An hour later the studio smelt like a fire in a eucalyptus grove. Such light from outside as got past the cabalistically figured hangings covering windows and skylight revealed the shadowy forms of Simon, atop the scaffold, and the other five intellectuals, crouched against the wall, all puffing their reefers, sipping the sour smoke industriously. Their marijuana-blanked minds were still reverberating to the last compelling words of Gory’s rigmarole, read by Lester Phlegius in a sonorous bass.
Phoebe Saltonstall, who had refused reefers with a simple, “No thank you, I always carry my own peyote,” had one wall all to herself. Eyes closed, she was lying along it on three small cushions, her pleated Grecian robe white as a winding sheet.
Round all four walls waist-high went a dimly luminous line with six obtuse angles in it besides the four corners; Norman said that made it the topological equivalent of a magician’s pentalpha or pentagram. Barely visible were the bunches of garlic nailed to each door and the tiny silver discs scattered hi front of them.
Norman flicked his lighter and the little blue flame added itself to the six glowing red points of the reefers. In a cracked voice he cried, “The time approaches!” and he shambled about rapidly setting fire to the twelve railway flares spiked into the floor through the big canvas.
In the hellish red glow they looked to each other like so many devils. Phoebe moaned and tossed. Simon coughed once as the dense clouds of smoke billowed up around the scaffold and filled the ceiling.
Norman Saylor cried, “This is it!”
Phoebe screamed thinly and arched her back as if in electroshock.
A look of sudden agonized amazement came into the face of Taliaferro Booker Washington, as if he’d been jabbed from below with a pin or hot poker. He lifted his hands with great authority and beat out a short phrase on his gray African log.
A hand holding a brightly-freighted eight-inch brush whipped out of the hellish smoke clouds above and sent down a great fissioning gout of paint that landed on the canvas with a sound that was an exact visual copy of Tally’s short drummed phrase.
Immediately the studio became a hive of purposeful activity. Heavily-gloved hands jerked out the railway flares and plunged them into strategically located buckets of water. The hangings were ripped down and the windows thrown open. Two electric fans were turned on. Simon, half-fainting, slipped down the last feet of the ladder, was rushed to a window and lay across it gasping. Somewhat more carefully Phoebe Saltonstall was carried to a second window and laid in front of it. Gory checked her pulse and gave a reassuring nod.
Then the five intellectuals gathered around the big canvas and stared. After a while Simon joined them.
The new splatter, in Chinese red, was entirely different from the many ones under it and it was an identical twin of the new drummed phrase.
After a while the six intellectuals went about the business of photographing it. They worked systematically but rather listlessly. When their eyes chanced to move to the canvas they didn’t even seem to see what was there. Nor did they bother to glance at the black-on-white prints (with the background of the last splatter touched out) as they shoved them under their coats.
Just then there was a rustle of draperies by one of the open windows. Phoebe Saltonstall, long forgotten, was sitting up. She looked around her with some distaste.
“Take me home, Lester,” she said faintly but precisely.
Tally, half-way through the door, stopped. “You know,” he said puzzledly, “I still can’t believe that Old Five-Greats had the public spirit to do what he did. I wonder if she found out what it was that made him
Norman put his hand on Tally’s arm and laid a ringer of the other on his own lips. They went out together, followed by Lafcadio, Gorius, Lester and Phoebe. Like Simon, all five men had the look of drunkards in a benign convalescent stupor, and probably dosed with paraldehyde, after a bout of DTs.
The same effect was apparent as the new splatter and drummed phrase branched out across the world, chasing and eventually overtaking the first one. Any person who saw or heard it proceeded to repeat it once (make it, show it, wear it, if it were that sort of thing, in any case pass it on) and then forget it—and at the same time forget the first drummed phrase and splatter. All sense of compulsion or obsession vanished utterly.
Drum ‘n’ Drag died a-borning. Blotto Cards vanished from handbags and pockets, the McSPATS I and II from doctor’s offices and psychiatric clinics. Bump Parties no longer plagued and enlivened mental hospitals. Catatonics froze again. The Young Turks went back to denouncing tranquilizing drugs. A fad of green-and-purple barber-pole stripes covered up splattermarks on raincoats. Satanists and drug syndicates presumably continued their activities unhampered except by God and the Treasury Department. Capetown had such peace as it deserved. Spotted shirts, neckties, dresses, lampshades, wallpaper, and linen wall hangings all became intensely passe. Drum Saturday was never heard of again. Lester Phlegius’ second attention-getter got none.
Simon’s big painting was eventually hung at one exhibition, but it got little attention even from critics, except for a few heavy sentences along the lines of “Simon Grue’s latest elephantine effort fell with a thud as dull as those of the gobs of paint that in falling composed it.” Visitors to the gallery seemed able only to give it one dazed look and then pass it by, as is not infrequently the case with modern paintings.
The reason for this was clear. On top of all the other identical splatters it carried one in Chinese red that was a negation of all symbols, a symbol that had nothing in it—the new splatter that was the identical twin of the new drummed phrase that was the negation and completion of the first, the phrase that had vibrated out from
Tally’s log through the red glare and come slapping down out of Simon’s smoke cloud, the phrase that stilled and ended everything (and which obviously can only be stated here once): “Tah-titty-titty-tee-toe't”
The six intellectual people continued their weekly meetings almost as if nothing had happened, except that Simon substituted for splatter-work a method of applying the paint by handfuls with the eyes closed, later treading it in by foot. He sometimes asked his friends to join him in these impromptu marches, providing wooden shoes imported from Holland for the purpose.
One afternoon, several months later, Lester Phlegius brought a guest with him—Phoebe Saltonstall.
“Miss Saltonstall has been on a round-the-world cruise,” he explained. “Her psyche was dangerously depleted by her experience in this apartment, she tells me, and a complete change was indicated. Happily now she’s entirely recovered.”
“Indeed I am,” she said, answering their solicitous inquiries with a bright smile.
“By the way,” Norman said, “at the time your psyche was depleted here, did you receive any message from Tally’s ancestor?”
“Indeed I did,” she said.
“Well, what did Old Five-Greats have to say?” Tally asked eagerly. “Whatever it was, I bet he was pretty crude about it!”
“Indeed he was,” she said, blushing prettily. “So crude, in fact, that I wouldn’t dare attempt to convey that aspect of his message. For that matter, I am sure that it was the utter fiendishness of his anger and the unspeakable visions in which his anger was clothed that so reduced my psyche.” She paused.
“I don’t know where he was sending from,” she said thoughtfully. “I had the impression of a warm place, an intensely warm place, though of course I may have been reacting to the railway flares.” Her