Chris had never been a good liar. His father hadn't either. Buddy Shepard never earned much money, but he had earned respect wherever he worked, and he'd passed his integrity on to his son. Integrity wasn't an easy thing to maintain, Chris had found, in a world that ran according to the laws of human nature.

Walking down the dark path between his house and the remodeled barn behind it, he wasn't even sure what the right thing was. His tread was heavy, and he took no joy in his surroundings, which had always been a source of pride. After moving to Natchez, he had used a chunk of his savings to buy a large house sited on twenty acres of the former Elgin plantation, an estate south of town that predated the Civil War. Despite its isolation, the house was only five minutes from Ben's school and less than ten minutes from both Natchez hospitals. Chris couldn't see how this situation could be improved upon, but Thora had long wanted to move to Avalon, a trendy new subdivision springing up farther south. Red Simmons had always resisted this desire, but after several months of discussion Chris had finally given in, conceding that in the new neighborhood Ben would have more friends living nearby.

Their house in Avalon-he privately called it the McMansion-was three-fifths finished. Thora was personally overseeing construction, but Chris rarely visited the site. He had been raised in a series of rural towns (his father had worked for International Paper, and they were transferred every couple of years), and he believed that growing up in the country had played a large part in forging his self-reliance. He knew that Ben would benefit from a similar environment, and for this reason he had privately decided not to sell this land when they moved to Avalon.

A large building appeared before him in the darkness, but its rustic exterior belied its real purpose. Chris had remodeled this barn himself, converting it into a video production studio to house the technology of his avocation-his "camera hobby" as Thora called it, which bothered him more than he admitted. He unlocked the door and walked into his main production room, a haven of blond maple and glass, spotlessly clean and kept at sixty-five degrees for the health of the cameras, computers, and other equipment. Simply entering this room elevated his mood. Booting up his Apple G5 did even more. In this room he could leave the thousand importunities of daily life behind. Here, he actually had control over what he was doing. And deep down, he felt that he was doing something great.

Chris had gotten into filmmaking during college, where he'd worked on several documentaries, two of which had won national awards. During medical school, he produced a documentary called A Day in the Life of a Resident. Shot with a hidden camera, this digital video had almost ended his medical career before it began. But after a fellow student sent the tape to a national news network, it had ultimately contributed to the limiting of work hours for medical residents. Once Chris began practicing medicine for real, though, he'd found that he had little time for filming anything. Medicine offered many rewards, but spare time wasn't one of them.

But last year, after associating with Dr. Tom Cage, an old-time general practitioner in Natchez, Chris had discovered a way to combine his vocation with his avocation. After close observation of his new partner, Chris began work on a documentary about the decline of traditional primary-care medicine. And Mississippi, which was ten years behind the rest of the country in most things, was the perfect place to do that.

Tom Cage was one of those doctors who would spend a full hour listening to a patient, if a sympathetic ear was what that patient needed most. Seventy-three years old, Tom suffered from several serious chronic diseases; and as he often admitted, he was sicker than many of his patients. But he still worked eighty-hour weeks, and when he wasn't working, he was reading journals to stay up on the latest standards of care. Dr. Cage frequently touched patients during his exams, and he paid close attention to what he felt. Most important, he questioned patients deeply about not only their specific symptoms, but also other areas of their lives that might yield clues to their general health. He thought about his fees in terms of trying to save his patients money (and thus he was not rich), and he never thought about the dozens of patients-many of them walk-ins-waiting to see him. Tom Cage stayed at his office until the last patient was seen, and only then did he declare his workday done.

For Chris, who had begun his private-practice career in a group of internists his own age, Dr. Cage's methods had come as a profound shock. To physicians of Chris's generation, a good practice meant high pay, short working hours, and an abundance of partners to take call, so that one night a week was the most you had to worry about phone calls from patients. Chris's former partners practiced defensive medicine, ordering every lab test remotely relevant to every patient's symptoms, but spending as little time as possible with those patients, all in the hallowed name of gross income. This kind of practice was anathema to Tom Cage. A system geared toward the convenience and gain of the physician was the tail wagging the dog. Dr. Cage saw medicine as a life of service: a noble calling, perhaps, but still a life of service. And that, Chris believed, was worth documenting for posterity.

Deep down, he shared a lot of Tom's feelings about modern medicine. His own ideas of service had cost him his first wife, and he had been cautious in love after that. Only after Thora Rayner entered his life had Chris felt emboldened to take such a risk again. For this reason, Agent Morse's visit had disturbed him more than it might have another man. Chris had fundamentally misjudged his first wife, and to admit that he might have done the same thing a second time would be hard. In fact, he reflected, the niggling worries that had surfaced during baseball practice were just that-inconsequential peeves. Every adult went through personality changes, and the first year of a marriage was always a time of adjustment. That Thora had started spending more money than she used to, or wearing tighter clothes, meant nothing in the grand scheme of things.

Chris opened the studio's refrigerator, poured a nearly freezing shot of Grey Goose, and drank it off. Then he sat down before his G5, opened Final Cut Pro, and began reviewing some scenes he'd filmed last week. Shooting directly to hard drives from his Canon XL2S meant that he wasted no time dumping footage from tape to his computer. Unfolding before him now was an interview with Tom Cage and a black woman who had been his patient since 1963. That woman now had a great-great-granddaughter, and that little girl was playing at her feet. Tom preferred not to treat children anymore, but this woman had refused to take her "grandchild" to any other doctor. Chris had more recent experience with pediatrics than Tom did, and he'd been proud to help in evaluating the child's high fever (which Tom had feared might be meningitis).

As the old woman spoke about Dr. Cage traveling to her home one night during the blizzard of 1963, Chris felt a strange tide of emotion moving through him. Until this morning, when Agent Morse had subversively entered his life, he'd felt more content than he had since childhood. His father had been a good man, but he'd rarely pondered life's deeper mysteries. In Tom Cage, Chris had found a mentor with a wealth of knowledge to pass on, but who did so without pretense or didacticism, almost like a Zen master. A trenchant question here, a small gesture while a patient's attention was elsewhere-in this unassuming way, Tom had been turning Chris into more than a first-class internist: he was turning him into a healer.