To this last (I mean the sexual cobweb) a new strand has been added. Contrary to what a nameless informant informed me in a nameless place on a night I shall not name, it seems that young Merope Bernstein is not attached to “Monsieur Casteene”; at least not enough to prevent her having conceived an attachment to Reg Prinz, under the banner of bringing the Revolution to the Media That Matter. Our Director, in his way, neither encouraged nor discouraged this attachment, but at once incorporated it into the story. Bea Golden, you may imagine, was not pleased: indeed, it wants small wit to fancy her not only jealous of this new rival (her own ex-stepdaughter!) but frightened, inasmuch as Ambrose’s “pursuit” of her had been merely and clearly per script since their Baratarian interlude, for which (even if he directed it) Prinz seems not quite to have pardoned her. Follows that she will now eagerly ally herself with the Director against the Author in our Scajaquada Scuffle, right? At once to reingratiate herself with Prinz, to score points against her competition, and to defend herself from her only current real pursuer, the lecherous Lily Dale lunatic.

Got all that? Well, our Author’s projected reenactment was to go as follows: Buffalo’s Delaware Park would serve both as the battle site (which it is) and as Municipal Park in Cambridge, which it decidedly is not; the park pavilion both as the American general headquarters and as the Original Floating Theatre II. Bea, in red-white-&-blue wrapper, would represent, let’s say, Columbia, being interviewed before the pavilion in early movie newsreel-style, by the Director, on the American position in the War of 1812. Myself to make my cinematical debut (we do not count Prinz’s surreptitious and/or illegitimate footage) in the role of Britannia, being interviewed concurrently upon the same subject as I cross Scajaquada Creek by rented rowboat just prior to the battle. My interviewer of course to be the Author, fastidiously transcribing my polished periods with a quill pen for publication in the London press. Enter by helicopter (just as A. & I reach the pavilion) the Medium of the Future — in form of J. B. Bray cast as a network television reporter! — who makes off with both willing subjects and leaves the Battle of Scajaquada Creek to be fought, not by Britain and the U.S., but by Author and Director. Weapons and outcome ad libitum, except that the famous mike boom would somehow be worked in.

Thus the scenario. I protested to Ambrose that neither Bea nor I was jolly likely to take a helicopter ride with Jerome Bray. He imagined Bea would do anything her Director asked of her at this juncture, but insisted I follow my own inclinations once the cameras were rolling: that was the Point. And Merry Bernstein? Ambrose wasn’t sure, but believed she was to begin the episode as some flower-childish avatar of his daughter (they’d not been able to lay hands on a MARYLAND IS FOR CRABS T-shirt in Buffalo, but had found one blazoned BUFFALO IS FOR LOVERS) and end it with a Revolutionary Statement made Godard-like to the camera as the ’copter reascends and the Obsolete Media slug it out.

She had been warned, though, Merope B., that her nemesis Bray was to be there? Well, Ambrose hoped so: that was really Prinz’s department; she was his hanger-on. Himself was too busy anticipating what the Director might have up his sleeve in the ad-lib assault way to bother with such niceties: he did not fancy another concussion. On that score, I was to stay clear when things got sticky between him and Prinz: he had a couple of rabbits in his own fedora if push came to shove, and not for anything would he have me endanger our just-possible You Know What.

It is evening when we commence. The park brims with floodlights, searchlights, portable electric generators, and the Buffalo curious, whom (true to form) Prinz does nothing to keep back, but often turns his cameras upon. Traffic on the Scajaquada Expressway makes its contribution to the light and sound track. Somewhere overhead a chopper chops. I do not get to hear, alas, Bea Golden’s extemporisings upon American policy objectives in the Second War of Independence: A. and I are busy yonder in our skiff, across the pond. Nor do I get to extemporise myself (I’d given the matter some thought, and concluded that Fatigue was the finally regnant factor on the British side of the negotiating table at Ghent, as it may one day be for you Americans in Vietnam: more than we wanted what we claimed we wanted, we wanted Out): the Script calls for our transit of Delaware Park Lake to be shot in flickering silent film-style, our Q & A to be transcribed into subtitles — but no one is there.

Our wigs and tights and crinolines, quill pens and Union Jacks, amuse the bystanders until, muttering that Prinz has scored again, Ambrose seizes the oars and rows us out on the dark pond toward the bright pavilion, where a Newswatch Traffkopter has already landed. Buffalonians commandeer other park rowboats and follow us. Prinz has missed a good shot: we are a proper little invasion flotilla! I wave my U.J. wanly; am even moved to attempt “Rule, Britannia” against the pavilion loudspeakers, whence softly issues “Columbia, the Gem of the Ocean.” Ambrose does my harmony, and not badly: I am touched.

At our never shall be slaves (which coincides neatly with the loudspeakers’ free-ee and the bray-ave), we attain the landing and are instantly floodlit: score another for R.P., who has monitored our approach and gets fine footage now of the surprisers surprised! In plus fours and reversed cap, hand-cranking some relic from the Eastman Kodak museum, he grins from a camera crane; Bea frowns beside him in her Stars-and-Stripes drapery, looking more like a Chenango Street hippie than like Liberty. Between us, looking merely confused, Merope Bernstein, her uniform blue denims unaccountably exchanged for honey-coloured leotard plus the aforementioned T-shirt, a tiara, of all things, in her teased-out hair, and wings, John — those same Tinkerbell pterons that erst graced the Golden scapulae (on Gadfly III) before Bea fell from favour. Hence, no doubt, her frown. Wings!

We disembark, some of us feeling mighty silly. The music stops. Moths commit enthusiastic suicide in the kliegs. The Author blinks, shades his eyes, cons the scene for light and mike booms. Prinz turns to Bea and asks in a startlingly clear, amplified, and mocking voice: “What do you think of Senator Randolph’s Quids?” No less than Columbia, we are as surprised by the articulation as by the question. I am all ears for her reply; I search for an opinion of my own about the maverick Virginian’s anti-Federalist splinter party; decide to approve it as a manifestation of Randolph’s prevailing Anglophilia… and again do not get my moment in the limelight.

For Merry Bernstein, with a shriek of nonsimulated fright, upstages us all. The spot is on her — and, clearly, vice versa; Fay Wray-like (but that tiara, those wings!) she looks up from the landing into the darkness with an expression of Terrified Disbelief. She screams again… Now a smaller spot obligingly searches the pavilion balcony, passing over grips, sound crewmen, waving bystanders, until it fixes on Jerome Bonaparte Bray. He stands outside the balcony railing, balancing who knows how; he wears no wings, but his famous cape is spread like a flying squirrel’s between his outspread arms and legs. He smiles, well, nuttily. He cries a name (not Merry’s; sounds to me like Morgana); he reaches for his crotch; he leaps into thin air; and in flickering, odd slow motion — Prinz must have wired him up! — he lands upon poor Tinkerbell.

I mean upon her. Merry is knocked flat; her wings are squashed; Bray’s cloak entirely covers the pair of them, who look to be wrestling or humping under a blanket. The girl squeals and squeals.