Rage - Smith Wilbur (читать книги онлайн без сокращений .TXT) 📗
'Man, a sack of this stuff on the streets of Los Angeles would fetch a hundred thousand dollars,' he murmured contentedly as he lit a hand-rolled cigarette and settled down on the back seat of the Packard.
The heavy incense of the leaves filled the interior, and after a few draws Hank passed the cigarette to Kitty in the front seat. Kitty drew on the butt deeply and held the smoke in her lungs, as long as she was able, before blowing it out in a pale streamer against the windscreen. Then she offered the butt to Tara.
'I don't smoke tobacco,' Tara told her politely, and they all laughed.
'That ain't baccy, sweetheart,' Hank told her.
'What is it?" 'You call it dagga here." 'Dagga." Tara was shocked.
She remembered that Centaine had fired one of her houseboys who smoked it.
'He dropped my Rosenthal tureen, the one that belonged to Czar Nicholas,' Centaine had complained. 'Once they start on that stuff they become totally useless." 'No thanks,' Tara said quickly, and thought how angry Shasa would be if he knew that she had been offered it. That thought gave her pause and she changed her mind. 'Oh, all right." She took the butt, steering the Packard with one hand. 'What do I do?" 'Just suck it in and hold it down,' Kitty advised, 'and ride the glow." The smoke scratched her throat and burned her lungs, but the thought of Shasa's outrage gave her determination. She fought the urge to cough and held it down.
Slowly she felt herself relaxing, and a mild glow of euphoria made her body seem air-light and cleansed her mind. All the agonies of her soul became trivial and fell behind her.
'I feel good,' she murmured, and when they laughed, she laughed with them and drove on into the night.
In the early morning before it was fully light, they reached the coast, skirting the bay of Algoa where the Indian Ocean took a deep bite out of the continent, and the green waters were chopped to a white froth by the wind.
'Where do we go from here?" Kitty asked.
'The black township of New Brighton,' Tara told her. 'There is a mission run by German nuns, a teaching and nursing order, the Sisters of St Magdalene. They are expecting us. We aren't really allowed to stay in the township, but they have arranged it." Sister Nunziata was a handsome blond woman, not much older than forty years. She had a clear scrubbed-looking skin and her manner was brisk and efficient. She wore the light grey cotton habit of the order, and a white shoulder-length veil.
'Mrs Courtney, I have been expecting you. Our mutual friend will be here later this morning. You will want to bathe and rest." She led them to the cells that had been set aside for them and apologized for the simple comforts they contained. Kitty and Tara shared a cell.
The floor was bare cement, the only decoration was a crucifix on the whitewashed wall, and the springs of the iron bedsteads were covered with thin hard coir mattresses.
'She's just great,' Kitty enthused. 'I must get her on film. Nuns always make good footage." As soon as they had bathed and unpacked their equipment, Kitty had her crew out filming. She recorded a good interview with Sister Nunziata, her German accent lent interest to her statements, and then they filmed the black children in the schoolyard and the out patients waiting outside the clinic.
Tara was awed by the girl's energy, her quick mind and glib tongue, and her eye for angle and subject as she directed the shooting.
It made Tara feel superfluous, and her own lack of talent and creative skill irked her. She found herself resenting the other girl for having pointed up her inadequacies so graphically.
Then everything else was irrelevant. A nondescript old Buick sedan pulled into the mission yard and a tall figure climbed out and came towards them. Moses Gama wore a light blue open-neck shirt, the short sleeves exposed the sleek muscle in his upper arms and neck, and his tailored blue slacks were belted around his narrow waist.
Tara didn't have to say anything, they all knew immediately who he was as Kitty Godolphin breathed softly beside her, 'My God, he is beautiful as a black panther." Tara's resentment of her flared into seething hatred. She wanted to rush to Moses and embrace him so that Kitty might know he was hers, but instead she stood dumbly while he stopped in front of Kitty and held out his right hand.
'Miss Godolphin? At last,' he said, and his voice brought out a rush of goose-bumps down Tara's arms.
The rest of the day was spent in reconnaisance and the filming of more background material, this time with Moses as the central figure in each shot. The New Brighton township was typical of the South African urban locations, rows of identical low-cost housing laid out in geometric squares of narrow roads, some of them paved and others rutted and filled with muddy puddles in which the pre-school children and toddlers, many of them naked or dressed only in ragged shorts, played raucously.
Kitty filmed Moses picking his way around the puddles, squatting to talk to the children, lifting a marvellously photogenic little black cherub in his arms and wiping his snotty nose.
'That's great stuff,' Kitty enthused. 'He's going to look magnificent on film." The children followed Moses, laughing and skipping behind him as though he were the Pied Piper, and the women attracted by the commotion came out of the squalid little cottages. When they recognized Moses and saw the cameras, they began to ululate and dance.
They were natural actresses and completely without inhibition, and Kitty was everywhere, calling for shots and unusual camera angles, clearly delighted by the footage she was getting.
In the late afternoon the working men began to arrive back in the township by bus and train. Most of them were production-line workers in the vehicle assembly plants of Ford and General Motors, or factory-workers in the tyre companies of Goodyear and Firestone, for Port Elizabeth and its satellite town of Uitenhage formed the centre of the country's motor vehicle industry.
Moses walked the narrow streets with the camera following him, and he stopped to talk to the returning workers, while the camera recorded their complaints and problems, most of which were the practical everyday worries of making ends meet while remaining within the narrow lines demarcated by the forest of racial laws. Kitty could edit most of that out, but every one of them mentioned the 'show on demand' clause of the pass laws as the thing they hated and feared most. In every little vignette they filmed Moses Gama was the central heroic figure.
'By the time I've finished with him, he will be as famous as Martin Luther King,' Kitty enthused.
They joined the nuns for their frugal evening meal, and afterwards Kitty Godolphin was still not satisfied. Outside one of the cottages near the mission a family was cooking on an open fire, and Kitty had Moses join them, hunched over the fire in the night with the flames lighting his face, adding drama to his already massive presence as she filmed him while he spoke. In the background one of the women was singing a lullaby to the infant at her breast, and there were the murmurous sounds of the location, the soft cries of the children and the distant yapping of pariah dogs.
Moses Gama's words were poignant and moving, spoken in that deep thrilling voice, as he described the agony of his land and his people, so that Tara, listening to him in the darkness, found tears running down her face.
In the morning Kitty left her team at the mission, and without the camera the three of them, Kitty and Tara and Moses, drove in the Buick to the railway station that served the township and watched the black commuters swarm like hiving bees through the station entrance marked NON WHITES --, NIE BLANKES, crowding on to the platform reserved for blacks, and as soon as the train pulled in, flooding into the coaches set aside for them.
