Scene 133: poor tony post seizure prowl

• p. 689: "that infamous deceptive post-seizure feeling of well-being"; PT wakes lizardless and continent, flirts with the blue-jawed paramedic (bawdy entendres on "vital signs" and "dilation"), Minimal Mambo on the gurney; fiddle-de-dees the warning.
• pp. 689-690: the destitution advantage — hospitals "bow to your quixotic will" when your Health Card is expired and not in your name; "they honor your wishes and compliment your mambo and say Go with God"; the narrator's aside: "It's a good thing you can't see what you look like, though."
• p. 690: the eight-block plan to Antitoi Entertainment — the one last hope of kindness or credit "since the affairs of Wo and Copley Library and heart"; the walk performed as dignity — boa semi-formally loose, head up, meeting eyes with blasé hauteur, a "rind of moon" over a four-spired church; "the emergent stars are yo-yos... Poor Tony feels as if he could cast them out, draw them in again at will."
• pp. 690-691: the Sheraton Commander flashback — Lolasister, Susan T. Cheese, PT, Bridget Tenderhole, Equus Reese, and the late Stokely ('Dark Star') McNair in identical red leather coats, auburn wigs, and spike heels, milling with six mannish women while an androgynous Québecer threw "foul semi-liquid violet waste from a souvenir miniature waste-displacement barrel" in the face of the Canadian Minister of Inter-O.N.A.N. Trade in the Epaulet Ballroom; the twelve epicene decoys hitting the revolving doors in a dozen vectors to fuddle the M-11-toting security.
• p. 691: how PT and S.T.C. met the Antitois at Ryle's Gender-Dysphoric Night — only one brother speaking, both "clearly subordinate to still other Québecers of way higher I.Q."; passing Ryle's now, the fatigue arriving — "that post-fever, sleep-for-a-week-type cellular fatigue."
• pp. 691-692: the debate over the two purses ahead — evening-gown-width straps, slumped shoulders, "an air about them of routine victimization"; the calculus of arriving with liquid assets ("more almost a social call than a contemptible Withdrawn snivel for compassion"); sidestepping the dog-droppings; never seeing "his old former crewmate Mad Matty Pemulis... aghast in recognition of what Poor Tony has come through the corridor to resemble."

Backward

• "Mad Matty Pemulis... old former crewmate" — retroactively links the Pemulis family to PT's Harvard Square crew; Matty's aghast recognition completes the triptych begun at p. 684, scene 131.
• The waste-barrel attack rhymes with the novel's other Québecois waste-théâtre (the ONANtiad's catapulted waste, Mario's puppet pageant, scene 081ff) — annular waste as political weapon; tag kept to nationalism-onan here.
• PT's "stars are yo-yos" grandiosity inverts n.273's gloss of étoiles ("Stars, shooting stars, falling stars") three scenes earlier — these scenes' two star-systems: E.T.A.'s étoiles and a street queen casting and drawing in stars at will.
• The seizure itself — the Withdrawal odyssey through the Armenian Foundation Library men's room in Watertown and the Gray Line fugue — comes earlier (pp. 299-307, scene 069 for the wig/Withdrawal start; the seizure pp. ~304-306); "the affairs of Wo and Copley Library and heart" compresses the whole yrstruly/Wo/C purse-and-heart catastrophe (pp. 128-135, scene 040).

Forward

• Dramatic irony, armed: Antitoi Entertainment's brothers were murdered by the A.F.R. and the shop occupied (pp. 481-489, scene 097). PT is walking his "one last place" straight into the wheelchair assassins — the trap closes in his capture/interrogation thread late in the book (pp. 845ff).
• The two women are Kate Gompert and Ruth van Cleve; their inside-view is scene 136 (pp. 698-700), which ends with PT's head floating unseen behind theirs; Matty's window-view of all three is scene 131 (pp. 682-684). The purse-snatch detonates at pp. 714ff (scene 141) — Ruth's purse and Kate's head.

• pp. 689-690: "they bow to your quixotic will... they honor your wishes and compliment your mambo and say Go with God." — institutional abandonment dressed as respect; addiction-recovery extraction.
• p. 690: "the dignity of a man risen by will from the ashes of Withdrawal... feeling righter than rain" — the deceptive-well-being voice at full pitch, against "It's a good thing you can't see what you look like, though."
• pp. 690-691: the Sheraton Commander decoy set-piece — twelve identical red-leather figures dispersing "in a dozen different vectors"; nationalism-onan anchor.
• p. 692: "he never saw his old former crewmate Mad Matty Pemulis... aghast in recognition of what Poor Tony has come through the corridor to resemble." — the scene's mirror withheld from its subject.