Plot
A homeless man calling himself "Mister" enters the offices of the Washington DC law firm Drake & Sweeney and takes many of the lawyers hostage. Although he is eventually shot by a police sniper and the hostages freed, one of the hostages, an antitrust lawyer named Michael Brock, is concerned by what he has learned and feels compelled to investigate further. He finds his way to the 14th Street Legal Clinic, where he meets Mordecai Green, an advocate for the homeless, who asks him to help one night at a homeless shelter. As Brock's investigation deepens, he finds that his own employer was complicit in an illegal eviction, which eventually resulted in the death of a young homeless family. He takes a confidential file, intending to copy it, but is quickly suspected of its theft. Shocked by what he has found, Brock leaves his firm to take a poorly-paid position with the 14th Street Legal Clinic, which works to protect the rights of the homeless. This leads to his wife divorcing him. He admits one of his clients, Ruby, to a therapy class for drug-addicted women, and in the process meets Megan, the Brock's love interest. As Drake & Sweeney comes after Brock with theft and malpractice allegations, the Clinic launches a lawsuit against the law firm and its business partners. Terrified of the certain bad publicity, the matter is settled by mediation and the clinic receives a large payout to be shared with the victims of the eviction. Drake & Sweeney's head partner, deeply troubled by the events, offers to make pro bono staff available to assist the work of the Clinic in fighting for the rights of homeless people. The book ends with Brock taking a short vacation with Megan and Ruby, and them reflecting on their lives.
Read more about this topic: The Street Lawyer
Famous quotes containing the word plot:
“Those blessed structures, plot and rhyme—
why are they no help to me now
I want to make
something imagined, not recalled?”
—Robert Lowell (1917–1977)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)