there. You canât miss it.â
A TALL, THIN young man opens the door and shows me into a tiny, overheated room. An old guitar on the table.
âI guess Iâm not the first journalistââI decided to pass myself off as a journalistââto come here to waste your time . . .â
A candid smile flutters across his sensual lips.
âYouâre the first and will probably be the only.â
âBut you got such a great write-up by Gérald Merceron in last weekendâs paper.â
âMonsieur Merceron showed it to me before it came out. I was pretty happy with it . . .â
âAh, so you know him?â
âHe gave me a lot of advice when I was putting the album together.â
âSo how do you feel?â
âSad . . .â
âOh, yeah? Whyâs that?â
âI donât know. I didnât get a wink of sleep last night . . . My heart was pounding like anything.â
âAnd you have no idea why?â
âTo tell you the truth, no.â
âItâs always like that when something important happens,â says a calm voice from somewhere behind me.
I turn around a bit quickly. A very elegant lady is sitting in a dark corner of the room. Huge eyes, refined hands, the same age as Madame Saint-Pierre. She opens her Gucci handbag (the famous golden G) and takes out a slender cigarette holder.
âI was telling Jude before you arrived not to make such a fuss about it, because itâs perfectly normal. Itâs too much emotion in too little time.â
âYouâre right,â I say.
âAnd of course,â she adds in a whisper that contains all the sensuality in the world, âJude is so young . . .â
âExcuse me, maâam, I donât mean to shake you up, but would you mind telling me what you think of his album?â
âWhat I think of his album?â she says, with a pretty laugh. âWell, I think Jude has a devastating talent.â
âDo you have a favourite cut?â
Silence.
ââCrazy About You.ââ
âWhyâs that?â
âI find it orgasmic.â
âAh! And the rest of the disc? What do you think of the musical arrangements? I have a good friend who does arrangements, too . . .â
âDenz.â
âYou know him?â
âOf course.â
âI donât,â says Jude, âbut I really like his work.â
The woman stands up abruptly.
âExcuse me, but I must go . . . Jude, Iâll come by to pick you up around seven tonight.â
A whiff of Nina Ricci.
âWHO WAS THAT?â I ask.
âI donât know . . .â Jude lets out. âShe showed up yesterday morning, and sheâs been back every two hours since then.â
âDo you know what she wants?â
âI donât know that, either . . .â
âNo idea?â
âWell, yeah, but Iâm a bit afraid.â
âAfraid of what?â
âOf her . . . I donât know whatâs happening to me. Barely a week ago I couldnât imagine anything like this, and now, all of a sudden, everyone wants to meet me. But it isnât me whoâs changed . . .â
He stops and holds his head in his hands.
âWhat do you want from me? I canât understand a thing . . . Sheâs beautiful, rich, she knows everyone, and here I am with nothing. I live in Poste Marchand with an old, sick aunt. I donât know what there is here that a woman like her would find attractive.â
âYour talent. There are some women who only get turned on by new talent.â
âWhat talent?â he says, banging his head against the wall. âI steal things from here and there: rock, jazz, rara, konpa direct, Spanish music . . . I didnât invent a thing.â
âMaybe, but it makes a good sauce.â
He stops pacing the floor and stares at me fixedly, his face looking feverish.
âItâs funny you should mention sauce.