIM-ECHO — "the problem" chain: "The problem was the stance" (l. 11) / "which was itself the new problem" (l. 31) / "noticing had become the problem" (l. 75)** — FOUND, third instance only. The first two name different, concrete problems; the third is an abstract self-caption and is removed by the l. 75 REPLACE order above. No separate order needed; after that replacement the remaining two are distinct and spaced.

Cleared counter-candidates (strongest considered): **"lives" volley (l. 85–89: "So it lives with you now." / "It lives in a folder." / "Mine lives in public with your name on it.")** — transformative between speakers: June sets the verb, Theo adopts it to dodge, June escalates it into the witness-protection warning; each reuse moves referent and stakes. **"the math" ×3 (ll. 29, 77, 111)** — transformative: a tracked decision variable in Theo's risk-calculation register, and each instance reverses its authority (works → stops helping → works and is disobeyed). **rack/folder repetitions (ll. 13, 15, 19, 79, 83)** — literal object and house-rule language; June quoting the rule back at l. 79 is followable text, not echo poetics. **"It was not a good painting" (l. 9) → "Still not good" (l. 109)** — transformative structural rhyme: the bin-list becomes the keep-list. **"heard himself not use it" (l. 95) vs Ch06's "heard himself do it"** — transformative inversion marking the arc.

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## Chapter verdict

**DRIFT-FOUND — 6 orders: 5 REPLACE (ll. 43, 49, 75, 77, 101) + 1 VARY (l. 109 "still" anaphora).** One Aphorism Gate failure (l. 77, executed by its REPLACE order); both other special-focus lines pass with work shown. All locked text (title; Week 3 study, red folder, Sonia envelope, faced-to-wall storage) skipped and untouched by every order. The drift is concentrated and shallow — two hedge words, one residual theme-gloss the tic audit had already ordered trimmed, one redundant self-caption, and one maxim run shipped in portable form; the chapter's logistics spine, dialogue floor, and voice separation hold against every named sample.
