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with seats in front of them and some in curtained booths. As he passes a booth he glimpses through parted curtains two boys sitting on a silk sofa both of them naked. Shifting his eyes he sees a boy slip his jock strap down and step out of it without taking his eyes from the peep show. Moving with a precision and ease he sometimes knew in flying dreams Audrey slides onto asteel chair that reminds him of Doctor Moor’s Surgery in the Lister Building afternoon light through green blinds. In front of him is a luminous screen. Smell of old pain, ether, bandages, sick fear in the waiting room, yes this is Doctor Moor’s Surgery in the Lister Building.
    The doctor was a Southern gentleman of the old school. Rather like John Barrymore in appearance and manner he fancied himself as a witty raconteur which at times he was. The doctor had charm which Audrey so sadly lacked. No doorman would ever stop him no shopkeeper forget his thank you under eyes that could suddenly go cold as ice. It was impossible for the doctor to like Audrey. “He looks like a homosexual sheep-killing dog” he thought but he did not say this. He looked up from his paper in his dim gloomy drawing room and pontificated “the child is not wholesome.”
    His wife went further: “It is a walking corpse,” she said. Audrey was inclined to agree with her but he didn’t know whose corpse he was. And he was painfully aware of being unwholesome.
    There is a screen directly in front of him, a screen to his left, a screen to his right, and a screen in back of his head. He can see all four screens from a point above his head.
    Later Audrey wrote these notes: “The scenes presented and the manner of presentation varies according to an underlying pattern.
    “1. Objects and scenes move away and come in with a slow hydraulic movement always at the same speed. The screens are three-dimensional visual sections punctuated by flashing lights. I once saw the Great Thurston who could make an elephant disappear doan act with a screen on stage. He shoots a man in the film. The actor clutches his ketchup to his tuxedo shirt and falls then Thurston steps into the screen as a detective to investigate the murder, steps back outside to commit more murders, busts in as a brash young tabloid reporter, moves out to make a phone call that will collapse the market, back in as ruined broker. I am pulled into the film in a stream of yellow light and I can pull people out of the film withdrawal shots pulling the flesh off naked boys. Sequences are linked by the presence of some arbitrary object a pin wheel, a Christmas-tree ornament, a pyramid, an Easter egg, a copper coil going away and coming in always in the same numerical order. Movement in and out of the screen can be very painful like acid in the face and electric sex tingles.
    “2. Scenes that have the same enigmatic structure presented on one screen where the perspective remains constant. In a corner of the frames there are punctuation symbols. This material is being processed on a computer. I am in the presence of an unknown language spelling out the same message again and again in cryptic charades where I participate as an actor. There are also words on screen familiar words maybe we read them somewhere a long time ago written in sepia and silver letters that fade into pictures.
    “3. Fragmentary glimpses linked by immediate visual impact. There is a sensation of speed as if the pictures were seen from a train window.
    “4. Narrative sections in which the screens disappear. I experience a series of quite understandable and coherent events as one of the actors. The narrative sequences are preceded by the title on screen then Iam in the film. The transition is painless like stepping into a dream. The structuralized peep show may intersperse the narrative and then I am back in front of the screen and moving in and out of it.”
    Audrey looked at the screen in front of him. His lips parted and the thoughts stopped in his mind. It