The Emperor Jones (by Eugene O'Neill) - second half
The Emperor Jones — second half (scenes V through VIII)
by Eugene O'Neill, 1920
BRUTUS JONES, Emperor
HENRY SMITHERS, a Cockney Trader
AN OLD NATIVE WOMAN
LEM, a Native Chief
SOLDIERS, adherents of LemThe Little Formless Fears; Jeff; The Negro Convicts; The Prison Guard;
The Planters; The Auctioneer; The Slaves; The Congo Witch-Doctor;
The Crocodile GodThe action of the play takes place on an island in the West Indies as yet not self-determined by White Marines. The form of native government is, for the time being, an Empire.
SCENES
SCENE I: In the palace of the Emperor Jones. Afternoon.
SCENE II: The edge of the Great Forest. Dusk.
SCENE III: In the Forest. Night.
SCENE IV: In the Forest. Night.
SCENE V: In the Forest. Night.
SCENE VI: In the Forest. Night.
SCENE VII: In the Forest. Night.
SCENE VIII: Same as Scene Two—the edge of the Great Forest. Dawn.
Scene V
A large circular clearing, enclosed by the serried ranks of gigantic trunks of tall trees whose tops are lost to view. In the center is a big dead stump—worn by time into a curious resemblance to an auction block. The moon floods the clearing with a clear light. Jones forces his way in through the forest on the left. He looks wildly about the clearing with hunted, fearful glances. His pants are in tatters, his shoes cut and misshapen, flapping about his feet. He slinks cautiously to the stump in the center and sits down in a tense position, ready for instant flight. Then he holds his head in his hands and rocks back and forth, moaning to himself miserably. |
| Oh Lawd, Lawd! Oh Lawd, Lawd! (Suddenly he throws himself on his knees and raises his clasped hands to the sky—in a voice of agonized pleading.) Lawd Jesus, heah my prayer! I'se a po' sinner, a po' sinner! I knows I done wrong, I knows it! When I cotches Jeff cheatin' wid loaded dice my anger overcomes me and I kills him dead! Lawd, I done wrong! When dat guard hits me wid de whip, my anger overcomes me, and I kills him dead. Lawd, I done wrong! And down heah whar dese fool bush niggers raises me up to the seat o' de mighty, I steals all I could grab. Lawd, I done wrong! I knows it! I'se sorry! Forgive me, Lawd! Forgive dis po' sinner! (then beseeching terrifiedly) And keep dem away, Lawd! Keep dem away from me! And stop dat drum soundin' in my ears! Dat begin to sound ha'nted, too. (He gets to his feet, evidently slightly reassured by his prayer—with attempted confidence.) De Lawd'll preserve me from dem ha'nts after dis. (sits down on the stump again) I ain't skeered o' real men. Let dem come. But dem odders (He shudders—then looks down at his feet, working his toes inside the shoe—with a groan.) Oh, my po' feet! Dem shoes ain't no use no more 'ceptin' to hurt. I'se better off widout dem. (He unlaces them and pulls them off—holds the wrecks of the shoes in his hands and regards them mournfully.) You was real, A-one patin' leather, too. Look at you now. Emperor, you'se gittin' mighty low! |
| (He sighs dejectedly and remains with bowed shoulders, staring down at the shoes in his hands as if reluctant to throw them away. While his attention is thus occupied, a crowd of figures silently enter the clearing from all sides. All are dressed in Southern costumes of the period of the fifties of the last century. There are middle-aged who are evidently well-to-do planters. There is one spruce, authoritative individual—the auctioneer. There are a crowd of curious spectators, chiefly young belles and dandies who have come to the slave-market for diversion. All exchange courtly greetings in dumb show and chat silently together. There is something stiff, rigid, unreal, marionettish about their movements. They group themselves about the stump. Finally a batch of slaves are led in from the left by an attendant—three men of different ages, two women, one with a baby in her arms, nursing. They are placed to the left of the stump, beside Jones. |
| (The white planters look them over appraisingly as if they were cattle, and exchange judgments on each. The dandies point with their fingers and make witty remarks. The belles titter bewitchingly. All this in silence save for the ominous throb of the tom-tom. The auctioneer holds up his hand, taking his place at the stump. The groups strain forward attentively. He touches Jones on the shoulder peremptorily, motioning for him to stand on the stump—the auction block. |
