All inputs read and the five repairs verified against the current text. The full round-2 audit follows.

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# Dialogue Doctor — Chapter 05 (Blind Contour) — Round 2 (post-repair verification)

Target: `output/chapters/chapter_05.md` (repaired) | Manifest: scene 01 (lines 1–5, assignment card, 0 dialogue lines — not required); scene 02 (lines 8–111 — required). One scene block follows.

Read cold against: voice cards (`output/style_and_voice.md`), reading guide §2 plain-speech floor and zero-tolerance dialogue-diagnosis rule, `reading_guide_bans.tsv`, chapter card 05 ("dialogue risks: avoid 'you look beautiful' dynamics"; "prose dials: June optical, close, lightly comic"), round-1 Dialogue Doctor (`chapter_05.dialogue_doctor.md`, 4 blocking findings), repair memo (`chapter_05.dialogue_repair_memo.md`), mechanical gate (open=0; WATCH: uncontracted casual dialogue ×2 at line 69 — Odile, licensed below).

## Repair verification (round-1 orders 1–4 plus memo item 5)

1. **(Order 1, voice convergence)** Theo's nose line now reads: "Three minutes," Theo said. He turned the charcoal once between his fingers. "Mine gave your nose two versions. I should tell you before you see it." (line 73). The real-estate-displacement gag is gone from his mouth; the line is concrete, disclosure-shaped, and matches his card (practical offer before emotional statement; *fix/tell* register, not wit). June's "The ear is in the right borough." (line 95) is untouched and now the gag's sole owner. The Mara trim also executed: "Luis says I checked twice." (line 15) keeps the Luis-report tic, drops the lottery-numbers simile; the old line is nowhere in the text. The self-aware-tag stack is reduced from three instances to two (Ben's card-verbatim line 47, Theo's "on the record" line 31), which no longer constitutes a shared comic engine. **VERIFIED.**
2. **(Order 2, fake-sharp echo cap)** June's reply is now: June set her stick on a fresh page. "Too late." (line 75). Action in place of a matched punchline, compressed syntax per her under-pressure card; "I was born braced" is gone. Theo's warning lands unanswered by a zinger, and the fear paragraph (line 77) no longer has to rescue a performed invulnerability. **VERIFIED.**
3. **(Order 3, dialogue diagnosis at line 101)** The paragraph now ends at: "The card knows what it's doing," June said. (line 101). The caption ("and heard how that sounded…") is cut, and the non-amendment is enacted rather than narrated — the scene's close has her unclip the page, stand over the bin, and keep the drawing (lines 107–109). No replacement caption was smuggled in. **VERIFIED.**
4. **(Order 4, Odile delivery captions)** "to the room and not to the room" and "to everyone and no one" are gone. Line 45 is now plain staging attribution ("Charcoal on paper," Odile said from the front pair.) and line 71 is material movement (Theo's shoulders came down half an inch. The diagram loosened into a man on a stool. Odile continued up the aisle. "Again. Three minutes."). No paradox-caption of delivery anywhere in the chapter; her targeted teaching now arrives through the guardrail channels (the dragged stool at line 27, the crossed-out SUBJECT→PARTNER at line 39, standing until the room orders itself at line 37). Construction count: zero, as ordered. **VERIFIED.**

All four blocking findings are resolved as ordered, by the opposing lane per the memo. Fresh audit of the full chapter follows.

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SCENE 02 (studio above Marchetti Rooms, lines 8–111):

