Every aspect of Catherine at this time seemed a model of something else, endlessly extending the possibilities of her body and personality. As she stepped naked across the floor of the bathroom, pushing past me with a look of nervous distraction; as she masturbated in the bed beside me in the mornings, thighs splayed symmetrically, fingers grovelling at her pubis as if rolling to death some small venereal snot; as she sprayed deodorant into her armpits, those tender fossas like mysterious universes; as she walked with me to my car, fingers playing amiably across my left shoulder – all these acts and emotions were ciphers searching for their meaning among the hard, chromium furniture of our minds. A car-crash in which she would die was the one event which would release the codes waiting within her. Lying in bed beside Catherine, I would slide my hand into the natal cleft between her buttocks, lifting and moulding each of these white hemispheres, these plenums of the flesh that contained all the programmes of dreams and genocides.

I began to think about Catherine's death in a more calculated way, trying to devise in my mind an even richer exit than the death which Vaughan had designed for Elizabeth Taylor. These fantasies were part of the affectionate responses exchanged between us as we drove along the motorway together.