Individuating the missing volume created in the action of a hypothetically perfect crime, the presence of an object’s sound when revisited in another context, decentralizes the natural position of the object itself. Time does not march forward here; rather, it has come to stall in a repeating thud of the mechanism of a tennis ball machine whose contents have long-since emptied. Thus sound enforces the autonomy of the perfect crime through the object’s function; a reality in which the crime is suddenly – uncannily – close to home.