"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 f**king 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.