Salem's Lot

15

5:00 P.M.

Matthew Burke left the high school carrying his briefcase in his left hand and crossed the empty parking lot to where his old Chevy Biscayne sat, still on last year’s snow tires.

He was sixty-three, two years from mandatory retirement, and still carrying a full load of English classes and extracurricular activities. Fall’s activity was the school play, and he had just finished readings for a three-act farce called Charley’s Problem. He had gotten the usual glut of utter impossibles, perhaps a dozen usable warm bodies who would at least memorize their lines (and then deliver them in a deathly, trembling monotone), and three kids who showed flair. He would cast them on Friday and begin blocking next week. They would pull together between then and October 30, which was the play date. It was Matt’s theory that a high school play should be like a bowl of Campbell’s Alphabet Soup: tasteless but not actively offensive. The relatives would come and love it. The theater critic from the Cumberland Ledger would come and go into polysyllabic ecstasies, as he was paid to do over any local play. The female lead (Ruthie Crockett this year, probably) would fall in love with some other cast member and quite possibly lose her virginity after the cast party. And then he would pick up the threads of the Debate Club.

At sixty-three, Matt Burke still enjoyed teaching. He was a lousy disciplinarian, thus forfeiting any chance he might once have had to step up to administration (he was a little too dreamy-eyed to ever serve effectively as an assistant principal), but his lack of discipline had never held him back. He had read the sonnets of Shakespeare in cold, pipe-clanking classrooms full of flying airplanes and spitballs, had sat down upon tacks and thrown them away absently as he told the class to turn to page 467 in their grammars, had opened drawers to get composition paper only to discover crickets, frogs, and once a seven-foot black snake.

He had ranged across the length and breadth of the English language like a solitary and oddly complacent Ancient Mariner: Steinbeck period one, Chaucer period two, the topic sentence period three, and the function of the gerund just before lunch. His fingers were permanently yellowed with chalk dust rather than nicotine, but it was still the residue of an addicting substance.

Children did not revere or love him; he was not a Mr Chips languishing away in a rustic corner of America and waiting for Ross Hunter to discover him, but many of his students did come to respect him, and a few)earned from him that dedication, however eccentric or humble, can be a noteworthy thing. He liked his work.

Now he got into his car, pumped the accelerator too much and flooded it, waited, and started it again. He tuned the radio to a Portland rock ‘n’ roll station and jacked the volume almost to the speaker’s distortion point. He thought rock ‘n’ roll was fine music. He backed out of his parking slot, stalled, and started the car up again.

He had a small house out on the Taggart Stream Road, and had very few callers. He had never been married, had no family except for a brother in Texas who worked for an oil company and never wrote. He did not really miss the attachments. He was a solitary man, but solitude had in no way twisted him.

He paused at the blinking light at the intersection of Jointner Avenue and Brock Street, then turned toward home. The shadows were long now, and the daylight had taken on a curiously beautiful warmth - flat and golden, like something from a French Impressionist painting. He glanced over to his left, saw the Marsten House, and glanced again.

‘The shutters,’ he said aloud, against the driving beat from the radio. ‘Those shutters are back up.’

He glanced in the rear-view mirror and saw that there was a car parked in the driveway. He had been teaching in ‘salem’s Lot since 1952, and he had never seen a car parked in that driveway.

‘Is someone living up there?’ he asked no one in particular, and drove on.