### 1. PROSE EVIDENCE
*   **"early"**: "The beam from Lena's dying flashlight sliced through the attic dust, catching motes that swirled like spectral insects, while the whisper—her dead sister's voice—cooed her name from the shadows." 
    *This effectively establishes the gothic atmosphere through a strong simile ("spectral insects") and immediate stakes.*
*   **"mid"**: "The static smoothed out into a low, melodic hum. A new voice slid into the frequency, overlapping Rhys’s muffled shouts. It was a child’s voice, high and reedy. 'The dark is where the mouth is, Lena. Open wide.'" 
    *The shift from chaotic static to a "melodic hum" creates a chilling contrast that heightens the auditory horror.*
*   **"mid"**: "A hand, translucent and grey, pressed against the wood beside her head. It wasn't Sarah's hand. It was too long, the skin stretched tight over bone, the nails ragged and caked with dark earth." 
    *The tactile, grounded descriptions of the hand prevent the ghost from feeling like a generic trope.*
*   **"late"**: "The wallpaper—a faded floral pattern she’d hated since childhood—was peeling back in long, wet strips, revealing dark, pulsating veins in the plaster beneath." 
    *This visual excellently externalizes the "rot" of the household, turning the setting itself into a living antagonist.*
*   **"late"**: "Lena stumbled into the foggy street, slamming the door behind her, only to hear the whispers bubbling up from the sewer grates around her feet." 
    *The final image provides a claustrophobic ending by removing the safety of the outdoors, maintaining the horror's momentum.*

### 2. CHARACTER VOICE AUDIT
The provided project context lists **Elias Thorne**, **Sarah Miller**, and **The Curator**. However, the current chapter text introduces **Lena** and **Rhys Kane**, who are not in the provided RAG context.

*   **Lena**:
    *   "Go to hell, Sarah... Carbon monoxide. Mold spores. Just a chemical cocktail in a house that should’ve been razed forty years ago."
    *   **Vocabulary/Tics**: Uses cynical, grounding language (scientific/skeptic).
    *   **Forbidden Patterns**: None detected.
    *   **Emotional Register**: **YES**. She is at the "skeptic-to-terror" transition point.
*   **Rhys Kane**:
    *   "Lena, stay put! I’m three minutes out. The bridge is—"
    *   **Vocabulary/Tics**: Standard protective/action-oriented dialogue.
    *   **Forbidden Patterns**: None detected.
    *   **Emotional Register**: **YES**. Urgent and panicked.

### 3. STRENGTHS TO PRESERVE
*   **Body Horror Elements**: The description of the blood's effect on Lena's hand in the final scene is visceral. 
    *   Reference: "The edges of the cut were turning black, the skin puckering as if something were burrowing beneath it."
*   **Technological Interference**: The use of the phone and flashlight as failing tools adds to the isolation. 
    *   Reference: "The screen’s clinical blue light clashing with the attic's tomb-like gloom... then the static smoothed out."
*   **Generational Trauma Theme**: Linking the family history to the physical "roots" in the basement is a strong narrative pillar.
    *   Reference: "*The blood doesn't free you. It binds you. We are the same skin now.*"

### 4. MUST-FIX -- CONTINUITY
*   **ORIGINAL**: "Sarah had been obsessed with the southeast corner of the attic in the weeks before she’d tied the noose..."
*   **PROBLEM**: In Chapter 1 context, Sarah Miller is listed as being **alive** ("Physical: Exhausted; persistent headache"). The Project Context states she is in The Archive, Sub-Level 4. In Chapter 4, the narrative treats her as a deceased sister who "tied the noose." This is a major contradiction. 
*   **FIX**: If Lena’s sister is a *different* Sarah than Sarah Miller (the researcher), this must be explicitly clarified. If Sarah Miller is alive, the line should be changed to: "Sarah had been obsessed with this corner before she vanished into that research job at the Archive."
*   **ORIGINAL**: "The journal with the Harper family crest—a weeping willow—embossed on the cover..."
*   **PROBLEM**: The Project Context identifies the location as Oakhaven and the protagonist Elias Thorne as a scholar/believer. This chapter introduces a "Harper" family and a "Blackwood Gazette," which haven't been established as connected to the Archive project.
*   **FIX**: Explicitly link the Harper family to the Oakhaven Archive (e.g., "The Harper family, founders of the original Oakhaven mill...").

### 5. MUST-FIX -- CLARITY
*   **ORIGINAL**: "Rhys’s voice was cut off by a sound like a wet cloth being torn in half. Then, clear as a bell, a chorus of voices erupted from the phone’s speaker."
*   **PROBLEM**: The transition from a phone being thrown and the screen shattering to it playing a "chorus" is clear, but the logistical nature of Rhys’s location relative to the "bridge" is dropped. 
*   **FIX**: Clarify if Rhys is blocked or arriving. Add: "The line didn't disconnect; the static simply became a choir."
*   **ORIGINAL**: "Only the blood that called it can dismiss it... I name you the Debt!"
*   **PROBLEM**: Lena names it "The Debt," but the journal said blood "dismisses" it. The physical action (smearing blood) seems to bind her instead. 
*   **FIX**: Make the journal’s instructions more ambiguous so Lena's "failure" feels like a trick of the journal. Change journal text to: "*Blood is the only seal the Whisperer recognizes.*"

### 6. OPTIONAL SUGGESTIONS
*   **Character Link (Optional)**: If Lena is calling Rhys, it would be a strong bridge to mention the "Archive" or Elias Thorne by name to tie Chapter 4 to the established Chapter 1 context. 
    *   Reference: "Rhys, get the guys from the Archive. They knew about the frequencies."
*   **Sensory Detail (Optional)**: The transition from the attic to the basement is very fast. 
    *   Reference: "She took the stairs two at a time... She reached the kitchen." Adding one line about the temperature change in the stairwell would bridge the gap.

### 7. FORBIDDEN CHANGES / NON-GOALS
*   **Lena’s Profanity**: Do not soften Lena's reaction ("Shut the fuck up"). This is a consistent character trait under extreme duress.
*   **Static/Audio Descriptions**: The "melodic hum" and "high-pitched electronic whine" are essential genre indicators for the "Whisper" signal and should not be simplified into standard ghost sounds.
*   **Dark Imagery**: The "cranium bowl" and "pile of teeth" should be preserved as they establish the mature horror rating.

### 8. VERDICT: REVISE
**SCORE: 78**
**Justification**: This chapter suffers from a massive continuity error regarding Sarah Miller, who is listed as a living character in the RAG Project Context but is described as a suicide victim in this chapter. This must be resolved before the chapter can pass.