opened the chicken-wire door to one of the hutches and began filling the rabbitsâ bowl with alfalfa pellets.
âMaybe I donât approve of what you do, Lyle,â I said.
âI donât apologize for it.â
âI didnât ask you to.â
âI can heal, son.â
I looked at my watch, opened up the next hutch, and didnât answer him.
âI donât brag on it,â he said. âItâs a gift. I didnât earn it. But the power comes through my shoulder, through my arm, right through this deformity of a hand, right into their bodies. I can feel the power swell up in my arm just like I was holding a bucket of water by the bail, then itâs gone, from me into them, and my armâs so light itâs like my sleeve is empty. You can believe it or not, son. But itâs Godâs truth. I tell you another thing. You got a sick woman up in that house.â
I set down the alfalfa bag, latched the hutch door, and turned to look directly into his face.
âIâm going to ask two things of you, Lyle. Donât call me âsonâ again, and donât pretend you know anything about my familyâs problems.â
He scratched the back of his deformed hand and looked up toward the house. Then he sucked quietly on the back of his teeth and said, âIt wasnât meant as an offense. Thatâs not my purpose. No, sir.â
âWhat can I help you with today?â
âYouâve got it turned around. You went out to Weldonâs, but he wouldnât tell you diddly-squat, would he?â
âWhat about Weldonâs?â
âSomebody shot at him. Bama called me right after she called yâall. Look, Dave, Weldonâs not going to cooperate with you. He canât. Heâs afraid.â
âOf what?â
âThe same thing most people are afraid of when theyâre afraidâfacing up to the truth about something.â
âWeldon doesnât impress me as a fearful man.â
âYou didnât know our old man.â
âWhat are you talking about, Lyle?â
âThe man with the burned-off face that Bama saw through her window. Iâve seen him, too. He was sitting in the third row at last Sundayâs telecast. I almost pulled the mike out of the jack when my eyes got focused on him and I saw the face behind all that scar tissue. It was like holding up a photographic negative to a light until you see the image inside the shadows, you know what I mean? By the end of the sermon sweat was sliding off my face as big as marbles. It was like that old son of a buck reached up with a hot finger and poked it right through my belly button.â
He tried to grin, but it wasnât convincing.
âYouâre not making any sense, partner,â I said.
âIâm talking about my old man, Verise Sonnier. He was gone when I went down into the audience, but it was him. God didnât make two of his kind.â
âYour father was killed in Port Arthur when you were a kid.â
âThatâs what they said. Thatâs what we hoped.â He grinned again, then shook the humor out of his face. âBuried alive under a pile of white-hot boilerplates when that chemical factory blew. Somebody shoveled up a pillow sack full of ashes and bone chips and said that was him. But my sister Drew got a letter from a man in the San Antonio cityjail who said he was our old man and he wanted a hundred dollars to go to Mexico.â He paused and stared at me a moment to emphasize his point, as though he were looking into a television camera. âShe sent it to him.â
âIâm afraid this has the ring of theater to it, Lyle.â
âYeah?â
âWhy would your father want to hurt Weldon?â
He looked away into the trees, his face shadowed, and brushed idly at the chain of scar tissue that seemed to flow out of the corner of his eye.
âHe has reason to want to hurt all of us.