Audit written to `output/critiques/claude/chapter_14.dialogue_doctor.md` (the coverage file the manifest lists as missing). Full audit text:

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# Dialogue Doctor — Chapter 14: Catalogs

Source: `output/chapters/chapter_14.md` (revised text). Manifest: chapter 14, scene 01, lines 2–157, 52 dialogue lines, doctor required. Mechanical gate: 0 open findings; WATCH `legacy-uncontracted-casual-dialogue=3` reconciled below. Provenance checked against `output/drafts/claude/chapter_14.round_01.md` and the codex repair orders. Read cold against the voice cards, the reading guide, and the Ch14 packet contract (post-kiss logistics; no debrief, declaration, or reveal).

SCENE 01 (Marchetti Rooms, Thursday 11/19, lines 2–157 — one continuous scene per manifest; dialogue zones audited in order: group-thread texts, cuff/photo aftermath, joint-piece size decision, label discussion with Odile's catalog instruction, catalog reading, tote handoff and exit):

- VOICE CONVERGENCE: CLEAN — covered attributions and re-read every exchange blind. June stays compressive and visual ("It's a decent brown. Raw umber holds its value."), Theo procedural with offers ("For the cuff. Dab from the back of the fabric, don't scrub, it'll lift most of it."), Odile imperative fragments ("Stockroom. Third shelf, left side. The gray spines. Bring them out."). In the catalog reading the registers split cleanly: June evaluates ("She let someone get away with *Untitled*."), Theo answers with house facts ("The checklist in back still files it under Stove.") — facts whose intimacy with Odile's habits is itself the arming the chapter is for. Strongest counter-candidate: the exit echo — "Tuesday," June said... "I'll come with label drafts." / "Tuesday. I'll have the panel cut and the chairs counted." — both lines share the Tuesday-plus-task shape. It survives because it is a single appointment-making handshake and the next two lines re-diverge into her register (the "Six p.m. chairs or nine forty chairs?" question is a painter's question about which hour the picture depicts) and his ("Both. I'll count both before Tuesday." — an errand, flat).

- MONOTONE Q/A RHYTHM: CLEAN — checked the size decision (question, long prepared opinion, short assent: weights vary), the label discussion (question, factual list, long self-interrupted paragraph, off-page interjection), and the catalog request (ask, alternative considered in interiority, "There's a bag."). Strongest counter-candidate: the five-line photo volley — "Mara sent it." / "I saw." / "Priya's printing forty." / "Then it worked." / "It worked." — equal-weight flat lines. It survives under the reading guide's aftermath calibration (ordinary-talk scenes may circle, stall, and produce flat functional lines): these are statements refusing the photo's meaning, not Q/A volleys, and the flatness is the dramatized avoidance, framed by interiority on both ends ("He let that be the whole conversation about Tuesday..." before; the tape beat after).

- MISSING INTERIORITY: CLEAN — Theo's mind stays on through every exchange: the thumbs-up ("He stopped interpreting it after midnight"), the jar handoff ("the alternative conversation had no agenda, no end time, and no chairs"), the stool ("he noted it and declined to interpret"), the loan ("He told himself the showcase had made Odile generous, and knew it was the wrong explanation even as he filed it. The wrong one let him keep working."), and the handoff ("His alternatives came up at once... He had almost started with that answer."). The longest interiority-thin stretch is the photo volley, five lines, bracketed by orientation on both sides.

- QUESTIONS-AS-STATEMENTS: CLEAN — every question is a real ask that receives a real answer: "Dry?", "Which one are we doing?", "Does she do this?", "Can I take these?", "Six p.m. chairs or nine forty chairs?" (set up by the six p.m./eleven p.m. exchange at line 63). Strongest counter-candidate: Odile's "What do I write, you are about to ask." — a preempted question rather than a position disguised as one; it survives because she answers it in the same breath ("Fewer words than you are planning.") and the preemption is her card's person-diagnosis, not manufactured portent.

- FAKE-McCARTHY MINIMALISM: CLEAN — attribution is light but every exchange is anchored by blocking (she crossed to her panel; she pulled a stool over; he pulled a stool around; she picked up the card). Strongest counter-candidate: "The tape knows." — a two-word reply; it survives because June's previous line invited the joke, the scene registers its small cost ("She gave up one breath of a laugh"), and the surrounding narration is full, not performing starkness.

- JARGON-TRADING WITHOUT TRANSLATION: CLEAN — craft terms are weighed in scene: "back matter, where the labels lived in neat gray columns" translates itself; "both primed, both square" glosses the grounds; Ben's "What weight cardstock" is answered ("80lb matte") and closed by narration ("forty copies, eighty-pound matte"). Strongest counter-candidate: "The bad ones teach the fence line." — fence line is unglossed; it survives because the preceding sentence states the plain meaning ("I want the bad examples too").

- ATTRIBUTION OPACITY: CLEAN — two-speaker exchanges throughout with trackable alternation; the group thread carries name plus timestamp on every line. Strongest counter-candidate: "Labels are not apologies." lands one paragraph before the reader learns Odile has entered — a deliberate one-paragraph misdirection dramatizing that she walked in mid-conversation. It resolves immediately ("That's roughly what I was saying," June said) and the device is not repeated.

- FAKE-SHARP: CLEAN — ran every exchange against the cut-list, with provenance. The revision executed the de-zingering the codex audits ordered: "Some of them had footnotes" became a self-interruption ("I was trying to account for sight line, rack fit, and whether we wanted the..." He stopped. "No. I cut it down."); Theo's catalog retorts ("Once a show, maybe. With the parenthesis as the toll." / "Take it up with 1994.") became flat house facts; the exit's "We'll choose the facts" callback became "Both. I'll count both before Tuesday." Remaining comic beats (about five across 52 dialogue lines) sit under the comp's 60%-banter ceiling for a `flag:comic-register` chapter, and each maps to a card behavior. Strongest counter-candidate: "You're bagging them like produce." / "I'm bagging them like nine pounds of someone's career." — matched syntax at the chapter's pivot, the most quotable exchange on the page. It survives on four grounds: it is literal (nine catalogs, a career, a bag); it is Theo's deflection visible as deflection per the plain-speech floor — his interiority has just shown the safer flag-the-pages alternative he declined; "someone's career" is the irony the scene exists to arm — he names the owner as a stranger because the real noun is the secret; and the narration immediately undercuts the quip with the silent transfer the focalizer registers in full ("Then the weight was hers, all of it, and his hands were empty."). Second candidate: "*Untitled (Stove)* is a title wearing a fake mustache." — June's one visual-analogy joke this scene, sanctioned by her card ("visual analogies, used sparingly") and surrounded by functional lines. Third candidate: "Nobody gets to sprawl." — quotable tail on Theo's size opinion, but the narration marks it as rehearsed by the character ("he'd promised himself he would arrive with an opinion instead of a menu") and June grounds it by quoting it back plainly ("You're right about the sprawl").

- INTERIORITY-OVERCORRECTION: CLEAN — the codex tic audit ordered three narrator glosses cut (raw lines 101, 125, 141); checked that the cuts did not darken the focalizer. They did not: the "counterfeit quiet" thesis became registered ease plus task ("No one had to fill the quiet. Her pages turned. His pen moved."); the "important things... dressed as a logistics question" aphorism became a concrete foregone alternative; "the case closed itself" became a clean stop on "He was helping." The close keeps dread inside action rather than explanation: the failed shelf inventory ("He could not have listed what had just gone out the door."), the blank *returned* column, the third measurement. Strongest counter-candidate for over-stripping: the quiet-work paragraph (line 115); it survives because the focalizer's relationship to the quiet is stated in scene terms two beats later ("That was the whole ceremony, and he was grateful to her for it.").

Constitution rule checks: Rules 4/5 — the gate's three uncontracted dialogue hits ("Labels are not apologies," "you are about to ask," "you are planning") are all Odile's, sanctioned by her card ("full forms when cutting precisely"); June and Theo contract throughout ("it'll lift," "weren't apologizing," "I'd rather they travel together"). Rule 6 — contemporary register holds ("Words-wise," "80lb matte," thumbs-up at 11:05). Rule 7 — unremarkable lines carry their share ("I saw," "Huh," "Okay... Small. You're right about the sprawl."). Zero-tolerance dialogue-diagnosis sweep: nothing in narration or dialogue characterizes anyone's phrasing, rhythm, or delivery — "June stopped and re-aimed" reports an observable self-interruption, "the expression of a woman taking attendance" rates her look, not a sentence. `reading_guide_bans.tsv` regex: no hit (gate confirms 0 open findings).

Calibration note on the group thread: the reading guide declares no explicit exclusion for chat format, so I applied texting verisimilitude rather than a named exclusion. Compression and equal line weights are the medium; each text is card-true (Ben's cardstock-spec anxiety, Priya's brisk directive "This one. I'm printing forty.", Mara's meddling protectiveness "Don't crop them apart this time, P."), and the thread's refusal to ask whether the kiss was real is registered by the focalizer ("That was the point of the thread."), not left as unmarked silence.

Focused checks (chapter contract):
- No debrief, private declaration, or reveal: confirmed. The only Tuesday acknowledgment in dialogue is the jar-for-the-cuff exchange closed by "I'm keeping it" — no "what are we," no second kiss, no nephew, acknowledgment page, Eileen, or Philadelphia anywhere in dialogue or interiority.
- Theo practical / June precise: holds per the convergence and fake-sharp checks above; his offers are objects and facts (jar, bag, label rules, sizes), her lines are visual and craft-priced (umber's value, chosen facts, fence line).
- Odile as logistics with hidden pressure: four utterances, two of them imperatives, no explanation, immediate exit ("that was the entire visit"); consistent-with-knowing pressure lives in blocking ("taking attendance") and in "All of them," not in oracle speech. Pre-reveal guardrail intact.
- Danger registered without exposure: "He shelved for Odile sometimes. He could say that and keep the rest where it was" knows without stating; the wrong-explanation filing, the declined photograph-the-pages alternative, and the failed inventory carry the dread; the acknowledgment is never seen, read, or named.

REVISION ORDERS: none — no FAIL verdicts.

OVERALL: CLEAN
