“On Sunday morning I went out for a while in the neighbourhood; I bought someraisin bread. The day was warm but a little sad, as Sundays often are in Paris,especially when one doesn't believe in God.”

“Back in Paris they had happy moments together, like stills from a perfume ad (dashing hand in hand down the steps of Montmartre; or suddenly revealed in motionless embrace on the Pont des Arts by the lights of a bateau-mouche as it turned). There were the Sunday afternoon half-arguments, too, the moments of silence when bodies curl up beneath the sheets on the long shores of silence and apathy where life founders. Annabelle's studio was so dark they had to turn on the lights at four in the afternoon. They sometimes were sad, but mostly they were serious. Both of them knew that this would be their last human relationship, and this feeling lacerated every moment they spent together. They had a great respect and a profound sympathy for each other, and there were days when, caught up in some sudden magic, they knew moments of fresh air and glorious, bracing sunshine. For the most part, however, they could feel a gray shadow moving over them, on the earth that supported them, and in everything they could glimpse the end.”

“I've lived so little that I tend to imagine I'm not going to die; it seems improbablethat human existence can be reduced to so little; one imagines, in spite of oneself,that sooner or later something is bound to happen. A big mistake. A life can just aswell be both empty and short. The days slip by indifferently, leaving neither trace normemory; and then all of a sudden they stop.”

“Later Michel went up to the priest as he was packing away the tools of the trade. “I was very interested in what you were saying earlier…” The man of God smiled urbanely, then Michel began to talk about the Aspect experiments and the EPR paradox: how two particle, once united, are forever and inseparable whole, “which seems pretty much in keeping with what you were saying about one flesh.” The priest’s smile froze slightly. “What I’m trying to say, “Michel went on enthusiastically, “is that from an ontological point of view, the pair can be assigned a single vector in Hilbert space. Do you see what I mean?”

“As I finished my rice, I sketched out the plot of a pornographic adventure film called The Massage Room. Sirien, a young girl from northern Thailand, falls hopelessly in love with Bob, an American student who winds up in the massage parlor by accident, dragged there by his buddies after a fatefully boozy evening. Bob doesn't touch her, he's happy just to look at her with his lovely, pale-blue eyes and tell her about his hometown - in North Carolina, or somewhere like that. They see each other several more times, whenever Sirien isn't working, but, sadly, Bob must leave to finish his senior year at Yale. Ellipsis. Sirien waits expectantly while continuing to satisfy the needs of her numerous clients. Though pure at heart, she fervently jerks off and sucks paunchy, mustached Frenchmen (supporting role for Gerard Jugnot), corpulent, bald Germans (supporting role for some German actor). Finally, Bob returns and tries to free her from her hell - but the Chinese mafia doesn't see things in quite the same light. Bob persuades the American ambassador and the president of some humanitarian organization opposed to the exploitation of young girls to intervene (supporting role for Jane Fonda). What with the Chinese mafia (hint at the Triads) and the collusion of Thai generals (political angle, appeal to democratic values), there would be a lot of fight scenes and chase sequences through the streets of Bangkok. At the end of the day, Bob carries her off. But in the penultimate scene, Sirien gives, for the first time, an honest account of the extent of her sexual experience. All the cocks she has sucked as a humble massage parlor employee, she has sucked in the anticipation, in the hope of sucking Bob's cock, into which all the others were subsumed - well, I'd have to work on the dialogue. Cross fade between the two rivers (the Chao Phraya, the Delaware). Closing credits. For the European market, I already had line in mind, along the lines of "If you liked The Music Room, you'll love The Massage Room.”

“The arrival in Paris, as grim as ever. The leprous façades of the Pont Cardinet flats, behind which one invariably imagines retired folk agonizing alongside their cat Poucette which is eating up half their pension with its Friskies. Those weird metal structures that indecently mount each other to form a grid of overhead wires. And the inevitable advertising hoardings flashing by, gaudy and repellent. ‘A gay and changing spectacle on the walls.’ Bullshit. Pure fucking bullshit.”

“To give a man 5 sous because he is poor and has no bread is perfect, but to give him a blowjob because he has no girlfriend is too much of a good thing: you don't have to do that.”