The Port Washington meet (p. 265)

Mario Incandenza, in a pair of little Audern Tallat-Kelpsa’s E.T.A. drill-sweats, is lurching noiselessly some ten m. behind them in the passage, his police-lock up and head uncamera’d; he’s framing Schacht’s back in a three-cornered box with his thumbs and long fingers, simulating the view through a lens. […] Mario is wondering how you could get enough light back here in a tarp-tunnel to film a tense cold pre-match gladiatorial march behind an indoor tarp, carrying tennis racquets in your arms like an obscene bouquet, without sacrificing the dim and diffuse and kind of gladiatorially doomed quality figures in the dim passage have. After Pemulis has mysteriously won, he’ll tell Mario maybe a Marino 350 with a diffusion-filter on some kind of overhead cable you could winch along behind the figures at about twice the focal length, or else use fast film and station the Marino at the tunnel’s very start and let the figures’ backs gradually recede into a kind of doomed mist of low exposure.