| (Jones looks up, sees the figures on all sides, looks wildly for some opening to escape, sees none, screams and leaps madly to the top of the stump to get as far away from them as possible. He stands there, cowering, paralyzed with horror. The auctioneer begins his silent spiel. He points to Jones, appeals to the planters to see for themselves. Here is a good field hand, sound in wind and limb as they can see. Very strong still in spite of being middle-aged. Look at that back. Look at those shoulders. Look at the muscles in his arms and his sturdy legs. Capable of any amount of hard labor. Moreover, of a good disposition, intelligent and tractable. Will any gentleman start the bidding? The planters raise their fingers, make their bids. They are apparently all eager to possess Jones. The bidding is lively, the crowd interested. While this has been going on, Jones has been seized by the courage of desperation. He dares to look down, and around him. Over his face abject terror gives way to mystification, to gradual realization—stutteringly.) |
| What you all doin', white folks? What's all dis? what you all lookin' at me fo'? what you doin' wid me, anyhow? (suddenly convulsed with raging hatred and fear) Is dis a auction? Is you sellin' me like dey uster hefo' de war? (jerking out his revolver just as the auctioneer knocks him down to one of the planters—glaring from him to the purchaser) And you sells me? And you buys me? I shows you I'se a free nigger, damn yo' souls! (He fires at the auctioneer and at the planter with such rapidity that the two shots are almost simultaneous. As if this were a signal the walls of the forest fold in. Only blackness remains and silence broken by Jones as he rushes off, crying with fear—and by the quickened, ever louder beat of the tom-tom.) |
Scene VI
A cleared space in the forest. The limbs of the trees meet over it forming a low ceiling about five feet from the ground. The interlocked ropes of creepers reaching upward to entwine the tree trunks gives an arched appearance to the sides. The space thus encloses it like the dark, noisome hold of some ancient vessel. The moonlight is almost completely shut out and only a vague, wan light filters through. There is the noise of someone approaching from the left, stumbling and crawling through the undergrowth. Jones' voice is heard between chattering moans. |
| Oh, Lawd, what I gwine do now? Ain't got no bullet left on'y de silver one. If mo' o' dem ha'nts come after me, how I gwine skeer dem away? Oh, Lawd, on'j de silver one left—an' I gotta save dat fo' luck. If I shoots dat one I'm a goner sho' I Lawd, it's black heah! Whar's de moon? Oh, Lawd, don't dis night evah come to an end? (By the sounds, he is feeling his way cautiously forward.) Dere! Dis feels like a clear space. I gotta lie down an' rest. I don't care if dem niggers does cotch me. I gotta rest. |
| (He is well forward now where his figure can be dimly made out. His pants have been so torn away that what is left of them is no better than a breech cloth. He flings himself full length, face downward on the ground, panting with exhaustion. Gradually it seems to grow lighter in the enclosed space and two rows of seated figures can be seen behind Jones. They are sitting in crumpled, despairing attitudes, hunched, facing one another with their backs touching the forest walls as if they were shackled to them. All are negroes, naked save for loin cloths. At first they are silent and motionless. Then they begin to sway slowly forward toward each and back again in unison, as if they were laxly letting themselves follow the long roll of a ship at sea. At the same time, a low, melancholy murmur rises among them, increasing gradually by rhythmic degrees which seem to be directed and controlled by the throb of the tom-tom in the distance, to a long, tremulous wail of despair that reaches a certain pitch, unbearably acute, then falls by slow graduations of tone into silence and is taken up again. Jones starts, looks up, sees the figures, and throws himself down again to shut out the sight. A shudder of terror shakes his whole body as the wail rises up about him again. But the next time, his voice, as if under some uncanny compulsion, starts with the others. As their chorus lifts he rises to a sitting posture similar to the others, swaying back and forth. His voice reaches the highest pitch of sorrow, of desolation. The light fades out, the other voices cease, and only darkness is left. Jones can be heard scrambling to his feet and running off, his voice sinking down the scale and receding as he moves farther and farther away in the forest. The tom-tom beats louder, quicker, with a more insistent, triumphant pulsation.) |
