Black House

by Stephen King

  Within him, a coarse voice keeps saying, Fazzdur, Burn-Burn, fazzdur!

  Burny’s only mistake is that, while buttoning up his damp shirt, he looks at himself in the mirror. What he sees stops him cold with shock. Despite his ugliness, Charles Burnside has always approved of the image returned to him by mirrors. In his opinion, he looks like a guy who knows where to find the corners—sly, unpredictable, and foxy. The man staring at him from the other side of the mirror is nothing like the canny old operator Burny remembered. The man facing him looks dimwitted, worn-out, and seriously ill. Sunken, red-rimmed eyes, cheeks like craters, veins crawling across his bald, skull-like crown … even his nose looks bonier and more twisted than it once had. He is the sort of old man who frightens children.

  You shud fry-den cheerun, Burn-Burn. Dime do ged moo-vuhn.

  He couldn’t really look that bad, could he? If he did, he would have noticed long before this. Nah, that wasn’t how Charles Burnside faced the world. The bathroom’s too damn white, that’s all. A white like that makes you look bleached. Makes you look skinned, like a rabbit. The dying old horror in the mirror takes a step nearer, and the spotty discolorations on his skin seem to darken. The spectacle of his teeth makes him close his mouth.

  Then his master is like a fishhook in his mind, pulling him toward the door and muttering, Dime, dime.

  Burny knows why it’s dime: Mr. Munshun wants to get back to Black House. Mr. Munshun comes from some place incredibly distant from French Landing, and certain parts of Black House, which they built together, feel like the world of his home—the deepest parts, which Charles Burnside seldom visits, and which make him feel hypnotized, weak with longing, and sick to his stomach when he does. When he tries to picture the world that gave birth to Mr. Munshun, he envisions a dark, craggy landscape littered with skulls. On the bare slopes and peaks stand houses like castles that change size, or vanish, when you blink. From the flickering defiles comes an industrial cacophony mingled with the cries of tortured children.

  Burnside is eager to return to Black House, too, but for the simpler pleasures of the first set of rooms, where he can rest, eat canned food, and read his scrapbooks. He relishes the particular smell that inhabits those rooms, an order of rot, sweat, dried blood, must, sewage. If he could distill that fragrance, he would wear it like cologne. Also, a sweet little morsel named Tyler Marshall sits locked in a chamber located in another layer of Black House—and another world—and Burny cannot wait to torment little Tyler, to run his wrinkled hands over the boy’s beautiful skin. Tyler Marshall thrills Burny.

  But there are pleasures yet to be reaped in this world, and it is dime to attend to them. Burny peeks out through a crack in the bathroom door and sees that Butch Yerxa has succumbed to weariness and the cafeteria’s meat loaf. He occupies his chair like an oversized doll, his arms on the desk and his fat chin resting on what would be a neck on a normal person. That useful little painted rock stands a few inches away from Butch’s right hand, but Burny has no need of the rock, for he has acquired an instrument far more versatile. He wishes he had discovered the potential of hedge clippers long ago. Instead of one blade, you get two. One up, one down, snick-snick! And sharp! He had not intended to amputate the blind man’s fingers. Back then he thought of the clippers as a big, primitive variety of knife, but when he got stabbed in the arm, he jerked the clippers toward the blind man and they more or less bit off his fingers by themselves, as neatly and swiftly as the old-time butchers in Chicago used to slice bacon.

  Chipper Maxton is going to be fun. He deserves what he is going to get, too. Burny figures that Chipper is responsible for the way he has deteriorated. The mirror told him that he is about twenty pounds less than he should be, maybe even thirty, and no wonder—look at the slop they serve in the cafeteria. Chipper has been chiseling on the food, Burny thinks, the same way he chisels on everything else. The state, the government, Medicaid, Medicare, Chipper steals from all of them. A couple of times when he thought Charles Burnside was too out of it to know what was happening, Maxton had told him to sign forms that indicated he’d had an operation, prostate surgery, lung surgery. The way Burny sees it, half of the Medicaid money that paid for the nonexistent operation should have been his. It was his name on the form, wasn’t it?

  Burnside eases into the hallway and pads toward the lobby, leaving bloody footprints from the squishing slippers. Because he will have to pass the nurse’s station, he shoves the clippers under his waistband and covers them with his shirt. The flabby cheeks, gold-rimmed glasses, and lavender hair of a useless old bag named Georgette Porter are visible to Burnside above the counter of the nurses’ station. Things could be worse, he thinks. Ever since she waltzed into D18 and caught him trying to masturbate stark naked in the middle of the room, Georgette Porter has been terrified of him.

  She glances his way, seems to suppress a shudder, and looks back down at whatever she is doing with her hands. Knitting, probably, or reading the kind of murder mystery in which a cat solves the crime. Burny slops nearer the station and considers using the clippers on Georgette’s face, but decides it is not worth the waste of energy. When he reaches the counter, he looks over it and sees that she is holding a paperback book in her hands, just as he had imagined.

  She looks up at him with profound suspicion in her eyes.

  “We sure look yummy tonight, Georgie.”

  She glances up the hallway, then at the lobby, and realizes that she must deal with him by herself. “You should be in your room, Mr. Burnside. It’s late.”

  “Mind your own business, Georgie. I got a right to take a walk.”

  “Mr. Maxton doesn’t like the residents to go into the other wings, so please stay in Daisy.”

  “Is the big boss here tonight?”

  “I believe so, yes.”

  “Good.”

  He turns away and continues on toward the lobby, and she calls after him. “Wait!”

  He looks back. She is standing up, a sure sign of great concern.

  “You aren’t going to bother Mr. Maxton, are you?”

  “Say any more, and I’ll bother you.”

  She places a hand on her throat and finally notices the floor. Her chin drops, and her eyebrows shoot up. “Mr. Burnside, what do you have on your slippers? And your pants cuffs? You’re tracking it everwhere!”

  “Can’t keep your mouth shut, can you?”

  Grimly, he plods back to the nurses’ station. Georgette Porter backs against the wall, and by the time she realizes that she could have tried to escape, Burny is already in front of her. She removes her hand from her throat and holds it out like a stop sign.

  “Dumb bitch.”

  Burnside yanks the clippers out of his belt, grips the handles, and clips off her fingers as easily as if they were twigs. “Stupid.”

  Georgette has entered a stage of shocked disbelief that holds her in paralysis. She stares at the blood spilling from the four stumps on her hand.

  “Goddamn moron.”

  He opens the clippers and rams one of the blades into her throat. Georgette makes a choked, gargling sound. She tries to get her hands on the clippers, but he pulls them from her neck and raises them to her head. Her hands flutter, scattering blood. The expression on Burny’s face is that of a man who finally admits that he has to clean his cat’s litter box. He levels the wet blade in front of her right eye and shoves it in, and Georgette is dead before her body slides down the wall and folds up on the floor.

  Thirty feet up the hallway, Butch Yerxa mumbles in his sleep.

  “They never listen,” Burny mutters to himself. “You try and try, but they always ask for it in the end. Proves they want it—like those dumb little shits in Chicago.” He tugs the clippers’ blade out of Georgette’s head and wipes it clean on the shoulder of her blouse. The memory of one or two of those little shits in Chicago sends a tingle down the length of his member, which begins to stiffen in his baggy old pants. Hel-lo! Ah … the magic of tender memories. Though, as we
have seen, Charles Burnside now and again enjoys erections in his sleep, in his waking hours they are so rare as to be nearly nonexistent, and he is tempted to pull down his pants and see what he could make it do. But what if Yerxa wakes up? He would assume that Georgette Porter, or at least her corpse, aroused Burny’s long-smoldering lusts. That wouldn’t do—not at all. Even a monster has his pride. Best to carry on to Chipper Maxton’s office, and hope that his hammer doesn’t go limp before it is time to pound the nail.

  Burny tucks the clippers into the back of his waistband and yanks at his wet shirt, pulling it away from his body. Down the corridor of Daisy wing he shuffles, across the empty lobby, and up to the burnished door further distinguished by the brass nameplate reading WILLIAM MAXTON, DIRECTOR. This he reverentially opens, summoning to mind the image of a long-dead ten-year-old boy named Herman Flagler, otherwise known as “Poochie,” one of his first conquests. Poochie! Tender Poochie! Those tears, those sobs of mingled pain and joy, that yielding to utter helplessness: the faint crust of dirt over Poochie’s scabby knees and slender forearms. Hot tears; a jet of urine from his terrified little rosebud.

