She slides elegantly down from her perch, and Chipper pushes himself inelegantly upright and closes the safe door with his foot. Eyes shining damply, he takes a couple of thuggish, strutting strides across the carpet, wraps one arm around Rebecca Vilas's slender waist and with the other slides the fat manila envelopes onto the desk. He is yanking at his belt before he begins to pull Rebecca toward the sofa.
"So I can see him?" says clever Rebecca, who understands exactly how to turn her lover's brains to porridge . . .
. . . and before Chipper obliges her, we do the sensible thing and float out into the lobby, which is still empty. A corridor to the left of the reception desk takes us to two large, blond, glass-inset doors marked DAISY and BLUEBELL, the names of the wings to which they give entrance. Far down the gray length of BLUEBELL, a man in baggy coveralls dribbles ash from his cigarette onto the tiles over which he is dragging with exquisite slowness, a filthy mop. We move into DAISY.
The functional parts of Maxton's are a great deal less attractive than the public areas. Numbered doors line both sides of the corridor. Hand-lettered cards in plastic holders beneath the numerals give the names of the residents. Four doors along, a desk, at which a burly male attendant in an unclean white uniform sits dozing upright, faces the entrance to the men's and women's bathrooms--at Maxton's, only the most expensive rooms, those on the other side of the lobby, in Asphodel, provide anything but a sink. Dirty mop-swirls harden and dry all up and down the tiled floor, which stretches out before us to improbable length. Here, too, the walls and the air seem the same shade of gray. If we look closely at the edges of the hallway, at the juncture of the walls and the ceiling, we see spiderwebs, old stains, accumulations of grime. Pine-Sol, ammonia, urine, and worse scent the atmosphere. As an elderly lady in Bluebell Wing likes to say, when you live with a bunch of people who are old and incontinent, you never get far from the smell of caca.
The rooms themselves vary according to the conditions and capacities of their inhabitants. Since nearly everyone is asleep, we can glance into a few of these quarters. Here in D10, a single room two doors past the dozing aide, old Alice Weathers lies (snoring gently, dreaming of dancing in perfect partnership with Fred Astaire across a white marble floor) surrounded by so much of her former life that she must navigate past the chairs and end tables to maneuver from the door to her bed. Alice still possesses even more of her wits than she does her old furniture, and she cleans her room herself, immaculately. Next door in D12, two old farmers named Thorvaldson and Jesperson, who have not spoken to each other in years, sleep, separated by a thin curtain, in a bright clutter of family photographs and grandchildren's drawings.
Farther down the hallway, D18 presents a spectacle completely opposite to the clean, crowded jumble of D10, just as its inhabitant, a man known as Charles Burnside, could be considered the polar opposite of Alice Weathers. In D18, there are no end tables, hutches, overstuffed chairs, gilded mirrors, lamps, woven rugs, or velvet curtains: this barren room contains only a metal bed, a plastic chair, and a chest of drawers. No photographs of children and grandchildren stand atop the chest, and no crayon drawings of blocky houses and stick figures decorate the walls. Mr. Burnside has no interest in housekeeping, and a thin layer of dust covers the floor, the window sill, and the chest's bare top. D18 is bereft of history, empty of personality; it seems as brutal and soulless as a prison cell. A powerful smell of excrement contaminates the air.
For all the entertainment offered by Chipper Maxton and all the charm of Alice Weathers, it is Charles Burnside, "Burny," we have most come to see.
This is a work of fiction. Names, characters, places, and incidents are either the product of the author's imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental.
This book contains an excerpt from the forthcoming hardcover edition of Black House by Stephen King and Peter Straub. This excerpt has been set for this edition only and may not reflect the final content of the forthcoming edition.
A Ballantine Book
Published by The Ballantine Publishing Group
Copyright (c) 1984 by Stephen King and Peter Straub Excerpt from Black House by Stephen King and Peter Straub (c) 2001 by Stephen King and Peter Straub
All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by The Ballantine Publishing Group, a division of Random House, Inc., New York, and simultaneously in Canada by Random House of Canada Limited, Toronto. Originally published by Viking Penguin/G. P. Putnam's Sons in 1984.
Ballantine is a registered trademark and the Ballantine colophon is a trademark of Random House, Inc.
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First Ballantine Books Edition: August 2001
eISBN: 978-0-34545240-5
v3.0
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