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10. Crowd, Moved
Only the charges and classifications actually supplied are shown.
| Booking | What the unit does | Record supplied |
|---|---|---|
| Wedding at nine | Coordinates the first dance | No invoice basis stated |
| School at noon | Changes pitch and speed for the resisting boy | Songs licensed |
| Fish-market wake | Plays or rests for 4 quiet minutes | One selection, performed |
| Tank in the evening | Plays the unlicensed six-step tune | 4 minutes: anomaly, recurring |
| Square at dawn | Moves the crowd; square empty in 20 minutes | One line: crowd, moved |
The wake is invoiced as a performance and the square as an outcome; the other bookings lack a stated invoice basis.
The people dispute access before and during the unit's work.
| Claim on attention | Response | |
|---|---|---|
| At the wake | A mourner raises a paid request while the daughter speaks | The widow lowers his hand; the daughter finishes |
| At the banner | A woman removes OURS from the demand | The holders keep the remaining strip aloft |
| At the megaphone | The same woman holds out her hand | Its holder passes it to the man behind her |
| At the unit's case | A man reaches it and repeats a mouth movement | The handler keeps his wax in and pulls the case away |
The altered banner and denied megaphone show contested access, not a unified organization or doctrine.
A chain of bodily reception in the Tank and its later audible trace.
- The unlicensed tune
- Six descending steps in the Tank
- Feet on the stone
- His feet learn what he cannot hear
- Stoppers removed at dawn
- The ordinary city returns to his ears
- The walk through the square
- He hums six steps down
Relationships
- The unlicensed tune → Feet on the stone: felt through the floor
- Feet on the stone → Stoppers removed at dawn: later in the narrative (reported, incomplete, disputed or interpretive connection)
- Stoppers removed at dawn → The walk through the square: later in the narrative (reported, incomplete, disputed or interpretive connection)
His hearing is blocked, not his susceptibility. The tune's later humming does not establish ownership or freedom from it.