Dark Benediction

The Darfsteller

“Judas, Judas” was playing at the Universal on Fifth Street, and the cast was entirely human. Ryan Thornier had been saving up for, it for several weeks, and now he could afford the price of a matinee ticket. It had been a race for time between his piggy bank and the wallets of several “public-spirited” angels who kept the show alive, and the piggy bank had won. He could see the show before the wallets went flat and the show folded, as any such show was bound to do after a few limping weeks. A glow of anticipation suffused him. After watching the wretched mockery of dramaturgical art every day at the New Empire Theater where he worked as janitor, the chance to see real theater again would be like a breath of clean air.

He came to work an hour early on Wednesday morning and sped through his usual chores on overdrive. He finished his work before one o’clock, had a shower back-stage, changed to street clothes, and went nervously up- stairs to ask Imperio D’Uccia for the rest of the day off.

D’Uccia sat enthroned at a rickety desk before a wall plastered with photographs of lightly clad female stars of the old days. He heard the janitor’s petition with a faint, almost oriental smile of apparent sympathy, then drew himself up to his full height of sixty-five inches, leaned on the desk with chubby hands to study Thornier with beady eyes.

“Off? So you wanna da day off? Mmmph—” He shook his head as if mystified by such an incomprehensible request.

The gangling janitor shifted his feet uneasily. “Yes, sir. I’ve finished up, and Jigger’ll come over to stand by in case you need anything special.” He paused. D’Uccia was studying his nails, frowning gravely. “I haven’t asked for a day off in two years, Mr. D’Uccia,” he added, “and I was sure you wouldn’t mind after all the overtime I’ve—”

“Jigger,” D’Uccia grunted. “Whoosa t’is Jigger?”

“Works at the Paramount. It’s closed for repairs, and he doesn’t mind—”

The theater manager grunted abruptly and waved his hands. “I don’ pay no Jigger, I pay you. Whassa this all about? You swip the floor, you putsa things away, you all finish now, ah? You wanna day off. Thatsa whass wrong with the world, too mucha time loaf. Letsa machines work. More time to mek trouble.” The theater manager came out from behind his desk and waddled to the door. He thrust his fat neck outside and looked up and down the corridor, then waddled back to confront Thornier with a short fat finger aimed at the employee’s long and majestic nose.

“Whensa lass time you waxa the upstairs floor, hah?” Thornier’s jaw sagged forlornly. “Why, I—”

“Don’ta tell me no lie. Looka that hall. Sheeza feelth. Look! I want you to look.” He caught Thornier’s arm, tugged him to the doorway, pointed excitedly at the worn and ancient oak flooring. “Sheeza feelth ground in! See? When you wax, hah?”

A great shudder seemed to pass through the thin elderly man. He sighed resignedly and turned to look down at D’Uccia with weary gray eyes.

“Do I get the afternoon off, or don’t I?” he asked hopelessly, knowing the answer in advance.

But D’Uccia was not content with a mere refusal. He began to pace. He was obviously deeply moved. He defended the system of free enterprise and the cherished traditions of the theater. He spoke eloquently of the golden virtues of industriousness and dedication to duty.

He bounced about like a furious Pekingese yapping happily at a scarecrow. Thornier’s neck reddened, his mouth went tight.

“Can I go now?”

“When you waxa da floor? Palisha da seats, fixa da lights? When you clean op the dressing room, hah?” He stared up at Thornier for a moment, then turned on his heel and charged to the window. He thrust his thumb into the black dirt of the window box, where several prize lilies were already beginning to bloom. “Ha!” he snorted. “Dry, like I thought! You think the bulbs a don’t need a drink, hah?”

“But I watered them this morning. The sun—”

“Hah! You letsa little fiori wilt and die, hah? And you wanna the day off?”

It was hopeless. When D’Uccia drew his defensive mantle of calculated deafness or stupidity about himself, he became impenetrable to any request or honest explanation. Thornier sucked in a slow breath between his teeth, stared angrily at his employer for a moment, and seemed briefly ready to unleash an angry blast. Thinking better of it, he bit his lip, turned, and stalked wordlessly out of the office. D’Uccia followed him trimphantly to e door. “Don’ you go sneak off, now!” he called ominously, and stood smiling down the corridor until the janitor vanished at the head of the stairs. Then he sighed and went back to get his hat and coat. He was just preparing to leave when Thornier came back upstairs with a load of buckets, mops, and swabs.

The janitor stopped when he noticed the hat and coat, and his seamed face went curiously blank. “Going home, Mr. D’Uccia?” he asked icily.

“Yeh! I’ma works too hard, the doctor say. I’ma need the sunshine. More frash air. I’ma go relax on the beach a while.”

Thornier leaned on the mop handle and smiled nastily. “Sure,” he said. “Letsa machines do da work.”

The comment was lost on D’Uccia. He waved airily, strode off toward the stairway, and called an airy “A rivederci!” over his shoulder.

“A rivederci, padrone,” Thornier muttered softly, his pale eyes glittering from their crow’s-feet wrappings. For a moment his face seemed to change—and once again he was Chaubrec’s Adolfo, at the exit of the Comman-Jant, Act II, scene iv, from “A Canticle for the Marsman.”

Somewhere downstairs, a door slammed behind D’Uccia.

“Into death!” hissed Adolfo-Thornier, throwing back his head to laugh Adolfo’s laugh. It rattled the walls. When its reverberations had died away, he felt a little better. He picked up his buckets and brooms and walked on down the corridor to the door of D’Uccia’s office.

Unless “Judas-Judas” hung on through the weekend, he wouldn’t get to see it, since he could not afford a ticket to the evening performance, and there was no use asking D’Uccia for favors. While he waxed the hall, he burned. He waxed as far as D’Uccia’s doorway, then stood staring into the office for several vacant minutes.

“I’m fed up,” he said at last.

The office remained silent. The window-box lilies bowed to the breeze.

“You little creep!” he growled. “I’m through!”

The office was speechless. Thornier straightened and tapped his chest.

“I, Ryan Thornier, am walking out, you hear? The show is finished!”

When the office failed to respond, he turned on his heel and stalked downstairs. Minutes later, he came back with a small can of gold paint and a pair of artists’ brushes from the storeroom. Again he paused in the doorway.

“Anything else I can do, Mr. D’Uccia?” he purred. Traffic murmured in the street; the breeze rustled the lilies; the building creaked.

“Oh? You want me to wax in the wall-cracks, too? How could I have forgotten!”

He clucked his tongue and went over to the window. Such lovely lilies. He opened the paint can, set it on the window ledge, and then very carefully he glided each of the prize lilies, petals, leaves, and stalks, until the flowers glistened like the work of Midas’ hands in the sun-light. When he finished, he stepped back to smile at them in admiration for a moment, then went to finish waxing the hall.

He waxed it with particular care in front of D’Uccia’s office. He waxed under the throw rug that covered the worn spot on the floor where D’Uccia had made a sharp left turn into his sanctum every morning for fifteen years, and then he turned the rug over and dusted dry wax powder into the pile. He replaced it carefully and pushed at it a few times with his foot to make certain the lubrication was adequate. The rug slid about as if it rode on a bed of bird-shot.

Thornier smiled and went downstairs. The world was suddenly different somehow. Even the air smelled different. He paused on the landing to glance at himself in the decorative mirror.

Ah! the old trouper again. No more of the stooped and haggard menial. None of the wistfulness and weariness of self-perpetuated slavery. Even with the gray at the temples and the lines in the face, here was