The Best American Noir of the Century

death. And the next thing we seen was the hole in the ice where Hutch fell through. And the next thing we seen down on the bottom next to one of the bridge pilings, was Hutch.

So the first thing we went to work and done was to get the head. And believe me a head laying out on thin ice is a pretty damn hard thing to get, and what we had to do was to lasso it. And the next thing we done was to get Hutch. And after we fished him out he had the wrench and the $23 in his pockets and the pint of corn on his hip and he was stiff as a board. And near as I can figure out, what happened to him was that after Burbie run away he climbed down on the bridge piling and tried to reach the head and fell in.

But we didn’t know nothing about it then, and after we done got the head and the old man was gone and a couple of boys that afternoon found the body and not the head on it, and the pot was found, and them old people from the Methodist church done told their story and one thing and another, we figured out that Hutch done it, ‘specially on account he must have been drunk and he done time in the pen and all like of that, and nobody ain’t thought nothing about Burbie at all. They had the funeral and Lida cried like hell and everybody tried to figure out what Hutch wanted with the head and things went along thataway for three weeks.

Then one night down to the poolroom they was having it some more about the head, and one says one thing and one says another, and Benny Heath, what’s a kind of a constable around town, he started a long bum argument about how Hutch must of figured if they couldn’t find the head to the body they couldn’t prove no murder. So right in the middle of it Burbie kind of looked around like he always done and then he winked. And Benny Heath, he kept on a-talking, and after he got done Burbie kind of leaned over and commence to talk to him. And in a couple of minutes you couldn’t of heard a man catch his breath in that place, accounten they was all listening at Burbie.

I already told you Burbie was pretty good when it comes to giving a spiel at a entertainment. Well, this here was a kind of spiel too. Burbie act like he had it all learned by heart. His voice trimmled and ever couple of minutes he’d kind of cry and wipe his eyes and make out like he can’t say no more, and then he’d go on.

And the big idea was what a whole lot of hell he done raised in his life. Burbie said it was drink and women what done ruined him. He told about all the women what he knowed, and all the saloons he’s been in, and some of it was a lie ‘cause if all the saloons was as swell as he said they was they’d of throwed him out. And then he told about how sorry he was about the life he done led, and how hope my die he come home to his old hometown just to get out the devilment and settle down. And he told about Lida, and how she wouldn’t let him cut it out. And then he told how she done led him on till he got the idea to kill the old man. And then he told about how him and Hutch done it, and all about the money and the head and all the rest of it.

And what it sounded like was a piece what he knowed called “The Face on the Floor,” what was about a bum what drawed a picture on the barroom floor of the woman what done ruined him. Only the funny part was that Burbie wasn’t ashamed of hisself like he made out he was. You could see he was proud of hisself. He was proud of all them women and all the liquor he’d drunk and he was proud about Lida and he was proud about the old man and the head and being slick enough not to fall in the creek with Hutch. And after he got done he give a yelp and flopped down on the floor and I reckon maybe he thought he was going to die on the spot like the bum what drawed the face on the barroom floor, only he didn’t. He kind of lain there a couple of minutes till Benny got him up and put him in the car and tooken him off to jail.

So that’s where he’s at now, and he’s went to work and got religion down there, and all the people what comes to see him, why he sings hymns to them and then he speaks them his piece. And I hear tell he knows it pretty good by now and has got the crying down pat. And Lida, they got her down there too, only she won’t say nothing ‘cepting she done it same as Hutch and Burbie. So Burbie, he’s going to get hung, sure as hell. And if he hadn’t felt so smart, he would’ve been a free man yet.

Only I reckon he done been holding it all so long he just had to spill it.

1938 STEVE FISHER YOU’LL ALWAYS REMEMBER ME

Steve (Stephen Gould) Fisher (1912-1980) was born in Marine City, Illinois, and joined the Marines at the age of sixteen, moving to California when he was discharged in 1932. His first short story had been published when he was thirteen, so he soon moved to New York to write for pulps, producing hundreds of stories, mostly mysteries but also stories about war, sex, and romance, graduating to the better-paying “slicks” such as Esquire and the Saturday Evening Post. When Hollywood money looked more enticing, he went to Los Angeles and became an equally prolific writer for motion pictures, with fifty-three screenplays to his credit, including Johnny Angel (1945, with Frank Gruber), Raymond Chandler’s The Lady in the Lake (1946), Song of the Thin Man (1947), and Cornell Woolrich’s I Wouldn’t Be in Your Shoes (1948). Fisher was an even more prolific writer for television, producing more than 200 scripts for such long-running series as McMillan and Wife, Barnaby Jones, Starsky and Hutch, Cannon, and 77 Sunset Strip, among many others.

What had been a moderately successful career changed in 1941 when he wrote I Wake Up Screaming, which was adapted in the same year into what is generally regarded as the first film noir. With the action moving from the novel’s Hollywood setting of palm trees and sunshine to the dark alleys and nightclubs of New York City, it starred Victor Mature, Betty Grable, and Carole Landis. It was remade twelve years later as Vicki, this time set entirely in California, and starred Jeanne Crain, Elliott Reid, Jean Peters, and Richard Boone.

“You’ll Always Remember Me” was first published in the March 1938 issue of Black Mask.

I could tell it was Pushton blowing the bugle and I got out of bed tearing half of the bedclothes with me. I ran to the door and yelled, “Drown it! Drown it! Drown it!” and then I slammed the door and went along the row of beds and pulled the covers off the rest of the guys and said:

“Come on, get up. Get up! Don’t you hear Pushton out there blowing his stinky lungs out?”

I hate bugles anyway, but the way this guy Pushton all but murders reveille kills me. I hadn’t slept very well, thinking of the news I was going to hear this morning, one way or the other, and then to be jarred out of what sleep I could get by Pushton climaxed everything.

I went back to my bed and grabbed my shoes and puttees and slammed them on the floor in front of me, then I began unbuttoning my pajamas. I knew it wouldn’t do any good to ask the guys in this wing. They wouldn’t know anything. When they did see a paper all they read was the funnies. That’s the trouble with Clark’s. I know it’s one of the best military academies in the West and that it costs my old man plenty of dough to keep me here, but they sure have some dopey ideas on how to handle kids. Like dividing the dormitories according to ages. Anybody with any sense knows that it should be according to grades because just take for instance this wing. I swear there isn’t a fourteen-year-old punk in it that I could talk to without wanting to push in his face. And I have to live with the little pukes.

So I kept my mouth shut and got dressed, then I beat it out into the company street before the battalion got lined up for the flag raising. That’s a silly thing, isn’t it? Making us stand around with empty stomachs, shivering goose pimples while they pull up the flag and Pushton blows the bugle again. But at that I guess I’d have been in a worse place than Clark’s Military Academy if my pop hadn’t had a lot of influence and plenty of dollars. I’d be in a big school where they knock you around and don’t ask you whether you like it or not. I know. I was there a month. So I guess the best thing for me to do was to let the academy have their Simple Simon flag-waving fun and not kick about it.

I was running around among the older guys now, collaring each one and asking the same question: “Were you on home-going yesterday? Did you see a paper last night? What about Tommy Smith?” That was what I wanted to know. What about Tommy Smith.