You'll Always Remember Me (4 page)

Toward the end of the session Duff Ryan came in and nodded at me, and then sat down. He looked around at the kids, watched Major Clark a while, and then glanced back at me. He kept doing that until we were dismissed. He made me nervous.

FRIDAY morning I woke up and listened for reveille but it didn't come. I lay there, feeling comfortable in the bed clothes, and half lazy, but feeling every minute that reveille would blast me out of my place. Then I suddenly realized why the bugle hadn't blown. I heard the splash of rain across the window and knew that we wouldn't have to raise the flag or take our exercises this morning. On rainy days we got to sleep an extra half-hour. I felt pretty good about this and put my hands behind my head there on the pillow and began thinking. They were pleasant, what you might call mellow thoughts. A little thing like an extra half-hour in bed will do that.

Things were working out fine and after tonight I wouldn't have anything to worry about. For Duff Ryan to prove Tommy was innocent
after
the hanging would only make him out a damn fool. I was glad it was raining. It would make it easier for me to lay low, to stay away from Marie until the final word came….

That was what I thought in the morning, lying there in bed. But no. Seven-thirty that night Duff came over to the school in a slicker. He came into the study hall and got me. His eyes were wild. His face was strained.

“Ruth and I are going to see the lawyer again,” he said, “you've got to stay with Marie.”

“Nuts,” I said.

He jerked me out of the seat, then he took his hands off me as though he were ashamed. “Come on,” he said. “This is no time for smart talk.”

So I went.

Ruth had on a slicker too and was waiting there on the front porch. I could see her pretty face. It was pinched, sort of terrible. Her eyes were wild too. She patted my hand, half crying, and said, “You be good to Marie, honey. She likes you, and you're the only one in the world now that can console her.”

“What time does Tommy go?” I asked.

“Ten-thirty,” said Duff.

I nodded. “O.K.” I stood there as they crossed the sidewalk and got into Duff Ryan's car and drove away. Then I went in to see Marie. The kid looked scared, white as a ghost.

“Oh, Thorpe,” she said, “they're going to kill him tonight!”

“Well, I guess there's nothing we can do,” I said.

She put her arms around me and cried on my shoulder. I could feel her against me, and believe me, she was nice. She had a figure, all right. I put my arms around her waist and then I kissed her neck and her ears. She looked at me, tears on her cheeks, and shook her head. “Don't.”

She said that because I had never kissed her before, but now I saw her lips and I kissed her. She didn't do anything about it, but kept crying.

Finally I said, “Well, let's make fudge. Let's play a game. Let's play the radio. Let's do
something.
This thing's beginning to get me.”

We went to the kitchen and made fudge for a while.

But I was restless. The rain had increased. There was thunder and lightning in the sky now. Again I had that strange feeling of being cold, although the room was warm. I looked at the clock and it said ten minutes after eight. Only ten minutes after eight! And Tommy wasn't going to hang until ten-thirty!

“You'll always stay with me, won't you, Thorpe?” said Marie.

“Sure,” I told her, but right then I felt like I wanted to push her face in. I had never felt that way before. I couldn't understand what was the matter with me. Everything that had been me was gone. My wit and good humor.

I kept watching the clock, watching every minute that ticked by, and thinking of Tommy up there in San Quentin in the death cell pacing back and forth. I guess maybe he was watching the minutes too. I wondered if it was raining up there and if rain made any difference in a hanging.

We wandered back into the living room and sat down at opposite ends of the divan. Marie looking at nothing, her eyes glassy, and me watching and hating the rain, and hearing the clock.

Then suddenly Marie got up and went to the piano. She didn't ask me if she could or anything about it. She just went to the piano and sat down. I stared after her, even opened my mouth to speak. But I didn't say anything. After all, it was
her
brother who was going to die, wasn't it? I guess for one night at least she could do anything she wanted to do.

But then she began playing. First, right off,
“Lead Kindly Light,”
and then
“Onward Christian Soldiers,”
and then
“Little Church in the Wildwood.”
I sat there wringing my hands with that agony beating in my ears. Then I leapt to my feet and began to shout at her.

“Stop that! Stop it! Do you want to drive me crazy?”

But her face was frozen now. It was as though she was in a trance. I ran to her and shook her shoulder, but she pulled away from me and played on.

I backed away from her and my face felt as though it was contorted. I backed away and stared at her, her slim, arched back. I began biting my fingernails, and then my fingers. That music was killing me. Those hymns … those silly, inane hymns. Why didn't she stop it? The piano and the rain were seeping into my blood stream.

