Yo-Yo Boing!

— Sí, que caiga toda la mala suerte del mundo contra mí—yo grité—sí, que caiga algo contra mí. Que yo pueda sentir algo que me saque de la maldición de vivir contigo.

En esos segundos a ti te salió una sonrisa maliciosa en tus labios.

—¿De qué te ríes? Drácula poseído por una víbora. Hey, ¿qué hace esa Sakura tirada in the middle of my room? No la quiero ver más en mi casa. How many times have I told you?

— I’m not gonna throw it out. My brother gave it to me. Why should I throw it out.

— Te estás buscando lo que no se te ha perdido.

Se va ella o te vas tú.

— I’m not gonna throw it out.

— You want me to throw it out. You really want me to throw it out. Fine. I’ll throw it out.

— En esos segundos, se abrió la puerta, voló la Sakura por el pasillo para abajo. I tried to close it, pero no pude, so I slammed it even harder.

— Con más fuerza espacharraste my big toe. My poor toe-nail. You knew it was there. You must have felt something weird under the door. You knew something was underneath.

— Don’t point at me.

— Yes, I point at you

— Don’t point at me, I said

— I point at you

— Take away that finger

— Why, it’s just a finger

— I said, take away that finger. Don’t point at me.

— I said, I am pointing at you. You are the one who is pointing at me. You are the one who is pointing at me. You are pissing me off. You are really pissing me off.

— Don’t repeat yourself. I heard you. Don’t repeat yourself. I said what I said. Do not point that finger at me. Take that finger away.

— You are repeating yourself too many times. Stop screaming at me. And stop pointing at me. I heard you. Now, listen to me. Do not talk when I am speaking. Listen to me.

— Don’t point at me. I’m listening. But take that finger away. You did the same thing to Monique Wittig:

— You like Fellini? — you said.

— I like two of his films: Satyricon and Juliette of the Spirits, she said.

— You don’t like Fellini? — you said.

— I said what I said—she said—I like two of his films.

— So—you said—you hate Fellini.

— Idiot, exactly, that is exactly what I said to her. No me gustan los compromisos. Either you like him or you don’t. Not two. Listen to me. Everything or nothing.

— Don’t point at me.

— That’s a compromise. Either you like him or you don’t. What do you mean? You like me when I make good films. And when do I make good films? When you like me? I don’t believe in that. It’s not real.

— Listen to me. Unreliable. You’re so unreliable. You tell me you like Almodóvar, and I trusted that you like Almodóvar. But then when you meet Jean Franco, you say you don’t like Almodóvar. I said:

— But you told me you like Almodóvar.

— Because you told me you like Almodóvar. I wasn’t going to disagree with you even-though I hate Almodóvar. Jean, you hate Almodóvar?

— I hate Almodóvar. He’s a terrible filmmaker.

— You see, I hate Almodóvar. The only thing new in him is his cynicism. But he imitates American comedy — ad nauseum. After

Buñuel, he’s a retrograde.

— Did you like The Piano?

— No, that feminism was so decimononic.

— You see, I hated The Piano. I went to closing night at the film festival, and I was planning to give a standing ovation. But I turned into rock, and I couldn’t get up from my seat. I’m glad you didn’t like it. It confirms my suspicions. I was so angry when I left the film.

— You were also angry when you saw Sweetie.

— Because it was so dirty.

— It was an original.

— Jean, did you like Sweetie?

— I loved Sweetie.