After we hand our passports over for inspection and pick up our bags we are sent in lines to wait for the dog. I sit on my suitcase and pick at the amoebic blob swelling on my wrist. A German shepherd appears, mangy and fierce. He is straining at his leash. He sniffs first one suitcase, then another, then a backpack. The dog comes up to me and shoves his nose into my crotch. Two policemen laugh.

Even inside the terminal it is hot and the sunlight rushing through the windows is fierce and I feel something dangerous beyond the mosquitoes in the swelter about me. I wonder what the hell I am doing in Belize but then I feel the weight of my briefcase in my hand and remember about the hundred million dollars and its story, a story of betrayal and revenge, of intrigue and sex and revelation, a story of murder and a story of redemption and a story of money most of all. Suddenly I know exactly what I am doing here and why.

IT STARTED FOR ME with a routine job in the saddest little room in all of Philadelphia. Crowded with cops and shirt-sleeved lawyers and court clerks and boxes of files, a dusty clothes rack, a computer monitor with plastic wood trim and vacuum tubes like something out of Popular Mechanics circa 1954, it was a room heavy with the air of an exhausted bureaucracy. I was sitting alone on the lawyers’ bench inside that room, waiting for them to drag my client from the holding cells in the basement. My job that morning was to get him out on a reasonable bail and, considering what he was being charged with, that wasn’t going to be easy.

I was in the Roundhouse, Philadelphia Police Headquarters, a circular building constructed in the sixties, all flowing lines, every office a corner office, an architectural marvel bright with egalitarian promise. But the Roundhouse had turned old before its time, worn down by too much misery, too much crime. At the grand entrance on Race Street there was a statue of a cop holding a young boy aloft in his arms, a promise of all the good works envisioned to flow through those doors, except that the entrance on Race Street was now barred and visitors were required to enter through the rear. In through that back entrance, to the right, past the gun permit window, past the bail clerk, through the battered brown doors and up the steps to the benches where a weary public could watch, through a wall of thick Plexiglas, the goings on in the Roundhouse’s very own Municipal Court.

“Sit down, ma’am,” shouted the bailiff to a young woman who had walked through those doors and was now standing among the benches behind the Plexiglas wall. She was young, thin, a waif with short hair bleached yellow and a black leather jacket. She was either family or friend of one of the defendants, or maybe just whiling away her day, looking for a morning’s entertainment. If so, it was bound to be a bit wan. “You can’t stand in the back,” shouted the bailiff, “you have to sit down,” and so she sat.

The defendants were brought into the room in batches of twenty, linked wrist to wrist by steel, and placed in a holding cell, with its own Plexiglas view. You could see them in there, through the Plexiglas, waiting with sullen expectation for their brief time before the bar.

“Sit down, sir,” called out the bailiff in what was a steady refrain. “You can’t stand back there,” and another onlooker dropped onto one of the benches.

“Hakeem Trell,” announced the clerk and a young man sauntered a few steps to the large table before the bench that dominated the room.

“Hakeem Trell,” said Bail Commissioner Pauling, reading from his file, “also known as Roger Pettibone, also known as Skip Dong.” At this last alias Commissioner Pauling looked over the frames of his half-glasses at the young man standing arrogantly before him. There was about Hakeem Trell a.k.a. Roger Pettibone a.k.a. Skip Dong the defiant annoyance of a high school student facing nothing more serious than an afternoon’s detention. Where was the anxiety as he faced imprisonment, the trembling fear at the rent in his future? What had we done to these children? My client wasn’t in the batch they had just brought up and so I was forced to sit impatiently as Commissioner Pauling preliminarily arraigned Hakeem Trell and then Luis Rodriguez and then Anthony O’Neill and then Jason Lawton and then and then and then, one after another, young kids almost all, mainly minority, primarily poor, or at least dressing that way, all taking it in with a practiced air of hostility. Spend enough time in the Roundhouse’s Municipal Court and you begin to feel what it is to be an occupying power.

“Sirs, please sit down, you can’t stand back there,” shouted the bailiff and two men in the gallery arranged themselves on one of the forward benches, sitting right in front of the young blonde woman, who shifted to a different bench to maintain her view of the proceedings.

I recognized both of the men. I had been expecting them to show, or at least some men like them. One was huge, wearing a shiny warm-up suit, his face permanently cast with the heavy lidded expression of a weightlifter contemplating a difficult squat thrust. I had seen him around, he had grunted at me once. The other was short, thin, looking like a talent scout for a cemetery. He had the face and oily gray hair of a mortician, wearing the same black suit a mortician might wear, clutching a neat little briefcase in his lap. This slick’s name was Earl Dante, a minor mob figure I had met a time or two before. His base of operations was a pawnshop, neatly named the Seventh Circle Pawn, on Two Street, south of Washington, just beyond the Mummers Museum, where he made his piranha loans at three points a week and sent out his gap-toothed collectors to muscle in his payments. Dante nodded at me and I contracted the sides of my mouth into an imitation of a smile, hoping no one noticed, before turning back to the goings on in the court.

Commissioner Pauling was staring at me. His gaze drifted up to alight on the mortiferous face of Earl Dante before returning back to my own. I gave a little shrug. The clerk called the next name on his sheet.

In the break between batches, Commissioner Pauling strolled off to what constituted his chambers in the Roundhouse, no desk of course, or bookshelves filled with West reporters, but a hook for his robe and a sink and an industrial-sized roll of paper to keep his chamberpot clean. I stepped up to the impeccably dressed clerk still at the bench.

“Nice tie, Henry,” I said.

“I can’t say the same for yours, Mr. Carl,” said Henry, shuffling through his files, not deigning to even check out my outfit. “But then I guess you don’t got much selection when you buying ties at Woolworth’s.”

“You’d be surprised,” I said. “I’m here for Cressi. Peter Cressi. Some sort of gun problem.”

Henry looked through his papers and started nodding. “Yeah, I’d guess trying to buy a hundred and seventy-nine illegally modified automatic assault weapons, three grenade launchers, and a flamethrower from an undercover cop would constitute some sort of gun problem.”

“He’s a collector.”

“Uh huh,” said Henry, drawing out his disbelief.

“No, really.”

“You don’t gots to lie to me, Mr. Carl. You don’t see me wearing robes, do you? Your Cressi will be in the next batch. I know what you want, uh huh. I’ll get you out of here soon as I can.”

“You’re a good man, Henry.”

“Don’t be telling me, be telling my wife.”

They brought up the next batch of prisoners, twenty cuffed wrist to wrist, led into the little holding cell behind the bench upon which I uneasily sat. In the middle of the group was Peter Cressi, tall, curly hair flowing long and black behind his ears, broad shoulders, unbelievably handsome. His blue silk shirt, black pants, pointed shiny boots were in stark contrast to the baggy shin-high jeans and hightop sneakers of his new compatriots. As he shuffled through the room he smiled casually at me, as casually as if seeing a neighbor across the street, and I smiled back. Cressi’s gaze drifted up to the benches in the gallery, behind the Plexiglas. When it fell onto Dante’s stern face Cressi’s features twisted into some sort of fearful reverence.