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Chapters (113)
  1. NATCHEZBURNING
  2. GREG ILES
  3. Dedication
  4. Epigraph
  5. PROLOGUE
  6. PART ONE
  7. 1964–1968
  8. CHAPTER 1
  9. CHAPTER 2
  10. CHAPTER 3
  11. PART TWO
  12. 2005
  13. MONDAY
  14. CHAPTER 4
  15. CHAPTER 5
  16. CHAPTER 6
  17. CHAPTER 7
  18. CHAPTER 8
  19. CHAPTER 9
  20. CHAPTER 10
  21. CHAPTER 11
  22. CHAPTER 12
  23. CHAPTER 13
  24. CHAPTER 14
  25. CHAPTER 15
  26. CHAPTER 16
  27. CHAPTER 17
  28. CHAPTER 18
  29. CHAPTER 19
  30. CHAPTER 20
  31. CHAPTER 21
  32. CHAPTER 22
  33. CHAPTER 23
  34. CHAPTER 24
  35. CHAPTER 25
  36. CHAPTER 26
  37. CHAPTER 27
  38. CHAPTER 28
  39. CHAPTER 29
  40. CHAPTER 30
  41. CHAPTER 31
  42. CHAPTER 32
  43. TUESDAY
  44. CHAPTER 33
  45. CHAPTER 34
  46. CHAPTER 35
  47. CHAPTER 36
  48. CHAPTER 37
  49. CHAPTER 38
  50. CHAPTER 39
  51. CHAPTER 40
  52. CHAPTER 41
  53. CHAPTER 42
  54. CHAPTER 43
  55. CHAPTER 44
  56. CHAPTER 45
  57. CHAPTER 46
  58. CHAPTER 47
  59. CHAPTER 48
  60. CHAPTER 49
  61. CHAPTER 50
  62. CHAPTER 51
  63. CHAPTER 52
  64. CHAPTER 53
  65. CHAPTER 54
  66. CHAPTER 55
  67. CHAPTER 56
  68. CHAPTER 57
  69. CHAPTER 58
  70. WEDNESDAY
  71. CHAPTER 59
  72. CHAPTER 60
  73. CHAPTER 61
  74. CHAPTER 62
  75. CHAPTER 63
  76. CHAPTER 64
  77. CHAPTER 65
  78. CHAPTER 66
  79. CHAPTER 67
  80. CHAPTER 68
  81. CHAPTER 69
  82. CHAPTER 70
  83. CHAPTER 71
  84. CHAPTER 72
  85. CHAPTER 73
  86. CHAPTER 74
  87. CHAPTER 75
  88. CHAPTER 76
  89. CHAPTER 77
  90. CHAPTER 78
  91. CHAPTER 79
  92. CHAPTER 80
  93. CHAPTER 81
  94. CHAPTER 82
  95. CHAPTER 83
  96. CHAPTER 84
  97. CHAPTER 85
  98. CHAPTER 86
  99. CHAPTER 87
  100. CHAPTER 88
  101. CHAPTER 89
  102. CHAPTER 90
  103. CHAPTER 91
  104. CHAPTER 92
  105. CHAPTER 93
  106. CHAPTER 94
  107. CHAPTER 95
  108. CHAPTER 96
  109. CHAPTER 97
  110. AFTERWORD
  111. BOOKS BY GREG ILES
  112. Copyright
  113. About the Publisher

She brushes a strand of black hair from her eyes. “Penn, you’re scaring me. What is it?”

I summarize the day’s action with the precision of a legal brief, and Caitlin doesn’t interrupt. This is the upside of living with a brilliant woman. She may not be much of a cook, but she can digest information in a fraction of the time it takes most people. I begin with Shad’s call to my office this morning and edit myself on the fly. I tell her there’s a video recording of Viola’s death, and that Henry Sexton made it, but not that he kept a copy for himself. I explain that Viola died brutally and that a botched mercy killing seems possible, but Shad Johnson is contemplating murder charges against Dad. After quickly outlining the crime scene evidence, I tell her that, according to Henry, the Double Eagle group had a standing hit order on Viola if she ever returned to Natchez, probably because Viola knew things that could send surviving Double Eagles to prison—things related to the kidnapping and murder of her brother, a local civil rights activist. I also explain that the murder charge is being driven by Viola’s son, who only appeared in Natchez this morning. Caitlin pays particularly close attention here, but I distract her by moving quickly past the subject.

I sketch Henry’s theory about Double Eagle involvement in the local meth trade but elide Henry’s belief that my father had suspicious ties to Brody Royal or individual Double Eagles. I also leave out the murder of Glenn Morehouse, the fact that Morehouse was one of Henry’s sources, and everything about the murders of Albert Norris, Pooky Wilson, and Dr. Leland Robb. (No Brody Royal avenging his daughter’s “honor,” no “Huggy Bear” who could put Brody Royal in jail, and most of all, no plot to assassinate RFK. Those items are the heroin that Caitlin could not bear to resist.) Most damning (should Caitlin discover the truth), I say nothing about Henry and me working together to nail the Eagles, or Kirk Boisseau covertly diving the Jericho Hole tomorrow. I’ve become adept at the self-editing process over the past few years with Caitlin, and the only reactions I see are an occasional raised eyebrow and some added color in her cheeks.

As soon as I finish my summary, though, she says, “You’re not telling me everything about Henry Sexton. Not by a damn sight.”

“I promised him I’d keep some things confidential. Henry’s pretty sensitive about the work he’s done on those old cases.”

She smiles with more than a hint of envy. “Rightfully so. He’s done good work, and he doesn’t want me to steal it.”

“So, now you’re up to speed. Back downstairs?”