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204 CELLULOID
once but several times, so that the censor can have no hesitation in granting a universal certificate. At that moment a juju is begun and Horn, Peru and Renchero are dragged to the torture stakes. All at once the goddess is seized with a fit of remorse (we suspect Peru's side-whiskers have had their effect) and after a prolonged battle of wits with our old African villain, the medicine-man, she leads the heroes away.
Dodging hippos on all sides, they paddle in a canoe across the neighbouring lake and set out on a desperate trek through the virgin forest — gunless, foodless, and thirsty. After a thousand adventures, including the killing of a lion in a justified but, at the same time, hideously brutal and unpleasant manner, the wild cries of the pursuing Isorgi are heard. Horn nobly sends the others ahead and goes off in the opposite direction to decoy the savages. But the faithful gunbearer, more reminiscent than ever of Umslopogaas, disobeys his master's orders and returns to Horn. Having successfully led the Isorgi astray, they escape by lying on a floating log in the river, but the unfortunate Renchero is pierced by a chance spear. Meanwhile Peru and the girl, in between their embraces, have continued through the forest and fallen in with a band of friendly pigmies, who conduct them safely to the nearest white settlement. Here Horn rejoins them, and, brushing a tear from his eye, sends them off to civilization and the drawing-rooms of New York happily united in love.
Admittedly this is a sadly imperfect record of the story. I have omitted much — such as the beautiful moments when love for Peru first dawns in Nina's