"Medium well," Saul said, wondering why his mind was wandering in such odd directions. ("Odd erections," somebody said in the nearby dark- or was it a distorted echo of his own voice?)

"Medium well," the bunny repeated, seemingly speaking to the wall. A medium wall, Saul thought.

Immediately the wall opened and Saul was looking into a combination kitchen and butcher shop. A steer was standing not five feet from him, but before he could recover from this shock a male figure, stripped to the waist and wearing the hood of a medieval executioner, caught his attention. With one stroke of a huge hammer, this figure knocked the steer unconscious and it fell to the floor with a crash. Immediately the executioner produced an axe and chopped its head off; blood gushed in a crimson pool from its neck.

The wall closed, and Saul had the terrifying feeling that the whole scene had been a hallucination- that he was losing his mind.

"All our lunches are educational today," the bunny said in his ear. "We believe every customer should understand fully what's on the end of his fork and how it got there, before he takes a bite."

"Good God," Saul said, getting to his feet. This wasn't a Playboy Club, it was some den of lunatics and sadists. He stumbled toward the door.

"No way out," a man at another table said softly as he passed.

"Saul, Saul," the maitre d' murmured politely, "why dost thou persecute me? Hab' rochmunas."

"It's a drug," Saul said thickly, "you've given me a drug." Of course, that was it- something like mescaline or LSD-and they were guiding his hallucinations by providing proper stimuli. Perhaps they were even faking some of the hallucinations. But how had he fallen into their hands? The last thing he remembered, he was in Joe Malik's apartment with Barney Muldoon… No, there was a voice saying, "Now, Sister Victoria," as they came out the door onto Riverside Drive…

"No man should marry a woman more than thirty years younger than himself," the maitre d' said mournfully. How did they know about that? Had they investigated his whole life? How long had they held him?

"I'm getting out of here," he shouted, pushing the maitre d' aside and bolting for the door.

Hands grasped for him and missed (they weren't really trying, he realized: he was being allowed to reach the door). When he plunged through the doorway, he realized why: he was not on the street but in another room. This was the next ordeal.

A rectangle of light appeared on the wall; somewhere in the darkness there was a projector. A card, light an old silent-movie caption, appeared in the rectangle. It said:

ALL JEW GIRLS LIKE TO BALL WITH BUCK NIGGERS

"Sons of bitches," Saul shouted back at them. They were still working on his feelings about Rebecca. Well, that would get them nowhere: he had ample reason to trust her devotion to him, especially her sexual devotion.

The card moved out of the rectangle, and a picture appeared in its place. It was Rebecca's, in her nightgown, kneeling. Before her stood a naked and enormous black man, six feet six at least, with an equally impressive penis which she held sensuously in her mouth. Her eyes were closed in bliss, like a baby nursing.

"Motherfuckers," Saul screamed. "It's a fake. That's not Rebecca- it's an actress with makeup. You forgot the mole on her hip." They could drug his senses but not his mind.

There was a nasty laugh in the darkness. 'Try this one, Saul," a voice said coldly.

A new picture slid into view: Adolph Hitler, in full Nazi uniform, and a naked Rebecca backing up to him, taking his penis in her rectum. Her face showed both pain and pleasure- and the mole on her hip was visible. Another fake- Rebecca was born years after Hitler died. But they hadn't produced the slide in the thirty seconds after his shout, and that meant they knew her body, intimately… And they also knew how skeptical and quick his mind was, and were prepared to administer a series of jolts until something got past his ability to doubt.

"No comment?" the voice asked mockingly.

"I don't believe a man who died thirty years ago would be buggering any woman today," Saul said dryly. "Your tricks are kind of corny."

"Sometimes, with the vulgar, we must communicate vulgarly," the voice replied- and it was almost gentle and pitying this time.

A new picture appeared- and this time, without doubt, it was Rebecca. But it was Rebecca three years ago, when he first met her. She sat at a table in a cheap East Village pad, wearing the emaciated and self-pitying look he remembered from those days; and she was preparing to inject a needle in her arm. It was the real thing, but the terror was in its implications: they had been watching him that long ago. Perhaps- it was hard to date the picture precisely, although he remembered her apartment in those days- they even knew he would fall in love with her before he knew it himself. No; more likely, a friend of hers in those days had taken the picture and they had somehow found it when they became interested in him. Their resources must be fantastic.

A new card came on the screen;

ONCE A JUNKIE ALWAYS A JUNKIE

A new picture quickly followed: Rebecca, as she looked today, sitting in his kitchen- with the new cafe curtains they had just hung last week- once again injecting a needle into her arm.

"You're the vulgar ones, O mighty Illuminati," Saul said caustically. "I would have noticed the tracks on her arm, if she was shooting up again."

The answer was nonverbal: the picture of Rebecca and the giant black man came back on the screen, and was immediately followed by a close-up of her face, eyes closed, mouth open receiving the penis. It was in perfect focus, the work of an artist with the camera, and he could see no sign of any makeup that would help another woman to pass as Rebecca. He held to his memory that the mole on her hip was missing, but, perversely, his mind tasted at last the other possibility- makeup can change a face, and it can also hide a mole… If they wanted him to use his skepticism, so that they could gradually destroy that, and, in the process, undermine his total psyche… Another sign came on the screen:

THAT WE CAN CALL THESE DELICATE CREATURES OURS BUT NOT THEIR APPETITES

Saul remembered, all too well, Rebecca's passion in bed. "Shakespeare," he called hoarsely. "Advertising your erudition at a time like this is worse than vulgarity. It's petit-bourgeois pretentiousness."

The answer was brutal: a whole series of slides, maybe fifteen or twenty in all, cascaded across the screen in such rapid succession that he couldn't examine them carefully, except that the central character was Rebecca, always Rebecca, Rebecca with the black giant in other sexual positions, Rebecca with another woman, Rebecca with Spiro Agnew, Rebecca with a little seven-year-old boy, Rebecca, Rebecca, in a rising crescendo of perversion and abnormality, Rebecca with a Saint Bernard dog- and a peppermint-colored sine-wave, part of the drug still working on him, cutting across the scene…

"The true sadist has style," Saul gasped fighting for control of his voice. "You people are about as evil and frightening as a bad B-movie."

There was a whirring mechanical sound and a movie began in place of the slides. It was Rebecca and the Saint Bernard, with several close-ups, and her expressions were the ones he knew. Could any actress portray another woman's individual style of sexual response? Yes- if necessary, these people would use hypnosis to get the effect letter-perfect.

The movie stopped abruptly and the projector had another message for him, held on the screen for minutes: