J.G. Ballard - Super-Cannes

'Talk to Penrose. He'll be interested to hear it.'

'He has political dreams. In his mind he's a new Bonaparte. He thinks everything is psychology now. But his own psychology – that's the problem he doesn't face.' Zander fingered the lapels of my dinner jacket, as if intrigued by the stitching. 'You've worked hard, Mr Sinclair. You've found so much about your friend. The tragic English doctor…'

'Little you didn't know already.'

'I tried to help you. Was Halder useful?'

'As always. He could run a guided tour for the tourists. He's given himself a starring role in the last act.'

'That I heard. He's very ambitious – he wants my job.' He waved to Halder, who was watching him from across the swimming pool. 'A nice boy – he thinks he's German like I think I'm a Frenchman. We're both wrong, but my mistake is bigger. To the French he's a nègre, while I am an Arab…' He stared bleakly at the party, and then rallied himself, his awareness of his own corruptibility giving him confidence. 'We can help each other, Mr Sinclair. Now that you work for me.'

'Do I?'

'Naturally. Come and see me, I'll tell you more about Dr Greenwood. Maybe about your neighbours…'

He left me and swayed through the crowd, affable and devious in a way I found almost likeable.

Halder and I were not alone in keeping watch on the security chief. On a third-floor balcony of the Villa Grimaldi stood Alain Delage, fastening the cufflinks of his dress shirt as he gazed over the crowded terraces. Beside him was Olivier Destivelle, the elderly banker who had succeeded the murdered Charbonneau as chairman of the Eden-Olympia holding company. Together they followed Zander's progress as he wandered through the guests, slipping an arm around every woman who smiled at him. Destivelle spoke into a mobile phone, and he and Delage withdrew into the high-ceilinged room behind them. Despite Halder's assurance, I was certain that Jane was still somewhere within the Villa Grimaldi, as Zander had told me.

I climbed the steps to the upper terrace and strolled towards the entrance, where signs pointed to the cloakrooms. A flunkey in a brocaded uniform guarded the staircase, flicking the elastic bands of his white gloves.

'Toilettes?'

'Tout droit, monsieur.'

The door of the women's cloakroom opened, and a young German actress emerged, her mobile nostrils moving like hoses around her upper lip, hoovering up the last specks of powder. She exchanged quips with the flunkey, and let him admire her décolletage.

I walked to the staircase and climbed the deep maroon carpet.

I had reached the half-landing when the flunkey turned from his inspection and shouted: 'Monsieur, c'est privé…'

Careful not to break step, I called down: 'Monsieur Destivelle? Troisième étage?'

He saluted and let me go, too bored to follow me up the stairs.

I paused on the first floor, and strolled past the lavish public rooms with their gilt ceiling liners and empire furniture. In the dining room the tables were already laid with breakfast cutlery. A pantry door opened, and kitchen staff shouted above the blare of music from the terrace. A waiter sang to himself, setting silver cruets on a trolley, ignoring me when I returned to the staircase.

The next floor appeared to be disused, teak barriers shutting off the unlit corridors. I moved up the steps to the third floor, where the landing opened into a large reception suite, chandeliers glowing from the high ceiling. Voices, masculine and multilingual, sounded nearby. In a side chamber a lacquered table was laid with maps and aerial photographs, and I stopped to examine a detailed projection of the Var plain between Nice and Grasse. Ground leases marked out in red crayon defined the planned expansion of Eden-Olympia into a vast urbanization larger than Cannes itself.

In front of me, open connecting doors gave onto a formal drawing room. A television set stood on a blackwood table, watched by a man in evening dress sitting on a gilt chair. Without turning, he raised a hand and beckoned me into the room. I walked towards my reflection in the mantelpiece mirror, crèpe tie hanging from the soft collar of Frances 's shirt like a poet's cravat.

'Come in, Paul… I was hoping you'd find me here.'

Wilder Penrose greeted me affably, lifting his huge body from the chair. As always, I was struck by how pleased he was to see me. He stood up and embraced me, hands patting the pockets of my dinner jacket as if searching for a concealed weapon. He tapped my cheek with his open palm, forgiving me for the mild subterfuge that had given me access to the villa. Once again I realized that my role was to play the naive and impressionable younger brother.

'Do join me, Paul.' He pointed with the remote control to a nearby chair. 'How's the party?'

'Hard work. I should have borrowed a wheelchair. Did the footman tell you that I was on the way up?'

'Security, Paul – we're obsessed by it. You walk in wearing an assassin's suit and ask for the chairman. You're lucky you weren't shot dead.'

'I'm looking for Jane. She's here somewhere.'

'She's resting in one of the bedrooms. I'll explain where to find her.' Penrose turned back to the television screen. 'Have a look at this footage before you go. Handheld cameras are so jerky, but you get a sense of what's happening.'

'Recent… therapy classes?'

'Of course. The teams are doing well.'

He pressed the remote control. Propelled by the fast-forward button, a sequence of violent images rushed past, a confused medley of accelerating cars, running feet, doors being hurled from their hinges, startled Arabs in alcoves and shocked women staring across dishevelled beds. The sound was turned down, but I could almost hear the screams and truncheon thuds. Headlights veered across an underground car park, where a trio of olive-skinned men lay on the concrete floor, pools of blood around their heads.

'Brutal stuff…' Penrose grimaced with distaste and switched off the video, relieved to see the blank screen. 'It's getting more difficult to steer the therapy classes. We've seen enough.'

'Don't stop on my account.'

'Well… I don't think you should watch too much. It's bad for your morale.'

'I'm touched. This must be the only censored film showing in Cannes. All the same, you're looking at some really nasty clips.'

'Context, Paul. You have to see it within its therapeutic frame. Routine heart surgery can easily resemble something out of a nightmare. Camcorder film is misleading – it's hungry for the colour red, so it turns everything into a bloodbath.' Aware that he was trying too hard to convince me, he said: 'It's in a good cause – Eden-Olympia and the future. Richer, saner, more fulfilled. And vastly more creative. A few sacrifices are worth it if we produce another Bill Gates or Akio Morita.'

'The victims will be glad to hear it.'

'Do you know, they might. Petty criminals, clochards, Aids-riddled whores – they expect to be abused. We're doing them a good turn by satisfying their unconscious expectations.'

'So it's also therapy for them?'

'Well put. I knew you'd understand. I wish everyone did.' For once, Penrose seemed distracted, openly gnawing at a thumb.

'Keeping a close eye on things can be tricky. I sense a change of direction. Too many of the teams are starting to treat the therapy classes as sporting events. I try to explain that I'm not interested in running a football league. It's their imaginations I want them to use, not their boots and fists.'

'Zander would agree with you. He thinks you're infantilizing them.'

'Zander, yes… his idea of crime comes with a secret Swiss account number. He can't understand why we're developing all this expertise and not putting it to good use. In some ways he's rather dangerous.'