Black House
Chapter 10
by Straub, Stephen King and PeterDale Gilbertson, the police chief of French Landing, searches through his cluttered wallet for a phone number while his deputy, Tom Lund, drives. He finds the number and calls Jack Sawyer’s cell phone, only to be surprised when the call is answered by Henry Leyden, Jack’s blind friend. Henry, riding with Jack in his truck, hands the phone back to Jack, who reluctantly takes it. The conversation reveals that the Fisherman, a serial killer, has contacted the police, claiming Irma Freneau’s body is at Ed’s Eats and Dawgs, a derelict diner near Goltz’s.
Jack, initially skeptical about cell phones, pulls over to talk to Dale. He learns that the Fisherman called 911, hinting at Irma’s location. Jack shares his own disturbing discovery: a box containing Irma’s foot and Ty Marshall’s cap, delivered to his doorstep. Dale, overwhelmed, admits his uncertainty about handling the case, while Jack advises him to secure the pay phone at the 7‑Eleven for fingerprints, suggesting the killer may have grown careless. Jack’s calm demeanor contrasts with Dale’s near-panic, highlighting the tension between the two.
The narrative shifts to a broader perspective, describing the journey of Jack and Dale toward Ed’s Eats and Dawgs. Gossip about the murder spreads quickly through the community, reaching figures like Beezer St. Pierre, a grieving father and leader of the Thunder Five motorcycle gang. The scene is set with vivid imagery of the decaying diner and the surrounding overgrown landscape, creating an eerie atmosphere. The chapter builds suspense as the characters converge on the location, hinting at the grim discovery awaiting them.
As Jack and Dale arrive at the dilapidated diner, Jack scans the area for signs of disturbance, signaling the beginning of their investigation. The chapter ends on a tense note, with the reader anticipating the gruesome revelation of Irma Freneau’s fate. The interplay between the characters—Jack’s resolve, Dale’s desperation, and Henry’s eerie perceptiveness—adds depth to the unfolding mystery, setting the stage for the next developments in the hunt for the Fisherman.
FAQs
1. How does the chapter establish tension regarding the Fisherman’s latest actions?
Answer:
The chapter builds tension through fragmented revelations about the Fisherman’s activities. First, Dale receives a call indicating Irma Freneau’s body is at Ed’s Eats and Dawgs, delivered in the killer’s characteristic taunting manner (“not in so many words”). Simultaneously, Jack reveals he already possesses a gruesome package containing Irma’s foot and Ty Marshall’s cap, suggesting the Fisherman is escalating his pattern by leaving physical evidence. The urgency in Dale’s near-babbling tone and Jack’s clinical observation of his distress heightens the stakes, while the unresolved question of whether another child has been killed (“Not that, not yet, please”) maintains suspense.2. Analyze the significance of communication technologies in this chapter. How do they advance the plot and themes?
Answer:
Communication technologies serve as both tools and vulnerabilities in the hunt for the Fisherman. The cell phone conversation between Jack and Dale (using Henry as an intermediary) allows rapid coordination but raises concerns about digital surveillance, as Henry notes digital phones are “harder to snoop.” Meanwhile, the Fisherman weaponizes technology—using a 7-Eleven pay phone to call 911, leaving fingerprints that Jack urgently insists must be preserved. This highlights the theme of modernity versus primal evil: while technology aids the investigation, it also becomes a conduit for the killer’s psychological warfare, emphasizing how progress can be exploited for malevolence.3. What does Jack’s reaction to Dale’s oversight about the pay phone fingerprints reveal about their dynamic?
Answer:
Jack’s handling of Dale’s oversight demonstrates their shifting roles and Dale’s growing dependence. When Jack points out the missed opportunity for fingerprints, Dale responds with childlike humiliation (“sounding to a child”), revealing his eroded confidence. Jack avoids reinforcing Dale’s self-doubt by withholding judgment (“chooses not to speak”) and pivots to practical solutions, assigning Bobby Dulac to secure the scene. This interaction underscores Jack’s emergence as the de facto leader despite his outsider status, while Dale’s admission—”I can’t do this. I’m lost”—signals a thematic tension between institutional authority and instinctive competence.4. How does the narrative perspective shift in the final section, and what effect does this have?
Answer:
The perspective shifts to an omniscient, almost cinematic viewpoint (“Let us rise up again—on wings as eagles”), adopting a bird’s-eye view that tracks converging movements—Dale’s cruiser and Jack’s truck arriving simultaneously at Ed’s Eats. This technique heightens dramatic irony, as readers observe events unfold globally while characters remain unaware of each other’s proximity. The whimsical tone (“Hot gossip tickles our birdy feet”) contrasts with the grim context, creating unsettling juxtaposition. By roosting on the Esso pump as a passive observer, the narration mirrors the community’s role: watching, gossiping, but ultimately detached from the horror.5. Evaluate Henry Leyden’s role in this chapter. How does he bridge the mundane and supernatural elements?
Answer:
Henry serves as a liminal figure, blending practicality with otherworldly perception. His casual handling of Jack’s phone (“nonchalant flick of the wrist”) contrasts with his eerie awareness—listening “sharply” while pretending to survey scenery, suggesting he perceives more than sight allows. His quip about brain cancer (“okay for me but not for you”) underscores his acceptance of his blindness as a trade-off for heightened intuition. By identifying the Nokia’s digital properties and facilitating Jack’s communication, Henry operates as both tech-savvy ally and mystic intermediary, embodying the story’s fusion of procedural realism and uncanny foreshadowing.
Quotes
1. “Cell phones give you brain cancer… More or less, yeah.”
This exchange between Jack and Henry highlights Jack’s distrust of modern technology and his dry humor. It also subtly reveals their dynamic—Jack’s pragmatic cynicism contrasted with Henry’s playful compliance.
2. “He wants to play you now. Play with you. Maybe he even wants to be caught and stopped, like Son of Sam.”
Jack’s analysis of the Fisherman’s psychology is crucial—it marks the killer’s transition from mere murder to a more complex game of taunting law enforcement, suggesting both escalation and potential vulnerability in the case.
3. “I can’t do this. I’m lost.”
Dale’s vulnerable admission to Jack represents a key emotional turning point, showing the overwhelming pressure on local law enforcement and setting up Jack’s increasing role as the investigation’s de facto leader.
4. “Gossip is no doubt nasty stuff, but it does energize the human spirit.”
The narrator’s wry observation about the spreading news of the murder serves as both social commentary and plot device, foreshadowing how information (and misinformation) will spread through the community.
5. “We take wing, fly above and then ahead of them. We roost on the rusty Esso gas pump to watch developments.”
This vivid narrative perspective shift—from omniscient observers to literal birds—creates a striking cinematic effect, emphasizing the convergence of characters at the crime scene while maintaining an eerie, detached tone.