Scene VII
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.) |
Scene VIII
Dawn. Same as Scene Two, the dividing line of forest and plain. The nearest tree trunks are dimly revealed but the forest behind them is still a mass of glooming shadow. The tom-tom seems on the very spot, so loud and continuously vibrating are its beats. Lem enters from the left, followed by a small squad of his soldiers, and by the Cockney trader, Smithers. Lem is a heavy-set, ape-faced old savage of the extreme African type, dressed only in a loin cloth. A revolver and cartridge belt are about his waist. His soldiers are in different degrees of rag-concealed nakedness. All wear broad palm leaf hats. Each one carries a rifle. Smithers is the same as in Scene One. One of the soldiers, evidently a tracker, is peering about keenly on the ground. He grunts and points to the spot where Jones entered the forest. Lem and Smithers come to look. |
| SMITHERS—(after a glance, turns away in disgust) That's where 'e went in right enough. Much good it'll do yer. 'E's miles orf by this an' safe to the Coast damn 'S 'ide! I tole yer yer'd lose 'im, didn't I?—wastin' the 'ole bloomin' night beatin' yer bloody drum and castin' yer silly spells! Gawd blimey, wot a pack! |
| LEM—(gutturally) We cotch him. You see. (He makes a motion to his soldiers who squat down on their haunches in a semi-circle.) |
| SMITHERS—(exasperatedly) Well, ain't yer goin 'in an' 'unt 'im in the woods? What the 'ell's the good of waitin'? |
| LEM—(imperturbably—squatting down himself) We cotch him. |
| SMITHERS—(turning away from him contemptuously) Aw! Garn! 'E's a better man than the lot o' you put together. I 'ates the sight o' 'im but I'll say that for 'im. (A sound of snapping twigs comes from the forest. The soldiers jump to their feet, cocking their rifles alertly. Lem remains sitting with an imperturbable expression, but listening intently. The sound from the woods is repeated. Lem makes a quick signal with his hand. His followers creep quickly but noiselessly into the forest, scattering so that each enters at a different spot.) |
| SMITHERS—(in the silence that follows—a contemptuous whisper) You ain't thinkin' that would be 'im, I 'ope? |
| LEM—(calmly) We cotch him. |
| SMITHERS—Blarsted fat 'eads! (then after a second's thought—wonderingly) Still an' all, it 'might 'appen. If 'e lost 'is bloody way in these stinkin' woods 'e'd likely turn in a circle without 'is knowin' it. They all does. |
| LEM—(peremptorily) Sssh! (The reports of several rifles sound from the forest, followed a second later by savage, exultant yells. The beating of the tom-tom abruptly ceases. Lem looks up at the white man with a grin of satisfaction.) We cotch him. Him dead. |
| SMITHERS—(with a snarl) 'Ow d'yer know it's 'im an' 'ow d'yer know 'e's dead? |
| LEM—My mens dey got 'urn silver bullets. Dey kill him shore. |
| SMITHERS—(astonished) They got silver bullets? |
| LEM—Lead bullet no kill him. He got urn strong charm. I cook urn money, make urn silver bullet, make urn strong charm, too. |
| SMITHERS—(light breaking upon him) So that's wot you was up to all night, wot? You was scared to put after 'im till you'd moulded silver bullets, eh? |
| LEM—(simply stating a fact) Yes. Him got strong charm. Lead no good. |
| SMITHERS—(slapping his thigh and guffawing) Haw-haw! If yer don't beat all 'ell! (then recovering himself—scornfully) I'll bet yer it ain't 'im they shot at all, yer bleedin' looney! |
| LEM—(calmly) Dey come bring him now. (The soldiers come out of the forest, carrying Jones' limp body. There is a little reddish purple hole under his left breast. He is dead. They carry him to Lem who examines his body with great satisfaction.) |
|
SMITHERS—(leans over his shoulder—in a tone of frightened awe) Well, they did for yer fight enough, Jonsey, me lad! Dead as a 'erring! (mockingly) Where's yer 'igh an' mighty airs now, yer bloornin' Majesty? (then with a grin) Silver bullets! Gawd blimey, but yer died in the 'eighth o' style, any'ow! (Curtain) |
Click here to read the 1st half of the play: scenes I through IV
Categories: Drama, 1900s, O'Neill (Eugene), American
Tags: Eugene O'Neill The Emperor Jones 1920 Plays American Drama American Literature
Comments