They stand looking after her, till her dark figure disappears amid the shadows of the scaffolds. But they have no doubt of her fidelity—no fear that she will fail to do what she can for the fulfilment of her promise. The keeping it is secured by her own interested motives: for the passion impelling her to act on their behalf, though purely selfish, can be trusted as truth itself.
Chapter Fifty Three.
A Deluded Jailer.
Midnight’s hour is past, the moon has gone down, and in the Indian town there is darkness and silence. Every one is asleep, or seems to be; since no light shines either in toldo or tent, neither can a human figure be seen in the streets, or anywhere around.
At some distance from the houses, however, among thickly-standing trees, and close into the base of the hill, is the quaint dwelling-place of Shebotha—half cave, half hut—and inside this flickers a faint light, from a dip candle of crude beeswax, with a wick of the fibre of the pita plant. By its red flame, mingled with much smoke, a collection of curious objects is dimly discernible; not articles of furniture, for these are few, but things appertaining to the craft in which Shebotha is supposed to have skill—demonology. There are the bones and skins of monkeys, with those of snakes, lizards, and other reptiles; teeth of the alligator and jaguar; the proboscis-like snouts of the tapir and tamanoir, or great ant-bear, with a variety of other like oddities, furnished by the indigenous creatures of the Chaco in every department of the zoological world—birds, quadrupeds, insects, reptiles, and fishes.
This motley conglomeration is for the most part arranged against the inner wall of the hut, and opposite the entrance, so as to be observable by any one looking in at the door, or even passing by it. For its purpose is to impress the superstitious victims of Shebotha’s craft with a belief in her witching ways. And to give this a more terrifying and supernatural character, a human skull, representing a death’s head, with a pair of tibia for crossbones underneath, is fixed centrally and prominently against the wall.
The same light that so faintly illuminates this paraphernalia of repulsive objects, also shines upon one that is pleasing—this the figure of a young girl, with a face wonderfully fair. For she is Francesca Halberger.
At the hour spoken of she is the sole occupant of the hut; its owner, Shebotha, being abroad. For it is the self-same hour and instant when the sorceress has the rosary of teeth snatched so rudely from her neck. She is seated on the edge of a catré, or cane bedstead, of the pallet kind, her head buried in her hands, through the white fingers of which her long golden tresses fall in rich profusion, scattered over and mingling with the fur of the great pampas wolf which serves as a sort of mattress for the bed.