"So everything you're giving me is based on one song?"
"Plus the video," Carla says.
"Certainly."
"Directed by Oliver Stone."
"Who else."
"Supposedly she flashes some pubes. That's how she got her name in Spin,"Carla reports. "Personally, I don't think it was even Cleo on the video. I think they used a double."
"For pubic hair?"
"Show business, Jack. Hul-lo?" Carla, who has come under the suspicious gaze of the store manager, now pretends to arrange some color slides on the light table for my inspection.
"What was the name of Cleo Rio's one and only song?" I ask.
" 'Me.' " says Carla. "That's all. Just 'Me.' "
"And it charted?"
"Only because of the pube hype."
"Gotcha. Thanks, darling."
"Where's the big interview?"
"Her place."
"I expect a complete debriefing."
"Of course. Hey, you ever hear of Jimmy and the Slut Puppies?"
Carla arches an auburn eyebrow. "They new?" She's afraid she's missed something.
"Nope. Old as the hills."
"Sorry, Jack."
Before leaving the drugstore, I can't stop myself from asking: "So how's your mom?"
"Good," says Carla.
"Really?"
"Really good."
"Shit," I say.
Carla laughs fondly. The fact that I still miss Anne buoys her opinion of me.
"Tell her I said hi."
"You're quite the dreamer, Jack."
Jimmy Stoma's condo is on the nineteenth floor of an eyesore skyscraper at the southernmost tip of Silver Beach. Twenty minutes she keeps me waiting in the lobby, Jimmy's widow, but truthfully I'm surprised she agreed to see me at all. From the briefness of the death notice, it would seem that the family doesn't want much attention.
The door of 16-G is opened by a squat, bald, neckless man with two small platinum hoops in each earlobe. Straight from Bouncers-R-Us, this guy, down to the bomber jacket and the understated armpit bulge. Wordlessly he leads me through the hazily lit condo to the living room, where Mrs. Stomarti is standing before a wraparound bay window.
I have indeed seen her face before, on the cover of a couple tabloid-style celebrity magazines to which I subscribe for professional reasons. (I clip and file some of the juicier profile pieces in case the celebrity subject someday expires within our circulation area.)
"I'm Cleo," says Mrs. Stomarti. "Jimmy's wife."
She is maybe twenty-two years old; twenty-three, tops. Medium tall, thin but not skinny, and alarmingly tan. The hair is bleached snow white and cut in a mock pageboy. The lips are done cherry red and the cheekbones are heavily shadowed, like a pair of matching bruises. She's wearing a beige sleeveless shell and tight white slacks. Her toenails, also white, remind me of paint chips.
No wonder she quit calling herself Cynthia.
"I'm Jack Tagger," I say. "It's a pleasure to meet you. I only wish the circumstances were different." Implying I am aware of her blossoming fame, and would otherwise be delighted to interview her for the Arts & Music page.
We sit down; the widow on the end of a long cream-colored sofa, and me on a deacon's bench. Wasting no time, I tell Cleo Rio how much I liked her hit single, "Me."
She brightens. "You catch the video?"
"Who didn't!"
"What'd you thinktoo much?"
"Did Jimmy like it?"
"Loved it," Cleo says.
"I vote with Jimmy." I uncap a felt-tip pen and open the notebook on my lap.
"You're the first one to call," Mrs. Stomarti says.
"I was a fan."
A faint smile. "Next'll be the trades, I suppose."
"I'm sorry," I say. "I know you're trying to keep it low-key."
"That's what Jimmy wanted."
"I promise not to take much of your time."
The bald guy brings Cleo what looks like a screwdriver in a tall frosty glass. He doesn't so much as glance in my direction, which is fine with me.
"Want somethin'?" Cleo asks.
I should mention her eyes, which are rimmed pink from either crying or lack of sleep. She's wearing ice-blue contact lenses.
"A Coke? Beer?" asks Jimmy's wife.
"No, thanks."
To get the ball rolling, I start with the easy ones. How did you two first meet? A VH1 party.How long were you married? Not quite a year.Where was the ceremony? Sag Harbor. On a friend's boat.Oh? Who was that? I forget the name. Some sax player Jimmy knew. A session guy.
Here I pause longer than necessary to write down her answer. The interval is meant to give Mrs. Stomarti a moment to prepare. I still dread this part of the job, intruding so bluntly upon the grieving. Yet I've found that many people don't mind talking to a total stranger about their lost loved one. Maybe it's easier than commiserating with family members, who know all there is to know about the deceased, good and bad. A visit from an obituary writer, however, presents a golden opportunity to start from scratch and remake a person as you wish to have them remembered. An obituary is the ultimate last word.
I drop my voice from casual to somber. "Mrs. Stomarti, tell me about the Bahamas trip."
She sets her drink on a teak coffee table. "Jimmy loved it over there. We had a place down in Exuma."
Glancing down, I notice the toes on both her feet are curling and uncurling. Either it's some type of yoga routine, or Cleo Rio is nervous. I ask if they were on vacation when it happened.
She chuckles. "Jimmy was alwayson vacation when we went to the islands. He loved to divehe was, like, obsessed. He used to say that being underwater was better than any dope he'd ever tried. 'The deeper I go, the higher I get,' is what he said."
Writing down every word, I'm thinking about how easily Mrs. Stomarti has settled into the past tense when speaking of Jimmy. Often a new widow will talk about her deceased husband as though he were still alive.
For example: He's always on vacation when we go to the islands.Or: He loves to dive.And so on.
But Cleo hasn't slipped once. No subconscious denial here; Jimmy Stoma's dead.
"Can you tell me what happened," I ask, "the day he died?"
She purses her lips and reaches for the drink. I wait. She slurps an ice cube out of the glass and says, "It was an accident."
I say nothing.
"He was diving on an airplane wreck. Fifty, sixty feet deep." Mrs. Stomarti is sucking the ice from cheek to cheek.
"Where?" I ask.
"Near Chub Cay. There's plane wrecks all over the islands," she adds, "from the bad old days."
"What kind of a plane?"
Cleo shrugs. "A DC-something. I don't remember," she says. "Anyway, I was up on the boat when it happened." Now she's crunching the ice in her teeth.
"You don't dive?"
"Not that day. I was working on my tan."
I nod and glance down meaningfully at my notebook. Scribble a couple words. Look up and nod again. The worst thing a reporter can do in a delicate interview is seem impatient. Cleo takes another slug of her drink. Then she rolls her shoulders and stiffens, like she's working out a kink in her spine.
"Jimmy went down same as always," she says, "but he didn't come up."
"Was he alone?" I ask.
"No, he never dove alone."
I'm thinking: Again with the past tense.
"Jay was down there, too," Jimmy's wife says, "only he was diving the tail section. Jimmy was up in the nose of the plane. See, it's in two pieces on the bottom."
"Jay Burns? From the Slut Puppies?"
She nods. "He and Jimmy were, like, best friends. He swum up off the wreck and starts climbing into the boat when all of a sudden he's like, 'Isn't Jimmy up yet?' And I'm like, 'No, he's still down.' See, I was reading a magazine. I wasn't watching the time."
Cleo lifts the empty glass and turns her head toward the kitchen doorway. In a flash, the neckless bouncer guy hustles forward with a fresh screwdriver. A bodyguard who knows how to mix a drinkevery pop star should have at least one.
The widow takes a sip and continues:
"So Jay grabs a fresh tank and jumps back in the water and ... no Jimmy. He wasn't anywhere on the wreck." Cleo rocks back on the sofa cushion. She's no longer looking at me; she's staring out the bay window that faces the Atlantic. Her eyes are locked on something far away and invisible to mine.