  There will be no such bliss from Chipper, but we may be sure there will be something. Anyhow, Tyler Marshall lies bound and waiting in Black House, helpless as helpless could be.

  Charles Burnside plods through Rebecca Vilas’s windowless cubicle, Poochie Flagler’s pallid, deeply dimpled backside blazing in his mind. He places a hand on the next doorknob, takes a moment to calm himself, and noiselessly revolves the knob. The door opens just wide enough to reveal Chipper Maxton, only monarch of this realm, leaning over his desk, his head propped on one fist, and using a yellow pencil to make notations on two sets of papers. The trace of a smile softens the tight purse of his mouth; his damp eyes betray the suggestion of a gleam; the busy pencil glides back and forth between the two stacks of papers, making tiny marks. So happily absorbed in his task is Chipper that he fails to notice he is no longer alone until his visitor steps inside and gives the door a backward kick with his foot.

  When the door slams shut, Chipper glances up in irritated surprise and peers at the figure before him. His attitude almost immediately changes to a sly, unpleasant heartiness he takes to be disarming. “Don’t they knock on doors where you come from, Mr. Burnside? Just barge right on in, do they?”

  “Barge right on in,” says his visitor.

  “Never mind. The truth is, I’ve been meaning to talk to you.”

  “Talk to me?”

  “Yes. Come on in, will you? Take a seat. I’m afraid we might have a little problem, and I want to explore some possibilities.”

  “Oh,” Burny says. “A problem.” He plucks his shirt away from his chest and trudges forward, leaving behind him progressively fainter footprints Maxton fails to see.

  “Take a pew,” Chipper says, waving at the chair in front of his desk. “Pull up a bollard and rest your bones.” This expression comes from Franky Shellbarger, the First Farmer’s loan officer, who uses it all the time at the local Rotary meetings, and although Chipper Maxton has no idea what a bollard may be, he thinks it sounds cute as hell. “Old-timer, you and me have to have a heart-to-heart discussion.”

  “Ah,” Burny says, and sits down, his back rigidly straight, due to the clippers. “Hardz zu hardz.”

  “Yeah, that’s the idea. Hey, is that shirt wet? It is! We can’t have that, old buddy—you might catch cold and die, and neither one of us would like that, would we? You need a dry shirt. Let me see what I can do for you.”

  “Don’t bother, you fucking monkey.”

  Chipper Maxton is already on his feet and straightening his shirt, and the old man’s words throw him momentarily off his stride. He recovers nicely, grins, and says, “Stay right there, Chicago.”

  Although the mention of his native city sends a prickling sensation down his spine, Burnside gives nothing away as Maxton moves around the side of his desk and walks across his office. He watches the director leave the room. Chicago. Where Poochie Flagler and Sammy Hooten and Ferd Brogan and all the others had lived and died, God bless ’em. Stalks of grain, blades of grass, so foul so beautiful so enticing. With their smiles and their screams. Like all Caucasian slum children, pure pale ivory white under the crust of dirt, the fishy white of the city’s poor, the soon-to-be-lost. The slender bones of their shoulder blades, sticking out as if to break through the thin layer of flesh. Burny’s old organ stirs and stiffens as if it remembers the frolics of yesteryear. Tyler Marshall, he croons to himself, pretty little Ty, we will have ourselves some fun before we turn you over to the boss, yes we will yes indeedy yes yes.

  The door slams behind him, yanking him out of his erotic reverie. But his old mule, his old hoss, it stays awake and on its mettle, bold and brash as ever it was in the glory days.

  “No one in the lobby,” Maxton complains. “That old bag, what’shername, Porter, Georgette Porter, down in the kitchen stuffing her face, I bet, and Butch Yerxa sound asleep in his chair. What am I supposed to do, ransack the rooms to find a dry shirt?”

  He strides past Burnside, throws up his hands, and drops into his chair. It’s all an act, but Burny has seen much better than this. Chipper cannot intimidate Burny, not even if he knows a few things about Chicago.

  “I don’t need a new shirt,” he says. “Asswipe.”

  Chipper leans back in his chair and clasps his hands behind his head. He grins—this patient amuses him, he’s a real card. “Now, now. There’s no need for name-calling here. You don’t fool me anymore, old man. I don’t buy your Alzheimer’s act. In fact, I don’t buy any of it.”

