She says it's good. "But—"

"The answer is yes, she wanted it badly enough to murder him. Remember, Emma, this is supposed to be her big follow-up hit. She's already promised it to the label—a title cut, co-written with her famous ex-rocker husband. But Jimmy says, 'Sorry, darling, this one's mine,' and all of a sudden Cleo sees her Grammy going down the bidet ... "

I'm so wired, so stoked by what Tito Negraponte told me, that I'm yammering at Emma like some hyper-caffeinated auctioneer. "Cleo's under incredible heat to put out an album before people forget who she is. That's the record business—blink twice and you're over. There's no ten years down the road, or even five years down the road. Not anymore. Plus, Cleo knows she'd better come up with a new pose, something that makes her look like a sensitive artisteinstead of just another big-eyed anorexic brat."

"This song's not exactly her style," Emma says. Like every other human under thirty, she has seen the widow's stripteasy performance of "Me" on MTV.

"Cleo's 'Shipwrecked Heart' won't sound anything like this by the time Loreal gets through with it," I explain. "He'll muck it up with synthesizers and a brainless dance mix, but so what. Cleo doesn't care about the music, she cares about the sell. In her head she's already storyboarding the video."

Emma flinches. "I can see her now. A scantily clad castaway on a long, deserted beach ... "

"Bingo. Problem is—and this was painfully obvious at the funeral—she can't do the song until she learnsthe song. And she can't learn the song until she gets her hands on the recording—"

"But that's not the only reason she wants it," Emma cuts in.

"Right. What we found on Jimmy's boat is your basic smoking gun." Even if Cleo got a copy and dubbed her own vocals, she couldn't release it as long as the master is floating around. If Jimmy's original ever surfaced, Cleo would beon the next train to Milli Vanilli-ville. Toast.

Because stealing from your dead spouse is not cool, even in the music industry.

"So now," Emma says, "Cleo's hunting down everyone who might have the hard drive, or know where it is—you, Jay Burns, Jimmy's sister, even this Tito guy. And the other bass player probably would've been next, if he hadn't run."

"That seems to be the scenario."

"Question is, how do we get all this in the paper?" Emma is sounding more and more like a serious news editor.

"First, I've got to make sure we're right," I say, "and I'll know that in about twelve hours."

"How?"

"Just you wait."

"Ah. The man of mystery."

"Yes, it drives the babes crazy."

"How about playing that song again," Emma says.

"You need to sleep."

"One more time, Jack. Come on."

So I turn off the lights and Emma makes a place for me in the armchair, and we snuggle there in the faint green glow of the disc player and listen again to "Shipwrecked Heart." Halfway through, Emma grabs the back of my head and kisses me in an arresting manner. This continues as she scissors a bare leg across my lap, adroitly pivots her hips and climbs on top.

Maybe it's the late hour, or maybe it's Jimmy's song. Either way, I owe him.

When a newspaper is purchased by a chain such as Maggad-Feist, the first order of business is to assure worried employees that their jobs are safe, and that no drastic changes are planned. The second order of business is to attack the paper's payroll with a rusty cleaver, and start shoving people out the door.

Because newspaper companies promote the myth that they're more sensitive and socially responsible than the rest of corporate America, elaborate efforts are made to avoid the appearance of a bloodbath. Mass firings are discouraged in favor of strong-armed buyout packages and accelerated attrition. At the Union-Register,for instance, our newsroom has sixteen fewer full-time employees today than it had when Race Maggad III got his manicured mitts on the paper. That's nearly a thirty percent cut in the city-desk payroll, and it was achieved mainly by not replacing reporters and editors who left to work elsewhere. Consequently, lots of important news occurs that we cannot possibly keep up with, due to a shortage of warm bodies.

Two years ago we lost a terrific reporter named Sarah Mills to Timemagazine, which was probably inevitable. Sarah had done outstanding work covering the charmingly crooked municipality of Palm River, and her stories had kept two grand juries occupied for a whole summer. Ultimately three city councilmen were marched off to jail, while the vice mayor fled to Barbados with the comptroller and $4,777.10 in stolen parking-meter receipts.

So we were all disappointed to see Sarah go, though we were glad for her success. Weeks passed, then months, and still no one was named to fill her job, leading to speculation that the job no longer existed. Sure enough, the reporter who covered Beckerville was asked to "temporarily" pick up the Palm River beat as well. Unfortunately, the city councils of both towns met every Tuesday night and, unable to be in two places at once, our harried correspondent was forced to alternate his attendance.

The politicians in Beckerville and Palm River aren't exceptionally astute, but they soon figured out that every other meeting was pretty much a freebie and composed their venal agendas accordingly. In short order both city councils raised property taxes, hiked garbage fees, rezoned residential neighborhoods to accommodate certain special interests (a tire dump in Beckerville; a warehouse park in Palm River), and then rewarded themselves with hefty pay raises. All of this was timed to occur when our overworked reporter was absent, covering the other town's meeting. He dutifully alerted his editor, who said nothing could be done. Maggad-Feist had imposed a hiring freeze at the Union-Register,and Sarah's position was to remain open indefinitely.

Eventually the Beckerville/Palm River reporter got so frazzled that he, too, left the paper. Both his beats were promptly heaped upon the reporter assigned to cover the Silver Beach city council, which, in a foul stroke of fate, also met on Tuesday nights. For the corrupt politicians in our circulation area, it was a dream come true. While Maggad-Feist was racking up a twenty-three percent profit, the unsuspecting citizens of three communities—loyal Union-Registerreaders whom MacArthur Polk had promised to crusade for—were being semi-regularly reamed and ripped off by their elected representatives, all because the newspaper could no longer afford to show up.

The priorities of young Race Maggad III became clear when out of the blue he announced that the headquarters of Maggad-Feist was moving from Milwaukee to San Diego. A corporate press release said the purpose of relocating was to capitalize on the dynamic, high-tech workforce in California. The truth was more banal: Race Maggad III wanted to live in a climate where he could drive his German sports cars all year round, far from the ravages of Wisconsin winters (the annual salt damage to his Carrera alone was rumored in the five figures). So Maggad-Feist picked up and moved its offices to San Diego at a cost to shareholders of approximately $12 million, or roughly the combined annual salary of two hundred and fifty editors and reporters.

The chain's methodical skeletonizing of its newsrooms affected even Emma's career trajectory. She was hired at the Union-Registeras a copy editor and swiftly promoted to assistant city editor, with the promise of more big things to come. Then the editor of the Death page unexpectedly dropped dead of a heart attack. This happened while he was on the phone with an irate funeral-home proprietor who was complaining about an ill-worded headline that had appeared above the obituary of a retired USO singer (Mabel Gertz,77, Performed Acts for Many GIs).The stricken editor expired silently and perpendicular, the telephone receiver wedged in the crook of his neck. Nobody noticed until an hour after deadline.