"Thanks for your time."

"My wife and I are taking the kids to the Little League game tonight. Care to join us?"

"Tied up. But you're the best, Mack," I said.

I had learned long ago you can have all the friends you want when you're in tall cotton. But your real friends are the ones you meet during hard times, when you've blown out your doors and every sunrise comes to you like a testimony to personal failure. Mack Bertrand was a real friend.

It was Friday night and Molly was at a meeting of Pax Christi at Grand Coteau. I had deliberately stayed away from her since Doogie Dugas had arrested me on camera at my home and Val Chalons had used footage on his various news channels of Molly standing half-undressed in the bedroom doorway. She herself was undaunted by the experience and I suspect had long ago become inured to the wickedness that the socially respectable were capable of. But I did not want to see her hurt more than she already had been, and at the same time I wanted to see her terribly.

At sunset I took a long walk down Main, through the business district and out to the west side, where there is a neatly mowed green lot that is the only reminder of a smithy and wagonworks that was there when I was a child during World War II.

The wagonworks was a very old structure even then, its red paint cracked and faded by the elements, the wood planks shrunken and warped by the heat in the forge. The owner was Mr. Antoine, a small, wizened man who spoke beautiful French but little English. At that time in New Iberia there were black people still alive who remembered the Emancipation, what they came to call "Juneteenth," and there were white people who had seen General Banks's Federal soldiers, twenty thousand of them, march through town in pursuit of the chivalric Confederate general, Alfred Mouton. But our only surviving Confederate veteran was Mr. Antoine.

He loved to regale us with tales of what he always referred to as " La Guerre. " He had served in Jackson's Shenandoah Campaign and had been with Jubal Early when Early had thrown twenty-five thousand men against the Union line just before Lee's surrender at Appomattox. Mr. Antoine's regiment was caught in a cornfield and blown into piles of gray and butternut rags by canister and grapeshot. But the point of Mr. Antoine's tale about the last days of the war was not the carnage, or the crows that pecked out the eyes of southern dead, or the snuffing sounds of feral hogs that would come at dusk. Instead, Mr. Antoine's story was about a fourteen-year-old drummer boy from Alabama who found his regimental colors in the dust, tied them to a musket barrel, and mounted a terrified stray horse.

The Union soldiers two hundred yards up the slope could not believe what they saw next – a boy without shoes, clamped on the spine of a horse like a clothespin, charging across his own dead toward a line of pointed weapons that could have reduced him and his animal to a bloody mist.

But no soldier fired a shot. When the boy's horse leaped across their wall, they pulled him from the saddle and pinned him to the dirt, all the while laughing, one of them saying, "You ain't got to fight no more, son. You're on the Lord's side now." Mr. Antoine still carried a pistol ball in his forearm and would let us children run our fingers over the hard lump it made under his skin. Once, in a dark mood, he decried the war and described the bloody shuddering and gurgling sounds of a young Union soldier who had died on Mr. Antoine's bayonet. But the story he obviously took most pleasure in retelling was that of the Alabama drummer boy. Now, after many years, I think I understand why. Mr. Antoine did not let the evil of the world overcome him, just as the Union soldiers behind the limestone wall did not let the war rob them of their humanity; just as military defeat and fear of death could not undo the drummer boy who placed honor and loyalty to the dead above concern for his own life.

As I stood on the sidewalk, looking at a green lot bordered in back by live oaks and Bayou Teche, I could almost see Mr. Antoine's forge puff alight in the shadows and hear his burst of laughter at the completion of his story about the Alabama drummer boy. I wanted to tell him that flags were emblematic of much more than national boundaries. But I suspected Mr. Antoine had learned that lesson a long time ago.

The funeral Mass for Honoria Chalons was held Saturday morning in Jeanerette. I attended it, although I took a pew at the back of the church and made no attempt to offer condolences or to accompany the funeral possession to the cemetery. That afternoon I was at Wal-Mart and had one of those experiences that make me wonder if our commonality lies less in our humanity than the simple gravitational pull of the earth and a grave that is already dug and numbered.

The sweeping breadth of the store's interior was crowded with people for whom a Wal-Mart is a gift from God. In my hometown, most of these are poor and uneducated, and assume that the low-paying jobs that define their lives are commonplace throughout the country. The fact that the goods they buy are often shoddily made, the clothes sewn in Third World sweatshops by people not unlike themselves, is an abstraction that seems to have no application to the low price on the item.

By late Saturday afternoon every trash can in front of the store is overflowing on the sidewalk. The parking lot is littered with dumped ashtrays, fast-food containers, chicken bones, half-eaten fruit, soft drink and beer cans, and disposable diapers that have been flattened into the asphalt by car tires. It's the place where the poor go, or those who don't want to drive twenty miles to Lafayette. It's not where I expected to see Raphael Chalons on the day of his daughter's burial.

But he was three places in front of me at the cash register, dressed in a dark suit and a tie and starched white shirt, even though the temperature had been in the nineties all day. His hair was as sleek and black as a seal's pelt, his face that of a stricken man.

In one hand he held a jar of peanut brittle while he stared out the front window. In his tailored suit and shined shoes, he looked like a visitor from an alien world.

"You got to put it on the counter, suh," the cashier said. She was a short, overweight Cajun woman, with a round face and thick glasses and hair pulled back tightly on her head.

"Pardon?" he said.

"You got to put the peanut brittle down so's I can scan it," she said.

"Yes, I see," he replied.

"Wit' the tax, that's fo' dol'ars and t'ree cents," she said.

"It's what?"

She repeated the amount. But he didn't take his wallet from his pocket. She tried to smile. Her eyes seemed unnaturally large behind the magnification of her glasses and it was obvious she knew something was wrong and that she could not correct it. The two people waiting in line immediately behind Raphael Chalons took their purchases to another counter.

"Suh, you want to pay me? It's fo' dol'ars and t'ree cents," the cashier said.

"Oh yes, excuse me. I'm sure I have my wallet here somewhere. How much did you say?"

I pushed a five-dollar bill across the counter to the cashier. She took it without speaking, returned my change, and dropped Raphael Chalons's jar of peanut brittle in a plastic sack. I picked it up and handed it to him. He walked a short distance away, then stopped in the concourse and removed the jar from the sack and read the label on it, oblivious to the shoppers who had to walk around him.

"Can I offer you a ride to your automobile, Mr. Chalons?" I said.

"No, I'm quite all right. But thank you for your courtesy," he replied, looking at me as though my face were not quite in focus.

"May I speak with you outside?" I asked.