Bright Lights, Big City

"Don't forget lunch."

Down on the street, you clamp your sunglasses to your face and wonder where to go. An old question, it seems to come up more and more frequently. You've lost whatever bravura you possessed a few minutes ago. It's just begi

You go over and listen to the sidewalk guitarist. He's playing blues, and every phrase is aimed directly between your third and fourth ribs. You listen to "Ain't Got No Home," "Baby Please Don't Go," "Long Distance Call." You turn away when he starts into "Motherless Children."

On Forty-second near Fifth a kid falls into stride beside you.

"Loose joints. Genuine Hawaiian sens. Downers and uppers."

You shake your head. The kid looks all of thirteen.

"Got coke. Got coke if you wa

"How much?"

"Fifty dollar the half."

"Half what? Half borax and half ma

"Pure stuff. Uncut."

"Sure thing. Thirty-five."

"I'm a businessman. Not a fie-lanthropuss."

"I can't do fifty."

"Forty-five. You're robbing me."

You follow the kid into the park behind the library. Look both ways before you enter. His brother may be waiting with a baseball bat. Two elderly male civilians are throwing bread at the pigeons. The kid leads you over to a big tree where he tells you to wait. Then he runs to the other side of the park. You can't believe you're doing this. Encouraging juvenile delinquency. Wasting your money on street toot. The kid comes ru

"I want a taste."

"Shit," he says. "Who you think you are – John DeLorean? You be buying a half. I'm telling you it's good."

The classic standoff. His salesman's smile is disappearing. You suddenly realize you are about to be ripped off, but you hang onto the hope of a buzz.

"Let me see it at least." He walks behind the tree and opens the packet. You're buying some kind of white powder and the weight looks about right, not that this means much. You give him the money. He stuffs it in his pocket and backs off, watching you as he retreats.

As long as you are relatively secluded you figure you'll try some. You use your office key for a spoon. The first taste is like Drano. The second time you're ready for it, and it's not so bad. Still, it feels like your nose is emitting sparks. Whatever the stuff is, you hope it's not lethal. You hope there's something South American in the mix. After bumping yourself up again you fold the packet. You think you can feel a lift coming on. You want to go somewhere, do something, talk to someone, but it's only eleven-thirty in the morning and everyone else in the world has a job.

Much later, near midnight, you return to the office. Tad Allagash is with you. You are both in high spirits. You have decided that you are better off without that piss-ant job, that it is a good thing you got out when you did. A longer tenure in the Department of Factual Verification would have eventually resulted in an incurable case of anal retentiveness. You're well shut of the place. This conclusion does not absolve Clara Tillinghast of her many crimes against humanity, and particularly against you. Tad casts it as a matter of honor. In his part of the country these matters are settled with horsewhips and ivory-headed canes. He says the caning and horsewhipping of libelous editors has a long, dignified history. The present case, however, calls for something more subtle. The better part of the night has been devoted to devising and executing the proper response. Part of the plan involved getting in touch with Richard Fox, the hatchet man, and telling him some of the nasty secrets to which you have become privy after two years at the magazine. You were inclined to let it slide, but Tad appealed to your fighting spirit. He placed the call and got Fox's answering service. He left a message, calling himself Deep Shoat, an inside source, and promised major revelations. He left Clara's number. You proceeded to phase two.

The nightwatchman nods at your employee ID card and tells you to sign the book. You sign in as Ralph Kramden and Ed Norton. Tad explains that your errand is urgent; First Amendment issues are at stake. The watchman is used to writers coming and going at strange hours, and doesn't have the energy to worry about two more drunks. He points to the freight elevator and then goes back to his wrestling magazine. He doesn't even ask about the suitcase.

When the elevator begins to ascend, shrill, birdlike noises issue from the bag. The sound of the animal's distress gives you pause. This is probably a bad idea. You're not particularly worried about Clara, but you feel sorry for Fred the Ferret in his role of unwitting accomplice.

"Pas de sweat," Tad says. "This is almost too easy. Maybe we should have tried for the wolf cub." Initially Tad wanted to get hold of a bat, but when you mentioned the ferret his eyebrows climbed his forehead in delight.

The door opens on the twenty-ninth floor. You both stand inside the elevator, listening. It's quiet. Tad looks at you inquisitively. You nod and step out into the reception area. Tad follows. The whoosh of the elevator doors sounds like a passing freight train. There is a hollow echo of cables and gears, and then it's quiet again. Tad leans over and whispers in your ear, "Take no prisoners."

You lead the way down the hall, carrying the suitcase. Up to the corner all the offices are dark, but you remain anxious. The Druid is known for his insane hours and you briefly picture yourself turning the corner and facing him. You would die of mortification. Still, the challenge of the caper has got your adrenaline going. No thrills without chills. The forty-five-degree mirror at the corner shows no lights on farther up.

Clara's door is locked, but that's no problem. You have a key to the Department office, and a key to her office is hidden behind-what else?-volume K of the Encyclopaedia. Brita