[This is the concluding paragraphs of Nathanael West's magisterial novel, The Day of the Locust. Before reading it, you should at least read the previous post—if not the entire book. It's also a pretty good movie that prefigures, in many respects, the Coen brothers' excellent "Barton Fink."]
"In this part of the mob no one was hysterical. In fact, most of the people seemed to be enjoying themselves. Near him was a stout woman with a man pressing hard against her from in front. His chin was on her shoulder, and his arms were around her. She paid no attention to him and went on talking to th woman at her side.
"The first thing I knew," Tod heard her say, "There was a rush and I was in the middle."
"Yeah. Somebody hollered, 'Here comes Gary Cooper,' and then wham!"
"That ain't it," said a little man wearing a cloth cap and pullover sweater. "This is a riot you're in."
"Yeah," said a third woman, whose snaky gray hair was hanging over her face and shoulders. "A pervert attacked a child."
"He ought to by lynched."
Everybody agreed vehemently.
"I come from St. Louis," announced the stout woman, "and we had one of them pervert fellers in our neighborhood once. He ripped up a girl with a pair of scissors."
"He must have been crazy," said the man in the cap. "What kind of fun is that?"
Everybody laughed. The stout woman spoke to the man who was hugging her.
"Hey, you," she said. "I ain't no pillow."
The man smiled beatifically but didn't move. She laughed, making no effort to get out of his embrace.
"A fresh guy," she said.
The other woman laughed.
"Yeah," she said, "this is a regular free-for-all."
The man in the cap and sweater thought there was another laugh in his comment about the pervert.
"Ripping up a girl with scissors. That's the wrong tool."
He was right. They laughed even louder than the first time.
"You'd a done it different, eh, kid?" said a young man with a kidney-shaped head and waxed moustaches.
The two women laughed. This encouraged the man in the cap and he reached over and pinched the stout woman's friend. She squealed.
"Lay off that," she said good-naturedly.
"I was shoved," he said.
An ambulance siren screamed in the street. Its wailing moan started the crowd moving again and Tod was carried along in a slow, steady push. He closed his eyes and tried to protect his throbbing leg. This time, when the movement ended, he found himself with his back to the theatre wall. He kept his eyes closed and stood on his good leg. After what seemed like hours, the pack began to loosen and move again with a churning motion. It gathered momentum and rushed. He rode it until he was slammed against the base of an iron rail which fenced the driveway of the theatre from the street. He had the wind knocked out of him by the impact, but managed to cling to the rail. He held on desperately, fighting to keep from being sucked back. A woman caught him around the waist and tried to hang on. She was sobbing rhythmically. Tod felt his fingers slipping from the rail and kicked backwards as hard as he could. The woman let go.
Despite the agony in his leg, he was able to think clearly about his picture, "The Burning of Los Angeles." After his quarrel with Faye, he had worked on it continually to escape tormenting himself, and the way to it in his mind had become almost automatic.
As he stood on his good leg, clinging desperately to the iron rail, he could see all the rough charcoal strokes with which he had blocked it out on the big canvas. Across the top, parallel with the frame, he had drawn the burning city, a great bonfire of architectural styles, ranging from Egyptian to Cape Cod colonial. Through the center, winding from left to right, was a long hill street and down it, spilling into the middle foreground, came the mob carrying baseball bats and torches. For the face of its members, he was using the innumerable sketches he had made of the people who come to California to die; the cultists of all sorts, economic as well as religious, the wave, airplane, funeral and preview watchers—all those poor devils who can only be stirred by the promise of miracles and then only to violence. A super "Dr. Know-All Pierce-All" had made the necessary promise and they were marching behind his banner in a great united front of screwballs and screwboxes to purify the land. No longer bored, they sang and danced joyously in the red light of the flames.
In the lower foreground, men and women fled wildly before the vanguard of th crusading mob. Among them were Faye, Harry, Homer, Claude and himself. Faye ran proudly, throwing her knees high. Harry stumbled along behind her, holding on to his beloved derby hat with both hands. Homer seemed to be falling out of the canvas, his face half-asleep, his big hands clawing the air in anguished pantomime. Claude turned his head as he ran to thumb his nose at his pursuers. Tod himself picked up a small stone to throw before continuing his flight.
He had almost forgotten both his leg and his predicament, and to make his escape still more complete he stood on a chair and worked at the flames in an upper corner of the canvas, modeling the tongues of fire so tht they licked even more avidly at a corinthian column that held up the palmleaf roof of a nutburger stand.
He had finihsed one flame and was starting one another when he was brought back by someone shouting in his ear. He opened his eyes and saw a policeman trying to reach him from behind the rail to which he was clinging. He let go with his left hand and raised his arm. The policeman caught him by the wrist, but couldn't lift him. Tod was afraid to let go until another man came to aid the policeman and caught him by the back of his jacket. He let go of the rail andthey hauled him up and over it.
When they saw that he couldn't stand, they let him down easily to the ground. He was in the theatre driveway. On the curb next to him sat a woman crying into her skirt. Along the wall were groups of other disheveled people. At the end of th driveway was an ambulance. A policeman asked him if he wanted to go to the hospital. He shook his head no. He then offered him a lift home. Tod had the presence of mind to give Claude's address.
He was carried through the exit to the back street and lifted into a police car. The siren began to scream and at first he thought he was making the noise himself. He felt his lips with his hands. They were clamped tight. He knew then it was the siren. For some reason this made him laugh and he began to imitate the siren as loud as he could." Nathanael West, The Day of the Locust.