I walked up and down the room. I walked up and down the room faster and faster. I stopped and picked up a flower vase and dropped it, yelling:
“Stop it! For the love of heaven, stop!”

But she kept right on. Again I began staring at her, at her back, and her throat, and the profile of her face. I felt blood surging in me. I felt those hammers in my temples…

I tried to fight it off this time. I tried to go toward her to pull her away from that damn piano but I didn't have the strength to move in her direction. I stood there feeling the breath go out of me, feeling my skin tingle. And I didn't want to be like that. I looked at my hands and one minute they were tight fists and the next my fingers were working in and out like mad.

I looked toward the kitchen, and then I moved quietly into it. She was still slamming at the piano when I opened the drawer and pulled out the knife I had used to kill her father.

At least it was a knife like it. I put it behind me and tiptoed back into the room. She wasn't aware that I had moved. I crept up on her, waited.

Her hands were flying over the piano keys. Once more I shouted, and my voice was getting hoarse: “Stop it!”

But of course she didn't. She didn't and I swore. I swore at her. She didn't hear this either. But I'd show the little slut a thing or two.

I was breathing hard, looking around the room to make sure no one was here. Then I lifted the knife and plunged down with it.

I swear I never knew where Duff Ryan came from. It must have been from behind the divan. A simple place like that and I hadn't seen him, merely because I had been convinced that he went away in the car. But he'd been in the room all the time waiting for me to do what I almost did.

It had been a trick, of course, and this time I'd been sap enough to fall into his trap. He had heard me denounce hymns, he knew I'd be nervous tonight, highly excitable, so he had set the stage and remained hidden and Marie had done the rest.

He had told Marie then, after all.

Duff Ryan grabbed my wrist just at the right moment, as he had planned on doing, and of course being fourteen I didn't have much chance against him. He wrested away the knife, then he grabbed me and shouted:

“Why did you murder Marie's father?”

“Because the old boy hated me! Because he thought Marie was too young to know boys! Because he kicked me out and hit me with his cane!” I said all this, trying to jerk away from him, but I couldn't so I went on:

“That's why I did it. Because I had a lot of fun doing it! So what? What are you going to do about it? I'm a kid, you can't hang
me!
There's a law against hanging kids. I murdered Pushton too. I shoved him out the window! How do you like that? All you can do is put me in reform school!”

As my voice faded, and it faded because I had begun to choke, I heard Ruth at the telephone. She had come back in too. She was calling long distance. San Quentin.

Marie was sitting on the divan, her face in her hands. You would have thought she was sorry for me. When I got my breath I went on:

“I came back afterward, while Tommy was in the other room. I got in the kitchen door. The old man was standing there and I just picked up the knife and let him have it. I ran before I could see much. But Pushton. Let me tell you about Pushton—”

Duff Ryan shoved me back against the piano. “Shut up,” he said. “You didn't kill Pushton. You're just bragging now. But you did kill the old man and that's what we wanted to know!”

Bragging? I was enraged. But Duff Ryan clipped me and I went out cold.

So I'm in reform school now and—will you believe it?—I can't convince anyone that I murdered Pushton. Is it that grown-ups are so unbelieving because I'm pretty young? Are they so stupid that they still look upon fourteen-year-old boys as little innocents who have no minds of their own? That is the bitterness of youth. And I am sure that I won't change or see things any differently. I told the dopes that too, but everyone assures me I will.

But the only thing I'm really worried about is that no one will believe about Pushton, not even the kids here at the reform school, and that hurts. It does something to my pride.

I'm not in the least worried about anything else. Things here aren't so bad, nor so different from Clark's. Doctors come and see me now and then but they don't think anything is wrong with my mind.

They think I knifed Old Man Smith because I was in a blind rage when I did it, and looking at it that way, it would only be second-degree murder even if I were older. I'm not considered serious. There are lots worse cases here than mine. Legally, a kid isn't responsible for what he does, so I'll be out when I'm twenty-one. Maybe before, because my old man's got money. …

You'll always remember me, won't you? Because I'll be out when I'm older and you might be the one I'll be seeing.

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This is a work of fiction. Names, characters, places, events, and incidents either are the product of the author's imagination or are used fictitiously. Any resemblance to actual persons, living or dead, businesses, companies, events, or locales is entirely coincidental.

You'll Always Remember Me
by Steve Fisher (March, 1938, Black Mask Magazine) is copyright © 1938 Pro-Distributors Publishing Company, Inc. Copyright © renewed 1966 Popular Publications, Inc. and assigned to Keith Alan Deutsch as successor-in-interest to Popular Publications Inc., proprietor of Black Mask Magazine, and conservator of copyrights, text and art.

Cover design by Andrea C. Uva

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