The Thanatos Syndrome
best for you and yours, but Iâve got news for you. I want something else. I want you around. Iâm a selfish woman and I needâSh!â She puts a finger to my lips. âAll right. You better come on out to Panther- burn tonight.â
She grabs my arm.
âWhat?â I look at her.
Sheâs smiling.
âI think all of you better come on out to Pantherburn tonight.â
âWellââ
âIt seems natural, Tom.â
âWellââ
âLike last night.â Sheâs smiling but serious.
âAll right.â
She touches my lips. âDonât say anything. Youâd better get going. Be careful. Just be sure you get back to Pantherburn tonight. Your room is ready. Those guys mean business, TomâI mean Comeaux and company. Theyâre vulnerable and they donât know what youâre going to do. Now get going. Itâll soon be dark.â
Dark is what Iâm waiting for.
14. I TAKE OLD La. 963 through Slaughter, Olive Branch, through St. Helena Parish, past the Fluker fire tower, over I-55 and into the piney woods, to Waldheim and the old fire-tower road to St. Margaretâs. Not a car in sight until the interstate.
The shed at the foot of the tower is dark. There is a full moon. I cannot make out if there is a light in the tower.
Milton Guidry has come up behind me. Now he too gazes up companionably.
âWhatâs the matter with him, Milton?â I move around so I can see Miltonâs face in the moonlight.
âHe had a spell yesterday and hasnât moved since.â Milton describes Father Smithâs symptoms in a lively fashion. He is worried, but he is glad to have company and takes pleasure in talking about it. âHe is stiff as a board. When I helped him to the commode, his flesh was hard-like. Like that.â He raps the shed. âWhat is that, Doc?â
âWhat happened? What kind of spell?â
âA spasm-like. He was sitting talking yesterday just as natural as you and me. Then he stopped and his hand went like this.â Milton shows me, flexing his arm and curling his hand inward. âSince then he hasnât moved or done anything. I mean nothing.â Milton cocks his head and watches me with a pleasant expression.
âWhat do you mean he hasnât moved?â
âI mean, he hasnât moved. He doesnât eat or drink or say a word.â
âDid he fall down?â
âNo, he just sits and looks at the woods.â
âYou mean he sat there at the table all last night and did not lie down in his bedroll?â
âYou got it, Doc.â
âHow do you know?â
âI checked him every hour. You know how you can get worried about somebody.â
âHe doesnât talk to you?â
âHe doesnât feel like talking.â
âWhat do you mean?â
âHe spots and I report on the phone.â
âI see.â I donât see.
Milton looks down. âI see you brought your little bag.â
âYes. Iâm going up now. You stick around in case I need you. Iâm going to have to take him to the hospital. Iâll need your help to get him down.â
âI be right here, Doc, donât you worry! You want me to help you with the trapdoor?â
âNo thanks.â I could use some help but donât want to fool with Milton.
Father Smith is sitting at the high table, temple propped on three fingers. He seems to be studying the azimuth. On a corner of the table, an old-fashioned kerosene lamp with a glass chimney casts a weak yellow light. Beside the lamp there is an open can of Campbellâs chicken soup and a melted bowl of Jell-O.
âHello, Father.â
He seems to be looking at me, but his eye sockets are in deep shadow.
âMilton told me you were ill.â
He is looking at me, I am sure, under his brow.
I sit on the stool opposite him. We gaze at each other.
âMilton said you had some kind of attack yesterday.â
The priest says nothing. His head moves. Is it a nod? I try to make out whether his expression is ironic, but I canât be sure. I move the lamp beside me so I can see his eyes better. I like to see patientsâ eyes, unlike Freud, who looked at the back of their heads.
âHe told me you had not eaten or slept.â
No answer, but he is attentive. His eyes follow me.
âYouâve been sitting in that chair since yesterday?â
No answer, but his gaze is
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