Chapters (113)
- NATCHEZBURNING
- GREG ILES
- Dedication
- Epigraph
- PROLOGUE
- PART ONE
- 1964–1968
- CHAPTER 1
- CHAPTER 2
- CHAPTER 3
- PART TWO
- 2005
- MONDAY
- CHAPTER 4
- CHAPTER 5
- CHAPTER 6
- CHAPTER 7
- CHAPTER 8
- CHAPTER 9
- CHAPTER 10
- CHAPTER 11
- CHAPTER 12
- CHAPTER 13
- CHAPTER 14
- CHAPTER 15
- CHAPTER 16
- CHAPTER 17
- CHAPTER 18
- CHAPTER 19
- CHAPTER 20
- CHAPTER 21
- CHAPTER 22
- CHAPTER 23
- CHAPTER 24
- CHAPTER 25
- CHAPTER 26
- CHAPTER 27
- CHAPTER 28
- CHAPTER 29
- CHAPTER 30
- CHAPTER 31
- CHAPTER 32
- TUESDAY
- CHAPTER 33
- CHAPTER 34
- CHAPTER 35
- CHAPTER 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
- CHAPTER 49
- CHAPTER 50
- CHAPTER 51
- CHAPTER 52
- CHAPTER 53
- CHAPTER 54
- CHAPTER 55
- CHAPTER 56
- CHAPTER 57
- CHAPTER 58
- WEDNESDAY
- CHAPTER 59
- CHAPTER 60
- CHAPTER 61
- CHAPTER 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
- CHAPTER 78
- CHAPTER 79
- CHAPTER 80
- CHAPTER 81
- CHAPTER 82
- CHAPTER 83
- CHAPTER 84
- CHAPTER 85
- CHAPTER 86
- CHAPTER 87
- CHAPTER 88
- CHAPTER 89
- CHAPTER 90
- CHAPTER 91
- CHAPTER 92
- CHAPTER 93
- CHAPTER 94
- CHAPTER 95
- CHAPTER 96
- CHAPTER 97
- AFTERWORD
- BOOKS BY GREG ILES
- Copyright
- About the Publisher
“This is fine, Henry. Let’s see it.”
He touches his Mac’s trackpad, and a three-by-five video window appears on the screen. A hospital bed stands in the corner of what appears to be a dim room in a private residence. First I hear a wail that sets my teeth on edge. Then I make out a skeletal figure thrashing in the covers as though trying to free itself from a knotted sheet. A gasping sound is clearly audible, punctuated by a repeated word that sounds like “Help.” The figure half falls off the bed, then reaches for something on the floor. At first I’m not sure what—then I see an empty phone cradle on the bedside table. Suddenly the scene makes sense. The desperate patient has knocked the phone onto the floor and hasn’t enough mobility to reach it.
“Help!” comes the strangled cry again. “Cora … help me.” A few wisps of white hair cling to the patient’s skull. In a moment of horror I realize that this emaciated figure must be what remained of the beautiful nurse I remember from my childhood. Viola’s right hand opens and closes like a claw, but she cannot twist herself out of the bed. “Lord, he’s killing me!” she cries. “Tom … Tom! Why? Where are you?”
My father’s name prickles every hair on my body. Henry’s barely breathing beside me. Somehow the old woman struggles back into a supine position in the bed, one hand pulling at her bare throat as though trying to rip away some invisible ligature. Sweat glistens on her face and forehead, and her breath comes far too fast. She’s going to hyperventilate, if she doesn’t stroke out first. Viola seems to have no idea that the camera is recording anything. But then again, maybe she does.
“Cora!” she screeches, but before she can continue, her gasping stops and her eyes bulge in their sockets. “Hail Mary … full of grace,” she coughs in a strangled voice. “Hail Mary full of—”
In mid-prayer Viola Turner’s mouth locks open, and she sits motionless for so long that I think she must be dead. Then in a final spasm she lurches to her left, throwing herself far enough that her upper torso falls out of the bed. She comes to rest with her lower body still tangled in the bedclothes, her right hand touching the floor near the telephone. I hear no more sounds of respiration. Not even a death rattle.
“She’s dead,” I say softly.
“I think so,” Henry agrees.
“Who else has seen this?”
“Me and the DA. Maybe the sheriff by now.”
“Jesus, Henry.”
“I know.”