Chapters (86)
- Cover
- Dedication
- Epigraph
- Prologue
- Chapter 1
- Chapter 2
- Chapter 3
- Chapter 4
- Chapter 5
- ThursdayChapter 6
- Chapter 7
- Chapter 8
- Chapter 9
- FridayChapter 10
- Chapter 11
- Chapter 12
- Chapter 13
- SaturdayChapter 14
- Chapter 15
- Chapter 16
- SundayChapter 17
- Chapter 18
- Chapter 19
- MondayChapter 20
- Chapter 21
- TuesdayChapter 22
- Chapter 23
- Chapter 24
- Chapter 25
- Chapter 26
- Chapter 27
- Chapter 28
- Chapter 29
- Chapter 30
- Chapter 31
- Chapter 32
- Chapter 33
- Chapter 34
- Chapter 35
- WednesdayChapter 36
- Chapter 37
- Chapter 38
- Chapter 39
- Chapter 40
- Chapter 41
- Chapter 42
- Chapter 43
- Chapter 44
- Chapter 45
- Chapter 46
- Chapter 47
- Chapter 48
- ThursdayChapter 49
- Chapter 50
- Chapter 51
- Chapter 52
- Chapter 53
- Chapter 54
- Chapter 55
- Chapter 56
- Chapter 57
- Chapter 58
- Chapter 59
- Chapter 60
- Chapter 61
- FridayChapter 62
- Chapter 63
- Chapter 64
- Chapter 65
- Chapter 66
- Chapter 67
- Chapter 68
- Chapter 69
- Chapter 70
- Chapter 71
- Chapter 72
- Chapter 73
- Chapter 74
- Chapter 75
- Chapter 76
- Chapter 77
- Epilogue
- Acknowledgments
- About the Author
- Also by Greg Iles
- About the Publisher
A look of nostalgia comes into his face. “The Rialto in DeRidder, Louisiana. I saw a lot of pictures in that grand old dame of a theater. Good ones, bad ones, just okay.”
A worm of fear is turning in my belly. Has my father lost his grip on reality? “Dad, what the fuck are you talking about?”
“I’m trying to set you straight, son.”
“About what?”
“You’re confused about what kind of movie you’re in.”
“What kind of movie . . . ?”
“Yes. This isn’t a mystery. It’s not a whodunit, with Margaret Rutherford playing Miss Marple. I’m the killer.”
“Dad, for God’s sake—”
“This isn’t even film noir,” he goes on. “It’s a western, Penn. It always was. With black hats and white hats. Well . . . maybe my hat is gray. Like Henry Fonda’s in his later years.”
I get up from the table and walk toward the door. His words are so maddening that I want to get physically away from him. Halfway to the door, I stop and turn back. “If you killed Viola . . . why even go through this trial? Why not plead guilty, take your sentence, and live out your last year or two of life in jail?”
He apparently takes my question very seriously. “I’ve thought about that. A great deal, in fact. But I can’t do that to your mother. Or to Annie. What I do now, I’m doing for them.”
Right. Tom Cage, the family martyr.
“You said your motive was between you, Viola, and God. But you don’t believe in God.”
This time his smile is sad. “That was only a figure of speech. What I meant was, it’s between Viola and me—and she’s gone now. When I go, my motive will be lost to history, just as it should be.”
Maybe I’m not listening with the proper detachment, because his words hit me like a slap in the face. “That’s great, Dad. Only you don’t live in a vacuum. The decisions you make have consequences for the rest of us. Terrible consequences.”
“I know. I’ve learned that, if nothing else. If you’d let me—”
I hold up my hand again, and this time, mercifully, he stops. But when the doorknob is in my hand, he says, “I’m so sorry for everything, son. I mean that.”
Without turning back, I say, “Is that what you said to your other son? To Lincoln?”
When he doesn’t reply, I look back.
“Yes,” he says finally, and then he shakes his head in resignation.
At these words, something in my mind simply shuts down. There’s only one thing left to say.
“Good-bye, Dad. I won’t be coming back before the trial.”
And I leave him.