“Wouldst thou not rather have gone to feed the black ants, or have died the death of the red-hot stones, Umlilwane? Thou wouldst be at rest now. And now thou hast only just begun to live—alone in the darkness—alone with the serpents—a man whose mind is gone. Thou wilt never see the light of day again. Whau! The sun is shining like gold outside. And thy wife, Umlilwane—thy beautiful wife—tall and graceful, like the stem of the budding umbona (Maize)—dost thou never think of her? Ha! There is another who does—another who does. I have seen him—I have seen them both—him and thy beautiful wife—”
Eustace had nudged Josane in such wise as to make that individual understand that the curtain must be rung down on this scene—and that at once. Simultaneously the “yap” of a puppy dog burst forth almost beneath his feet. Its effect upon the pair at the pit’s brink was electric.
“Yau!” cried Ngcenika, turning toward the sound. “The little dog has followed me in after all. Ah, the little brute. I will make him taste the stick!”
“Or throw him down to Umlilwane,” laughed her companion. “He will do for him to play with, two dogs together. Mawo!”
Again the “yap” was heard, now several times in rapid succession. So perfect was the imitation that the watchers themselves were for a moment taken in.
“Iza, inja! Injane, izapa!” (“Come, dog! Little dog—come here!”) cried the witch-doctress coaxingly, advancing into the lateral gallery, holding her lantern in front of her. Josane, with his mouth to the ground was emitting a perfect chorus of yaps.
“Now,” he whispered, under cover of the echoes produced, as the width of the gallery left a clear chance at Hlangani, without endangering the witch-doctress. “Remember—the female beast, Ngcenika, is for me. Shoot Hlangani—Now!”
Scarce had the word left his mouth than the shots crashed forth simultaneously.