of an insurance firm, the sole visible function of which had been to write policies for the ILA and its individual dock-wallopers. For some reason, he had been amused by the brash youngster who'd barged in on him and demanded the lowdown, and had shown me considerable lengths of ropes not normally in view of the public—nothing incriminating, but enough to give me a better insight into how the union operated than I had had any right to expect—or even suspect.

Hence I was surprised to hear somebody on the docks remark that Braun was in the city over the week end. It would never have occurred to me that he still interested himself in the waterfront, for he'd gone respectable with a vengeance. He was still a professional gambler, and according to what he had told the Congressional Investigating Committee last year, took in thirty to fifty thousand dollars a year at it, but his gambles were no longer concentrated on horses, the numbers, or shady insurance deals. Nowadays what he did was called investment—mostly in real estate; realtors knew him well as the man who had almost bought the Empire State Building. (The almost in the equation stands for the moment when the shoestring broke.)

Joan had been following his career, too, not because she had ever met him, but because for her he was a type study in the evolution of what she called "the extra-legal ego." "With personalities like that, respectability is a disease," she told me. "There's always an almost-open conflict between the desire to be powerful and the desire to be accepted; your ordinary criminal is a moral imbecile, but people like Braun are damned with a conscience, and sooner or later they crack trying to appease it."

"I'd sooner try to crack a Timkin bearing," I said. "Braun's ten-point steel all the way through."

"Don't you believe it. The symptoms are showing all over him. Now he's backing Broadway plays, sponsoring beginning actresses, joining playwrights' groups—he's the only member of Buskin and Brush who's never written a play, acted in one, or so much as pulled the rope to raise the curtain."

"That's investment," I said. "That's his business."

"Peter, you're only looking at the surface. His real investments almost never fail. But the plays he backs always do. They have to; he's sinking money in them to appease his conscience, and if they were to succeed it would double his guilt instead of salving it. It's the same way with the young actresses. He's not sexually interested in them—his type 

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