- **1. Voice convergence: CLEAN** — covered attributions and re-read every speaker blind. Strongest counter-candidate: Theo's "I'm sorry about your nose. The card wouldn't let me fix it." (line 99) against June's "The card knows what it's doing," (line 101) — both lean on "the card," but the overlap is topical, not rhythmic or lexical: Theo apologizes and reaches for *fix* (his card's verb), June defends the exercise in her dry-correction shape; blind, the apology is unmistakably his and the deflection hers. Second candidate pressed: Mara's "Luis says I checked twice." (line 15) against Ben's "I timed last week's poses. I'm aware that's not a personality." (line 47) — both report checking behavior, but Mara routes hers through Luis (her card tic) and Ben self-tags per his card-verbatim line; different mouths, different shapes. Odile, Luis, Mara, Ben, June, and Theo all pass the blind test.
- **2. Monotone Q/A rhythm: CLEAN** — checked every exchange for same-length volleys; the scene mixes one-word imperatives ("Begin," "Stop"), Mara's multi-sentence hosting run (line 15), action-attributed replies (line 75), and untagged beats. Strongest counter-candidate: "You repaired it." / "The chin was bad." / "The chin had told on you. The card asked you to let it." (Odile/June, lines 65–69) — three short volleys, but the weight is asymmetric (diagnosis, defense, override), and Odile breaks the rhythm by walking away mid-beat to correct Theo instead. Survives.
- **3. Missing interiority: CLEAN** — June's mind is present through every exchange: "which had also not been the plan to admit" (line 17); "She moved on before June could choose which joke to hide behind" (line 69). Strongest counter-candidate for a dark patch: the repaired line 75 — the cut of "I was born braced" replaced an interior-adjacent quip with bare action plus two words. But the very next paragraph (line 77, "She had no excuse for what the first thirty seconds of this particular duration did to her") carries the cost, and the action itself (setting the stick on a fresh page) is her card's stress behavior made visible. Survives.
- **4. Questions-as-statements: CLEAN** — two questions in the scene, both checked. Strongest counter-candidate: "Can I see mine matter less by comparison? Here." (Theo, line 97) — statement-shaped, but it is a self-deprecating offer he answers himself with an action (turning the pad), not manufactured portent. "Glasses on or off?" (line 51) is practical and answered sincerely ("On."), which the reading guide's Emily-Henry-at-60% calibration protects. Survives.
- **5. Fake-McCarthy minimalism: CLEAN** — attribution consistently present; no stripped-stark exchanges. Strongest counter-candidate: "Stop," Odile said. / June looked down. (lines 87–88) — maximally clipped, but Odile's card licenses one-word scene work ("Again," "No," "Eat" can carry scene work) and the starkness is a literal timed exercise ending. The new bare "Too late." (line 75) was also pressed: it is attributed by action within its own sentence and the scene has earned the compression — she is mid-exercise with charcoal already on the page. Survives.
- **6. Jargon-trading without translation: CLEAN** — "blind contour" is translated through the fire-extinguisher memory and mechanics paragraph (line 41) per the chapter card's reader-load order; "the tin incident" (line 31) is a held Ch 04 callback that June's reply (line 33) weighs in-scene. Strongest counter-candidate: "crit rooms" (line 103) — unglossed, but the sentence it sits in carries its meaning. Survives.
- **7. Attribution opacity: CLEAN** — covered all tags and tracked speakers blind, with specific attention to the repaired sites: line 71's "Odile continued up the aisle" puts her name immediately before "Again. Three minutes."; line 73 is tagged ("Theo said"); line 75 is action-attributed to June within the sentence. Strongest counter-candidate: "Can I see mine matter less by comparison? Here." (line 97) arrives untagged, but "He turned his pad around" resolves it within the same paragraph. Alternation never exceeds two untagged turns anywhere. Survives.
- **FAKE-SHARP: CLEAN** — every exchange run against the cut-list. Strongest counter-candidate: "Too late." (June, line 75), the repair itself — two words at the exact moment the narration then admits fear, which is the zinger-while-afraid bullet's danger zone. It survives because it does not cap the volley: it concedes the warning rather than topping it, refuses Theo's offer of preparation without performing invulnerability, and the deflection is visible as deflection (action first, compression per her card) rather than dressed as wit. Also pressed: "The ear is in the right borough." (June, line 95) — quotable-adjacent, but it is her card-sanctioned care move (precise, unsentimental praise of the actual good part) deployed to wave off Theo's apology, and it is speakable as written; "That's how loans work." (Mara, line 19) — aphorism-shaped, but the logic is comically false and it is ordinary-talk hosting texture the calibration note protects; "That's the nicest thing anyone's said to me in this building" (Theo, line 55) — warm self-deprecation answering June's precise-praise-as-insult, in character and overheard-plausible; "The card knows what it's doing," (June, line 101) — six plain words, now uncaptioned, crediting the exercise instead of the man, which is exactly her sideways-true register. Every Odile line re-checked for oracle drift: "The page can manage without you" (line 45) and "The chin had told on you. The card asked you to let it." (line 69) are mechanics instructions quoting the card's own verb; the pre-reveal guardrail holds (no glossing of the partner/couple machinery; the SUBJECT→PARTNER correction stays material). Survives.
- **INTERIORITY-OVERCORRECTION: CLEAN** — Rule 9 tested both directions. The focalizer is never dark (mode 3), and interiority reacts rather than re-explaining: the drawing passages (lines 81–85) convert the exchange's pressure into craft perception, not paraphrase. Strongest counter-candidate, created by the repair: the now-bare close of the Theo exchange at line 101 — a loaded short line with no registered aftermath in that paragraph. It survives because the weight is enacted downstream rather than left unmarked: line 91 has already lodged the lean "where other useful facts lodged," and the keep-or-toss sequence (lines 107–109: standing over the bin "for the length of time it takes to lose an argument," the rubber band "stretched to its last good idea," "He had not watched her decide. She was nearly sure he had not watched her decide.") is the focalizer paying the line's cost in full. This is the cut-list's final bullet satisfied by action, not violated by silence. Survives.
- **BOOK-RULE (no dialogue diagnosis — reading guide §2, zero tolerance): CLEAN** — swept the full chapter for narration about speech, not just the two repaired sites. Both round-1 instances are gone and nothing replaced them. Pressed candidates: "a thanks that sounded like she had not thought about it since Thursday" (line 9) — June rehearsing a hypothetical social performance of her own; no actual utterance is captioned, and the round-1 cold read correctly declined to flag it; "The question was settled the way Mara settled questions, by carrying them inside with her." (line 19) — characterizes Mara's action (going inside), not her sentence; "which June had been in enough crit rooms to recognize as the expensive kind of nothing" (line 103) — reads a withheld act, not phrasing, and the cut-list's final bullet affirmatively requires registering what that silence carries. All survive. Plain-speech floor also re-checked: June's "I washed it," (line 17) and Theo's "I sat crooked. That's on me." (line 93) are direct, unguarded sentences; every exchange is followable as text. Contractions: gate-flagged full forms at line 69 are Odile's, licensed by her card ("full forms when cutting precisely"); all other speakers default-contract as carded.

REVISION ORDERS: none.

OVERALL: CLEAN

All four round-1 blocking findings are verified resolved as ordered (opposing-lane rewrite per the memo; the memo's fifth item, the Mara trim, was a sub-clause of order 1 and is likewise verified). The fresh full pass surfaced no new blocking defect: the two sites the repairs made barer (lines 75 and 101) were pressed hardest and survive on enactment grounds quoted above.
