The Cannibal’s Gospel
This story explores the themes of identity, survival, and the devastating effects of cultural collision.
The roaring thunder of the African waterfall rose above the laughter of the American tourists. For them, this untamed wilderness was a spectacle, a canvas painted in green and gold by a careless god. But joy turned to terror in an instant. As Emily fell into the cascading torrent, her scream was swallowed by the deafening water. They watched, powerless, as her fragile white form vanished downstream, claimed by the merciless embrace of the current.
The group scattered along the riverbanks, desperate to recover her body. Their search led them into the shadows of tribal villages, where the faces of the locals betrayed neither guilt nor concern. Days passed, and hope dwindled. Finally, a boy emerged—barefoot, dark as night, his eyes sharp with an intelligence that belied his age.
Ochieng, they called him. He stood before the desperate Americans and whispered the truth they feared. "We found her," he said, his voice soft but unwavering. "Her skin was like snow, her body soft and ripe. We cooked her, and she was... delicious."
The horror of the revelation swept across continents like wildfire. The idea of a "white woman consumed by black savages" ignited a storm of outrage in America. The Church reacted swiftly, sending Father Thomas to the village. Armed with a Bible and a cross, he sought to tame the "savages" and save their souls.
The tribes, wary yet intrigued, allowed him into their world. Father Thomas built a church, a beacon of civilization in the heart of the jungle. Among the curious was Ochieng, the boy who had first spoken of the woman’s fate. He became the priest’s eager assistant, drawn less by faith than by the allure of the wine that Father Thomas consumed each night.
Ochieng was clever, cunning even. He spun tales of divine visions, claiming that God himself had commanded him to serve the Father. Amused and pleased by the boy’s apparent devotion, the priest indulged him, offering wine as a nightly reward.
Gradually, Ochieng adopted the ways of the church, trading his tribal roots for the robes of a preacher. Years passed, and Ochieng—now Father John—became a symbol of redemption, the “civilized savage” paraded by the Church across America.
US Newspapers hailed him as a miracle, and senators invited him to their clubs. Yet fame is a fickle mistress. When the novelty wore off, Ochieng found himself abandoned, scraping by as a cobbler on the streets of New York.
As fate would have it, rebellion erupted in his homeland, a cry of defiance against foreign exploitation. The U.S. government, eager to crush the uprising, saw an opportunity in Father John. They gave him a uniform, a rank, and a mission: to suppress the very people from whom he had sprung.
Promoted to Major John, he led his troops with brutal efficiency. The rebels fell before his wrath, their villages burned, their cries silenced. In his ascent, he had become the weapon of their destruction, severing the last ties to his origins.
Standing amid the ashes of his birthplace, Major John looked upon the ruins he had wrought. In the reflection of his polished boots, he saw not the boy who once wandered barefoot but the man he had become—a perfect instrument of power, forged by the forces he once feared.
The transformation was complete. Ochieng, the child of the jungle, had been consumed by the machinery of civilization, his soul forever caught between the worlds he had destroyed and the one that now claimed him.
Here is the screenplay for The Cannibal’s Gospel based on the 15-beat structure of Blake Snyder's Save the Cat! storytelling framework. It integrates additional characters and scenes to align with the structure:
1. Opening Image
- Visual: A panoramic view of the African jungle, lush and untamed, with a thunderous waterfall cascading in the background.
- Tone: Awe-inspiring yet foreboding, foreshadowing the clash of cultures.
- Key Character: Emily, a curious and adventurous tourist, stands at the edge of the falls, posing for a photograph. Her laughter echoes as the rest of the group snaps pictures.
2. Theme Stated
- Dialogue: Emily comments, “This place feels like stepping into another world—wild, untouched... as if it has secrets we’re not meant to find.”
- Theme: The destructive consequences of cultural collision and the transformation of identity under external forces.
3. Set-Up
- The group of American tourists is introduced, each representing a facet of Western ideals:
- Jack: The pragmatic leader, skeptical of local customs.
- Martha: A journalist, keen to document everything.
- Emily: The spirited adventurer.
- Conflict: While taking photos near the waterfall, Emily slips and is swept into the torrent.
4. Catalyst
- Inciting Event: Emily's body is lost in the river. The group begins a frantic search downstream, but days pass with no success.
5. Debate
- Should the group give up and return home, or continue searching?
- Jack insists on pressing forward, but tensions rise as their resources dwindle. They venture into tribal villages, only to be met with indifference.
6. Break Into Two
- The Revelation: A ten-year-old boy, Ochieng, confesses to finding Emily’s body. He describes her pale beauty and admits that the tribe consumed her.
7. B Story
- Introduction of Father Thomas: Hearing of the incident, the Church sends Father Thomas to "civilize" the cannibals.
- Connection: Ochieng becomes fascinated with Father Thomas’s rituals and the power he holds over the tribe.
8. Fun and Games
- Conversion Begins:
- Father Thomas builds a small church, using Ochieng as his assistant.
- Ochieng’s cleverness shines as he manipulates the priest for wine.
- The boy fabricates divine visions, earning the priest’s favor.
- Visual Contrast: The once-untamed jungle now features the orderly rituals of Sunday Mass.
9. Midpoint
- High Point (False Victory):
- Ochieng adopts the name Father John and travels to America as a symbol of redemption.
- Celebration Montage: Lavish dinners, media interviews, and accolades.
- Underlying Conflict: Fame begins to hollow Ochieng’s identity as he struggles with alienation.
10. Bad Guys Close In
- External Conflict: Rebellion erupts in Ochieng’s homeland, targeting foreign exploiters.
- Internal Conflict: Ochieng feels torn between his tribal roots and his loyalty to the Church.
11. All Is Lost
- Loss: Father Thomas dies of illness, leaving Ochieng isolated.
- Symbolic Death: Ochieng’s status in America diminishes, and he ends up as a cobbler on the streets of New York.
12. Dark Night of the Soul
- Alone and destitute, Ochieng reflects on his journey. He recalls his childhood, his transformation, and the loss of his true self.
13. Break Into Three
- Opportunity: The U.S. military recruits Ochieng to suppress the rebellion in his homeland, giving him the rank of Deputy Major.
- Turning Point: Ochieng sees this as a chance for redemption—or so he tells himself.
14. Finale
- Confrontation:
- As Major John, Ochieng leads a brutal campaign against the rebels.
- The climactic battle occurs in his birthplace, where he orders the destruction of his own village.
- Emotional Peak: Confronted by an elder from his tribe, Ochieng hesitates but ultimately silences them to assert his authority.
15. Final Image
- Visual Parallel: Ochieng stands alone amid the ruins, staring at his reflection in his polished military boots.
- Tone: Hollow victory. The jungle, once vibrant, is now a desolate wasteland—a mirror of Ochieng’s lost identity.
- Closing Line: “The boy who wandered barefoot was gone, consumed by the world that claimed him.”
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