"You're a little late, boys," Leo says, pointing at the body behind the desk. "He got past you."

The cops gape at the corpse on the floor. Without his John Deere cap Presley looks like a hundred-year-old man with three eyes.

"Goddamn," says one of the cops in an awed voice. "Ain't that Ray Presley?"

"I'll be damned if it ain't," says his partner. "You were right, Judge."

"It's a good thing I was ready for him," Leo says. "He got off a shot, hit me in the gristle. But I nailed him. You'd better call the chief, Billy, so we can get this mess straightened out. I've got to be in court tomorrow."

The cop called Billy starts around the desk to examine Ray more closely, but Leo says: "Why don't you use the hall phone?"

Billy stops. "Sure thing, Judge."

"When you're done talking to the chief, y'all come back and drag this piece of trash out of here for me."

Billy bites his lip. "Well… it's a crime scene, Judge. We can't move anything. You know that."

"It's more of a crime to have this bastard bleeding all over my Bokara rug."

"Um," says Billy's partner, the one who stopped Livy and me outside. "Is your daughter okay?"

"She's fine," says Leo, though Livy is standing like a statue near the door. "A little squeamish. All the blood, you know."

An absurd laugh escapes my lips. Livy is about as squeamish as a fur trapper.

After Billy and his partner leave the study, Leo walks back behind his desk and sits in his chair. "Penn," he says, using my Christian name for the first time in two decades. "I was wrong to blame you all those years for what happened to Livy. I see that now."

"That's why you went after my father?" I ask, making sure. "Because of me?"

He nods. "I was wrong to do that too. It's a hard thing to accept after all this time. I guess Livy bears the ultimate responsibility." He gives me a fatherly look. "You call your girl at the newspaper and tell her to run that apology. We'll end this thing like gentlemen, and save the town a hell of a lot of misery."

"I might do that," I say quietly. "If you were a gentleman."

His eyes narrow.

"But since you're an amoral, hypocritical, heartless bastard, I won't. Tomorrow you're going to be indicted for capital murder in the death of Del Payton."

I turn away from him and walk toward the door.

"Goodbye," I say, touching Livy's hand. "Don't think twice about Presley. You did the world a favor. I'll tell it just the way your dad wants it." I squeeze her hand, then pause and kiss her lightly on the cheek.

She says nothing at first, but as I move away she says, "Penn, I can't let you take that file."

"What?" Leo says, his voice instantly alive with suspicion. "What file?"

"I showed him your safe. I was angry. Penn, please give me the envelope. I can't help you destroy my father. Not like that. Not after all that's happened."

I reach for the doorknob, wondering how far she'll go to stop me.

"She won't shoot you, Cage. But I will."

I don't know if he'd shoot me in the back or not. But I have a daughter waiting for me at home. And I will not bet our future on the honor of Leonidas Marston.

Turning to face him, I untuck my shirt, slip the Hoover file out of my pants, and toss it toward him. There's a flutter of papers as the letters scatter across the desk and floor. I start to leave, but then I bend down and lift the fallen wine bottle from the Bokara. It survived the impact with Presley's skull, though most of the wine has spilled out. Glancing back at Livy, I invert the bottle and pour the remaining wine onto the desk, splashing the red fluid across Hoover's personal missives to Leo.

"Pretend it's our lost bottle," I tell her. "You two were made for each other."

I reach for the brass knob, open the door, and walk out into the hall. The last thing I hear is Leo's voice floating after me:

"See you in court."

CHAPTER 39

An hour before jury selection in the slander trial of Penn Cage, the police blocked motor-vehicle access to the streets surrounding the Natchez courthouse. The television vans had already been let through, at least eight, despite the fact that only crews from CNN and the black-owned Jackson station would be allowed inside the courtroom.

Judge Franklin's decision to allow cameras in her court was a landmark in Mississippi jurisprudence, and she had carefully defended it in her pretrial order. Besides stating that Marston v. Cage was a civil case and that both parties to the suit had agreed to have the proceedings televised, Franklin observed that community interest in the Payton murder-which was the central issue of the trial-was at such a pitch that the "window into the court" provided by the news camera could go a long way toward fostering the perception of fair and impartial justice.

The police roadblocks did nothing to limit the crowds outside the courthouse. Caitlin's newspaper account of the deaths of Ike Ransom and Ray Presley had electrified the city. Black families laid out blankets beneath the oak trees on the north lawn, and endured without complaint the desultory showers that had fallen since dawn. The whites stood mostly on the south lawn, huddled under umbrellas with Calvinist stoicism. The division was not solely racial; there was intermingling at the edges of each crowd, but for the most part a natural segregation had occurred. Police officers milled through the throngs, watching for verbal altercations that could all too easily spark violence under the circumstances.

None of this concerned me as I entered the courthouse flanked by two sheriff's deputies. All I could think about was Dwight Stone. Except for the strange call Caitlin had received yesterday, saying that Stone's dead FBI partner would be at the trial, I'd heard nothing. This morning Caitlin picked up a story off the AP wire saying that four unidentified men had been found dead in the mountains near Crested Butte, Colorado. This buttressed my hope that Stone had at least survived our encounter by the river, but many hours had passed since then. I tried calling his daughter several times but had no luck. Dwight Stone seemed to have vanished from the face of the earth.

In a city with over six hundred antebellum buildings, more than sixty of which are mansions, one might expect the courtrooms to be marvels of architectural splendor, spacious and high-ceilinged, paneled with oak and smelling faintly of lemon oil. In fact, while the original Natchez courthouse was built in 1818, and has been expanded several times since, its second-floor courtrooms are small compared to those in Houston, and surprisingly functional in character.

The circuit court has seven rows of benches for spectators, with another six in an upstairs balcony at the rear, several of which have been co-opted today by the cameras of CNN and WLBT. Viewed from the rear door, the jury box stands against the right wall, with the door to the jury room in the far right corner. The witness box stands to the right of the judge's bench and, awkwardly, a little behind it, attached to the rear wall. The judge's bench is set on a dais at the center, with desks for the court reporter and circuit clerk extending forward into the room at right angles to the bench. The reporter sits on the right, the clerk and his deputy on the left. Beyond the clerk's desk on the left is a large, open space for the presentation of exhibits. The lawyer's tables stand just beyond the bar, not far separated from the clerk's and reporter's desks, with the podium beside the table on the right. The only touches of Southern atmosphere are the white capitals of the Doric columns visible through the windows behind the judge's bench, and the intertwining oak branches beyond them, which give an unexpected airiness to the otherwise close room. And then there is the clock on the wall. Symbolically enough, it has no hands, and I am reminded of Carson McCullers's dark and poignant novel. She would feel right at home in the midst of the strange and tragic case that has brought us here today.