  He is nice and relaxed and he oozes the confidence of a gambler holding four aces. Burny figures he is being set up for some kind of con job or blackmail, which makes the moment all the more delicious.

  “I gotta hand it to you, though,” Chipper goes on. “You fooled everybody in sight, including me. It must take an incredible amount of discipline to fake late-stage Alzheimer’s. All that slumping in your chair, being fed baby food, crapping in your pants. Pretending you don’t understand what people are saying.”

  “I wasn’t faking, you jackass.”

  “So it’s no wonder you staged a comeback—when was that, about a year ago? I would have done the same. I mean, it’s one thing to go undercover, but it’s another to do it as a vegetable. So we have ourselves a little miracle, don’t we? Our Alzheimer’s gradually reverses itself, it comes and it goes, like the common cold. It’s a good deal all around. You get to walk around and make a nuisance of yourself, and there’s less work for the staff. You’re still one of my favorite patients, Charlie. Or should I call you Carl?”

  “I don’t give a shit what you call me.”

  “But Carl’s your real name, isn’t it?”

  Burny does not even shrug. He hopes Chipper gets to the point before Butch Yerxa wakes up, notices the bloody prints, and discovers Georgette Porter’s body, because while he is interested in Maxton’s tale, he wants to get to Black House without too much interference. And Butch Yerxa would probably put up a decent fight.

  Under the illusion that he is playing a cat-and-mouse game in which he is the cat, Chipper smiles at the old man in the wet pink shirt and rolls on. “A state detective called me today. Said I.D. on a local fingerprint had come back from the FBI. It belonged to a bad, bad man named Carl Bierstone who’s been wanted for almost forty years. In 1964 he was sentenced to death for killing a couple of kids he molested, only he escaped from the car taking him to prison—killed two guards with his bare hands. No sign of him since then. He’d be eighty-five by now, and the detective thought Bierstone just might be one of our residents. What do you have to say, Charles?”

  Nothing, evidently.

  “Charles Burnside is pretty close to Carl Bierstone, isn’t it? And we have no background information on you at all. That makes you a unique resident here. For everybody else, we damn near have a family tree, but you sort of come out of nowhere. The only informati
on we have about you is your age. When you turned up at La Riviere General in 1996, you claimed to be seventy-eight. That would make you the same age as that fugitive.”

  Burnside gives him a truly unsettling smile. “I guess I must be the Fisherman, too, then.”

  “You’re eighty-five years old. I don’t think you’re capable of dragging a bunch of kids halfway across the county. But I do think you’re this Carl Bierstone, and the cops are still eager to get their hands on you. Which brings me to this letter that came a few days ago. I’ve been meaning to discuss it with you, but you know how busy things get around here.” He opens his desk drawer and pulls out a single sheet torn from a yellow notepad. It bears a brief, neatly typed message. “ ‘De Pere, Wisconsin,’ it says. No date. ‘To Whom It May Concern’ is how it starts. ‘I regret to inform you that I am no longer able to continue monthly payments on behalf of my nephew, Charles Burnside.’ That’s it. Instead of writing her signature, she typed her name. ‘Althea Burnside.’ ”

  Chipper places the yellow notepaper before him and folds his hands together on top of it. “What’s the deal here, Charles? There’s no Althea Burnside living in De Pere, I know that much. And she can’t be your aunt. How old would she be? At least a hundred. More like a hundred and ten. I don’t believe it. But these checks have been coming in, regular as clockwork, since your first month here at Maxton’s. Some buddy, some old partner of yours, has been looking out for you, my friend. And we want him to continue what he’s been doing, don’t we?”

  “All the same to me, asswipe.” This is not precisely truthful. All Burny knows of the monthly payments is that Mr. Munshun organized them long ago, and if these payments are to stop, well … what comes to an end with them? He and Mr. Munshun are in this together, aren’t they?

  “Come on, kiddo,” Chipper says. “You can do better than that. I’m looking for a little cooperation here. I’m sure you don’t want to go through all the mess and trouble of being taken into custody, getting fingerprinted, plus whatever might happen after that. And me, speaking personally, I wouldn’t want to put you through all of that. Because the real rat here is your friend. It sure looks to me like this guy, whoever he is, is forgetting that you probably have something on him from the old days, right? And he’s thinking that he doesn’t have to make sure that you have all your little comforts anymore. Only that’s a mistake. I bet you could straighten the guy out, make him understand the situation.”