Stool Pigeon's call to God, reminiscent of Berniece's calling on her ancestors for assistance to help her brother Boy Willie in his battle with the ghost of the white plantation owner, Sutter, at the end of The Piano Lesson, is located in a particularly black vernacular culture and black religious tradition. Stool Pigeon, too, calls on ancestors as he calls for "The Conquering Lion of Judea," the name by which Hedley refers to himself in Seven Guitars and that King repeats in King Hedley II. The idea, then, is that Stool Pigeon is calling out to a God who looks like him, who understands the history of black struggle and survival, and who can and will respond to black needs. As the lights go down to end the play, Wilson directs that "the sound of a cat's meow is heard." The sound of the cat signals the success of Stool Pigeon's efforts, of King's sacrifice; it trumpets the potential rebirth of Aunt Esther and thus renews hope for the African American future. God has heard Stool Pigeon's plea, and the past renews the present.
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