The lengthy approaches to seduction bored him almost as much as the subsequent mess of disentanglement. He found something grisly in the inevitability of the pattern of each affair. The conventional parabola – sentiment, touch of the hand, the kiss, the passionate kiss, the feel of the body, the climax in the bed, then more bed, then less bed, then the boredom, the tears, and the final bitterness that was to him shameful and hypocritical. Even more he shunned the mis en scene for each of these acts in the play – the meeting at the party, the restaurant, the taxi, his flat, her flat, then the weekend by the sea, then the flats again, then the furtive alibis and the final angry farewell on some doorstep in the rain.
– Ian Fleming, Casino Royale