Symbol yes, my companion ardently acknowledges. Effing Symbol yes; Also an Effing Symbol yes. But Nothing But? Never!

I had aborted one fetus already in Fort Erie Ontario, I reminded him; I could abort another. Ambrose was transported: Was I telling him I truly might be et cetera? If I was, said I, I wasn’t by “Scenarist Arthur Morton King,” who for all I cared could stuff himself into a bottle and post himself over the Falls. Done, said Ambrose: done and done! That King is dead!

We were stripping as we quarrelled, to shower and change for the afternoon. This last was his In-vi-ta-ti-on to come off our spat and into bed, and though I wasn’t yet mollified enough for that, my ire had indeed peaked and was passing. I understood what he meant by also symbolic but not merely symbolic, and if he truly intended to have done with that corny nom de plume and write straightforwardly under his own name, I took that for a healthy developement. In short, I was ready to return to our Mutuality and, in time, lend a hand to King John Thomas’s Restoration. But as I came from the W.C. to kiss and make up, I had a chilly flash that was nothing menopausal: the Second Conception scene!

I tore the room apart to find mikes and cameras. Ambrose swore (when he understood what I was about) he’d not Set Me Up, but agreed that Prinz might well be setting us both up, and joined in the dismantlement of Erie Motel Room 21. Nothing there, unless on the C.I.A. level of miniaturization and concealment. Spent and laughing by now at the mess we’d made — and would have to restore — we were indeed tempted to take a tumble in its midst; “bang the old symbol,” as Ambrose put it from where he lay naked on the piled-up bedclothes. Yet however well we’d searched, and however much I assured him I believed his protestations, I couldn’t bring myself to climb aboard, so repellent was the thought of Prinz’s somehow bugging our intercourse. Indeed, the more that possibility laid hold of my imagination, the more inclined I grew to declare a moratorium on sex — but not on sweet Mutuality! — till we were safely out of camera range.

Ambrose was delighted; I soon realised why, and rolled my eyes to heaven. The weekend, you see, was upon us: if we now put by our heavy humping for a spell of Chaste Reciprocal Affection, then Week 3 of this happy 6th Stage of ours would echo Stage 3 of our affair (approximately May), itself an echo of his chaste “3rd affair.” Moreover it was, I now recalled, at about this juncture in our affair that we began to realise how its ontogeny, so to speak, was recapitulating its phylogeny. Did that portend on the one hand that our Happy Sixth Stage was good for another month at least? Did it mean on the other hand that we had only another month? And — dear God! — that we were not really “ourselves” yet after all, at least not entirely, and would not be until, let’s see, the 2nd week of September (i.e., the 6th week of this 6th Stage)?

I offered to go vomit. Was truly nauseated, whether by that tiresome prospect or by the Last Brunch. Morning Sickness! jubilated Ambrose. I made good my offer.

Sunset at Old Fort Erie! Mighty Niagara chugging north before our battlements! The lights of the U.S.A. to eastward; of a coming thundershower to southwestward, out over the muggy lake; of Tweedles Dum and Dee positioned about our ramparts and especially in the neighbourhood of the restored powder magazine, a brick-vaulted subterranean chamber in the northeast bastion atop which, in director’s chairs, sat the Director and the Director’s moll: empty-handed, neither smoking nor drinking nor reading nor talking, only waiting, he in his uniform nondescripts, she in her Salvation Army chic.

And the lake flies, John! Do you have them at Chautauqua, I wonder? Overgrown mosquitoes in appearance, they neither bite nor sting, only fill the night in such numbers at the peak of their week-long hatch that the whole air thrums; gather so thickly upon any light surface that it is darkened; immolate themselves by the thousands on any exposed electric light bulb (small hills of the immolated were piling already beneath the floodlights). Tons of idle protein on the wing: the phenomenon is African, prodigious! We walked through it, exclaiming and waving our arms (luckily our clothing was not light-coloured; the insects are not attracted to people; they landed on our clothes and skin and hair only accidentally, but given their numbers, such accidents occurred by the dozens per second. Once perched, they stay there; brushed off, they obligingly die), to where the lighting crew amused themselves with raising and lowering the volume of that huge thrum at will, as if with a control knob, by brightening and dimming the floodlights. Astonishing!

Once over our initial revulsion, we found we could move through the swarm without injury or much difficulty, and that a constant easy fanning of the hands kept one’s face and hair reasonably bugless. The scene that follows you must envision in ever dimming light, however, as the lake flies becloud the floodlight lenses with their cumulative dying juices.

Can we shoot in these conditions? asks Ambrose when we reach the magazine. We’re shooting, replies the video Tweedle (Dum); you’re on. Must be the Fort Erie Assault scene, quips our Author: American and Canadian Soldiers are dying like flies.

No response from the filmists to this Mordant Wit. I then declared to the company (what Ambrose and I had rehearsed en route from our motel by way of joining the battle, as it were) that in our judgement no Second Conception scene was called for until and unless the First should prove a mis-take. In plain English: played out or not, we had reason to believe ourselves preggers already. The charade Prinz meant as Squeezing Blood from A Turnip would in fact be Carrying Coals to Newcastle; I could not reconceive till I was delivered. Preggers!

We were regarded: the tiniest hint of interest in Merry Bernstein’s eyes; none whatever in the others’ (Prinz still wore his sunglasses, so who knows). Not exactly a triumphant opening, though it was exciting for us so to declare ourselves. Ambrose therefore commenced an improvisation that led to the following exchange, which I approximate from memory and edit for concision:

A.M. (to Prinz and Merry B.): Maybe you should do the Second Conception, what? Film’s as played-out a medium as Fiction. Off with your clothes, Merry.

R.P.: I’m the Director.

A.M.: Direct, then. My script calls for a Fecund, Vital New Medium to conceive a Major Work of Art by a Virile Young Director who liberates her from residual contamination by the Old Medium she has rendered obsolete. It’s your big scene, Mer.

R.P. (quietly, to Yours Truly): You undress, ma’am.

Y.T.: I jolly shan’t.

R.P. then makes a small sign to Merope, no more than a twitch of the mouth and turn of the hand, and she begins peeling off her Salvation Armies for the cameras. I am more and more cheered: Merry’s jugs are gross of nipple and ill suspended, her thighs and bum unappealingly slack for a girl’s and striated already, her legs unshaven. Naked, she stands self-consciously in the (ever dimming) lights: a lumpy Lake Erie Venus shooing flies.

MERRY B. (approximately): Shoo!

AUDIO TWEEDLE (to A.M.): Let the Muse come to you and Reggie now. The camera will show which medium she inspires.

And dear A.M. (an able ad-libber when he’s up for the game): She’s not my muse, Reg. Exhibition is your business.

R.P. (with smile): You withdraw?

A.M. (ditto, and still ad libitum, mind): I cannot withdraw from what I decline to penetrate. Germaine and I stand pat.

This sally gained something, no doubt, from the ambiance. I happily took my Author’s arm; he bussed my cheek; the lights dimmed another quantum. Reggie shrugged, fetched up the little megaphone he’d affected in the Scajaquada Scuffle, and terminated what will no doubt prove to be the longest stretch of dialogue in this flick by calling down into the magazine for “Private Blank.”