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.