Cute bobmy moment

To change the subject, I talk with him about the concert and the extraordinary feeling I had during 10:15. Then, he lances into a completely smithian monologue, addressed to me at first, but then he turns towards Mary who is sitting in front of us. Mary is dressed all in white, in clothes with a Hindu air: t-shirt robe over long, wide pants and high heels. She actually evokes one of those beautiful Anglo-Orientals from James Ivory movies, with her very luminous skin and big black eyes on a face like a Persian miniature. Robert is in the middle of explaining to her the feelings that he had while playing that famous 10:15: “I was going higher, it was so strange, I was feeling so many things rushing over me and it was like… like…" During these explanations and analyses, hermetical for those who don’t speak smithian, Mary keeps looking at him, drinking his words with the air of entirely understanding him. Before those eyes, so eloquent and besides so beautiful, Smith falls silent, stops and dives into Mary’s eyes, just like she dives into his. The stay like this for an eternity, looking at each other, until I try a silly Americanism like "Don’t tell me you’re in love, nobody will believe you!" but this joke, instead of causing a smile or the polite embarrassment that an unskillful compliment can bring, on the contrary provokes a reinforcement of the almost religious atmosphere caused by their shared look. They contemplate each other with even more intensity (as if that was possible) and Robert extends his hand towards Mary, who in turn extends hers. The two hands join and stay together a very very long moment. It is the emotional crowning of an evening where the artists, the public, the countless technicians, security people and organizers have created one of these celebrations whose image remains engraved into your memory, very powerfully..

— L’equerre magazine 1986