Supper in the E.T.A. dining hall
But it’s true. The Husky VI tripod of Mario’s near-fatal encounter with the U.S.S. Millicent Kent was only the beginning. Starting with the mysterious and continuing fall of acoustic ceiling-tiles from their places in the subdorms’ drop ceilings, inanimate objects have either been moved into or just out of nowhere appearing in wildly inappropriate places around E.T.A. for the past couple months in a steadily accelerating and troubling cycle.
Context
The screen's catch: when the narrator confirms Troeltsch's paranoid inventory ("tripods in the grass and squeegees on the wall and Stice’s bed moves around," same page-span), the founding item of the whole poltergeist cycle turns out to be a piece of film equipment — the Husky VI camera tripod from Mario and the U.S.S. Millicent Kent's thicket expedition (037; that raw has Mario noting Himself "had used a somewhat less snazzy IV-model Husky back in his early days of making art-films"). The dead filmmaker's-grade hardware is the first object the something-in-E.T.A. moves, months before anyone says wraith: the scene-level optics content is one proper noun, but it's the proper noun that links the object-moving strand (squeegees with "no visible means of attachment," Stice's bed) back to cinema apparatus. Cross-refs: 130's lens-and-pole apparition, 162's wraith-and-objects theory.