A Treasury of Stories (Collection of novelettes and short stories)

Then back go the rags in a gray wave and out comes the arm at last. Not the gnarled brown toothpick arm of Papa Benjamin, but a bulging arm thick as a piano-leg, cuffed in serge, white at the wrist, ending in a regulation police-revolver with the clip off. The erstwhile witch-doctor’s on his feet at a bound, standing erect atop the bed, back to the wall, slowly fanning his score of human devils with the mouth of his gun, left to right, then right to left again, evenly, unhurriedly. The resonant bellow of a bull comes from his weazened slit of a mouth instead of the papaloi’s cracked falsetto. “Back against that wall there, all of you! Throw down them knives and jiggers!” But they’re slow to react; the swift drop from ecstasy to stupefaction can’t register right away. None of them are overbright anyway or they wouldn’t be here. Mouths hang open, the wailing stops, the drums and gourds fall still, but they’re still packed close about this sudden changeling in their midst, with the familiar shriveled face of Papa Benjamin and the thick-set body, business-suit, of a white man — too close for comfort. Blood-lust and religious mania don’t know fear of a gun. It takes a cool head for that, and the only cool head in the room is the withered cocoanut atop the broad shoulders behind that gun. So he shoots twice, and a woman at one end of the semicircle, the drumbeater, and a man at the other end, the one still holding the sacrificial fowl, drop in their tracks with a double moan. Those in the middle slowly draw back step by step across the room, all eyes on the figure reared up on the bed. An instant’s carelessness, the wavering of an eye, and they’ll be on him in a body. He reaches with his free hand and rips the dead witch-doctor’s features from his face, to breathe better, see better. They dissolve into a crumpled rag before the blacks’ terrified eyes, like a stocking-cap coming off someone’s head — a mixture of paraffin and fiber, called moulage — a death-mask taken from the corpse’s own face, reproducing even the fine lines of the skin and its natural color. Moulage. So the 20th Century has won out after all. And behind them is the grinning, slightly-perspiring, lantern-jawed face of Detective Jacques Desjardins, who doesn’t believe in spirits unless they’re under a neat little label. And outside the house sounds the twenty-first whistle of the evening, but not a swampland sound this time; a long, cold, keen blast to bring figures out of the shadows and doorways that have waited there patiently all night.

Then the door bursts inward and the police are in the room. The survivors, three of them dangerously wounded, are pushed and carried downstairs to join the crippled door-guard, who has been in custody for the past hour, and single-file, tied together with ropes, they make their way through the long tortuous alley out into Congo Square.

In the early hours of that same morning, just a little more than twenty-four hours after Eddie Bloch first staggered into Police Headquarters with his strange story, the whole thing is cooked, washed and bottled. The Commissioner sits in his office listening attentively to Desjardins.

And spread out on his desk as strange an array of amulets, wax images, bunches of feathers, balsam leaves, ouangas (charms of nail parings, hair clippings, dried blood, powdered roots), green mildewed coins dug up from coffins in graveyards, as that room has ever seen before. All this is state’s evidence now, to be carefully labelled and docketed for the use of the prosecuting attorney when the proper time comes. “And this,” explains Desjardins, indicating a small dusty bottle, “is methylene blue, the chemist tells me. It’s the only modern thing we got out of the place, found it lying forgotten with a lot of rubbish in a corner that looked like it hadn’t been disturbed for years.

What it was doing there or what they wanted with it I don’t—”

“Wait a minute,” interrupts the commissioner eagerly. “That fits in with something poor Bloch told me last night. He noticed a bluish color under his fingernails and a yellowness to his eyeballs, but only after he’d been initiated that first night.

“This stuff probably has something to do with it, an injection of it must have been given him that night in some way without his knowing it. Don’t you get the idea? It floored him just the way they wanted it to. He mistook the signs of it for a give-away that he had colored blood. It was the opening wedge. It broke down his disbelief, started his mental resistance to crumbling. That was all they needed, just to get a foothold in his mind. Mental suggestion did the rest, has been doing it ever since. If you ask me, they pulled the same stunt on Staats originally. I don’t believe he had colored blood any more than Bloch has. And as a matter of fact the theory that it shows up in that way generations later is all the bunk anyway, they tell me.”