Menu Bar

Contents   I   II   III   IV   V   VI   VII   VIII


SCENE SEVEN

  The foot of a gigantic tree by the edge of a great river. A rough structure of boulders, like an altar, is by the tree. The raised river bank is in the nearer background. Beyond this the surface of the river spreads out, brilliant and unruffled in the moonlight, blotted out and merged into a veil of bluish mist in the distance. Jones' voice is heard from the left rising and falling in the long, despairing wail of the chained slaves, to the rhythmic beat of the tom-tom. As his voice sinks into silence, he enters the open space. The expression on his face is fixed and stony, his eyes have an obsessed glare, he moves with a strange deliberation like a sleepwalker or one in a trance. He looks around at the tree, the rough stone altar, the moonlit surface of the river beyond, and passes his hand over his head with a vague gesture of puzzled bewilderment. Then, as if in obedience to some obscure impulse, he sinks into a kneeling, devotional posture before the altar. Then he seems to come to himself partly, to have an uncertain realization of what he is doing, for he straightens up and stares about him horrifiedly—in an incoherent mumble.

  What—what is I doin? What is—dis place? Seems like—seems like I know dat tree—an' dem stones—an' de river. I remember—seems like I been heah befo'. (tremblingly) Oh, Gorry, I'se skeered in dis place! I'se skeered! Oh, Lawd, pertect dis sinner!

  (Crawling away from the altar, he cowers close to the ground, his face hidden, his shoulders heaving with sobs of hysterical fright. From behind the trunk of the tree, as if he had sprung out of it, the figure of the Congo witch-doctor appears. He is wizened and old, naked except for the fur of some small animal tied about his waist, its bushy tail hanging down in front. His body is stained all over a bright red. Antelope horns are on each side of his head, branching upward. In one hand he carries a bone rattle, in the other a charm stick with a bunch of white cockatoo feathers tied to the end. A great number of glass beads and bone ornaments are about his neck, ears, wrists, and ankles. He struts noiselessly with a queer prancing step to a position in the clear ground between Jones and the altar. Then with a preliminary, summoning stamp of his foot on the earth, he begins to dance and to chant. As if in response to his summons the beating of the tom-tom grows to a fierce, exultant boom whose throbs seem to fill the air with vibrating rhythm. Jones looks up, starts to spring to his feet, reaches a half kneeling, half-squatting position and remains rigidly fixed there, paralyzed with awed fascination by this new apparition. The witch-doctor sways, stamping with his foot, his bone rattle clicking the time. His voice rises and falls in a weird, monotonous croon, without articulate word divisions. Gradually his dance becomes clearly one of a narrative in pantomime, his croon is an incantation, a charm to allay the fierceness of some implacable deity demanding sacrifice. He flees, he is pursued by devils, he hides, he flees again. Ever wilder and wilder becomes his flight, nearer and nearer draws the pursuing evil, more and more the spirit of terror gains possession of him. His croon, rising to intensity, is punctuated by shrill cries. Jones has become completely hypnotized. His voice joins in the incantation, in the cries, he beats time with his hands and sways his body to and fro from the waist. The whole spirit and meaning of the dance has entered into him, has become his spirit. Finally the theme of the pantomime halts on a howl of despair, and is taken up again in a note of savage hope. There is a salvation. The forces of evil demand sacrifice. They must be appeased. The witch-doctor points with his wand to the sacred tree, to the river beyond, to the altar, and finally to Jones with a ferocious command. Jones seems to sense the meaning of this. It is he who must offer himself for sacrifice. He beats his forehead abjectly to the ground, moaning hysterically)

  Mercy, Oh Lawd! Mercy! Mercy on dis po' sinner.

  (The witch-doctor springs to the river bank. He stretches out his arms and calls to some God within its depths. Then he starts backward slowly, his arms remaining out. A huge head of a crocodile appears over the bank and its eves, glittering greenly, fasten upon Jones. He stares into them fascinatedly. The witch-doctor prances up to him, touches him with his wand, motions with hideous command toward the waiting monster. Jones squirms on his belly nearer and nearer, moaning continually)

  Mercy, Lawd! Mercy!

  (The crocodile heaves more of his enormous hulk onto the land. Jones squirms toward him. The witch-doctor's voice shrills out in furious exultation, the tom-tom beats madly. Jones cries out in a fierce, exhausted spasm of anguished pleading)

  Lawd, save me! Lawd Jesus, hear my prayer!

  (Immediately, in answer to his prayer, comes the thought of the one bullet left him. He snatches at his hip, shouting defiantly)

  De silver bullet! You don't git me yit!

  (He fires at the green eyes in front of him. The head of the crocodile sinks back behind the river bank, the witch-doctor springs behind the sacred tree and disappears. Jones lies with his face to the ground, his arms outstretched, whimpering with fear as the throb of the tom-tom fills the silence about him with a somber pulsation, a baffled but revengeful power.)


Copyright © 1999-2012 eOneill.com