Nightmare Town: Stories (2 page)

Hammett saw the world around him as chaotic, without form or design. By the mid-1930’s he had convinced himself that radical politics could provide a sense of order, and that perhaps an ideal “people’s world” was possible. Communism seemed to promise such a world, but he eventually discovered that it was an illusion. In his last years, Hammett realised that there was no apparent solution to world chaos.

Much has been written on the typical “Hammett hero.”

Critic John Paterson claims that he “is, in the final analysis, the apotheosis of every man of good will who, alienated by the values of his time, seeks desperately and mournfully to live without shame, to live without compromise lo his integrity.”

Philip Durham, who wrote the first biography of Raymond Chandler, (races Hammett’s hero back to

a tradition that began on the frontier in the early part of the nineteenth century. This American literary hero appeared constantly in the dime novels of the period, and was ready-made for such Western writers of the twentieth century as Owen Wister and Zane Grey. By the time Hammett picked him up in the pages of
Black Mask,
his heroic characteristics were clearly established: courage, physical strength, indestructibility, indifference to danger and death, a knightly attitude, celibacy, a measure of violence, and a sense of justice.

Hammett’s most sustained character, the Continental Op (who is featured here in seven stories), reflects the author’s dark world view, but he’s not overtly political, nor is he knightly. He’s a hard-working detective trying to get a job done. The Op describes himself as having a face that is “truthful witness to a life that hasn’t been overwhelmed with refinement and gentility,” adding that lie is “short, middle-aged, and thick-waisted,” and stubborn enough to be called “pig-headed.”

Hammett claimed to have based the Op on the man who had trained him to be a detective, the Pinkerton Agency’s Jimmy Wright of Baltimore. Wright taught young Hammett a basic code: Don’t cheat your client. Stay anonymous. Avoid undue physical risks. Be objective. Don’t become emotionally involved with a client. And never violate your integrity. This code stayed with Hammett; it not only served him while he was a working detective, but it also gave him a set of personal rules that shaped his actions throughout his life.

Of course, despite his age and physical appearance, the Op is Hammett himself in fictional guise. Told in the first person, many of the Op’s adventures are fictionalised versions of actual cases that Hammett worked on during his sporadic years as a detective. When young Hammett first joined the Baltimore branch of the Pinkerton Detective Agency, the headquarters were in the Continental Building – clearly the source for the Op’s fictitious agency.

Hammett deliberately kept his character’s biographical background to a minimum. As critic Peter Wolfe notes, “he tells us nothing of [the Op’s] family, education, or religious beliefs.” Of course the Op has no religion in any traditional sense of the term; his religion is the always dangerous game of manhunting, a trade he pursues with near-sacred zeal.

If one sifts carefully through the canon (some three dozen stories), it is revealed that the Op joined Continental as “a young sprout of twenty” (Hammett’s age when he became a Pinkerton operative), that he held a captain’s commission in wartime military intelligence, that he speaks some French and German, eats all his meals out, smokes Fatima cigarettes, enjoys poker and prizefights, and avoids romantic entanglements (“They don’t go with the job”). Pragmatic, hard-souled, and tenacious, he resorts to physical violence when necessary and uses a gun when he has to, but prefers using his wits. He is as close to an actual working detective as Hammett could make him.

Hammett featured the Op in his earlier long works,
Blood Money
(also known as
The Big Knockover), Red Harvest,
and
The Dain Curse,
all of which were revised from
Black Mask
novellas.

His next major fictional creation was San Francisco private eye Samuel Spade, to whom Hammett gave his first name. (As a Pinkerton, he had always been called Sam. When he turned to writing, he became simply Dashiell Hammett.) Spade made his debut in
The Maltese Falcon,
a five-part
Black Mask
serial that Hammett carefully reworked for book publication by Alfred A. Knopf. Most critics rate this “saga of a private detective” as the finest crime novel written in this century. Describing his character for a Modern Library edition of Falcon, Hammett stated:

Spade had no original. He is a dream man in the sense that he is what most of the private detectives I worked with would like to have been and what quite a few of them, in their cockier moments, thought they approached. For your private detective does not… want to be an erudite solver of riddles in the Sherlock Holmes manner; he wants to be a hard and shifty fellow, able to take care of himself in any situation, able to get the best of anybody he comes in contact with, whether criminal, innocent bystander, or client.

Indeed, this was precisely the way Hammett wrote Spade in
The Maltese Falcon
– able to match wits with the crafty fat man, Casper Gutman, in tracking down the fabled bird of the title; able to handle the intrusive police; and able to fend off the advances of seductive Brigid O’Shaughnessy in solving the murder of his partner, Miles Archer.

Hammett never intended to make Spade a continuing character; in completing
The Maltese Falcon
he was “done with him.” Yet he had not foreseen the book’s wide and lasting popularity, nor that it would become a supremely successful radio series, nor that no less than three motion pictures would be produced based on the published novel.

The public demanded more Spade stories, and Hammett’s literary agent pleaded with the author to come up with new adventures. Hammett was reluctant, but he was also short of money. He made vast sums in Hollywood as a scriptwriter, but he squandered every dollar as quickly as he earned it. Money was for spending and Hammett always felt that more of it would magically appear as needed. Finally, he sat down to rap out three new Spade stories, placing two of them with
The American Magazine
and the final one with
Collier’s.

All three are in the present collection:
A Man Called Spade, Too Many I lave Lived,
and
They Can Only Hang You Once.
The tales are crisp, efficient, and swift-moving.

The other stories assembled here demonstrate Hammett’s bold experimentation with language and viewpoint. Compare the fussy, ornate narration in
A Man Named Thin
(featuring a poet-detective) with the crude, uneducated narration of the young boxer in
His Brother’s Keeper.
Both are told first-person, but they are leagues apart. Hammett tackles a female point of view in the superbly written
Ruffian’s Wife,
and brings off a neat twist ending in
The Second-Story Angel
(note the understated humour in this one).

Both
Afraid of a Gun
and
The Man Who Killed Dan Odams
are set far from his usual San Francisco locale and demonstrate the wide range of Hammett’s fiction.
Gun
takes place in the high mountain country, and
Dan Odams
is a semi-modern Western set in Montana. They represent Hammett in top form.

While the majority of pulp writers in the twenties and thirties were grinding out stories for money, Hammett worked as a dedicated artist. He gave each story the best of himself, labouring over each sentence, each turn of phrase. And he was constantly seeking new ideas and new characters. His protagonist in
The Assistant Murderer
is a prime example. With Alec Rush, the author created a detective described as incredibly ugly, a radical departure from the usual magazine hero. Hammett was striking out in a fresh direction with this story, which involves a complex case solved not by Rush but by the killer’s confession.

The Assistant Murderer
was written just before Hammett temporarily left
Black Mask
for his unsuccessful attempt at a career in advertising. One feels that had he remained with the magazine, Hammett might well have written more stories featuring this offbeat detective.

During the pulp era, editors constantly called for “Action! More action!” Hammett decided to see just how much action he could pack into a single novella. Originally printed in
Argosy All-Story Weekly,
the title story of this collection,
Nightmare Town,
is a
tour de force
in sustained violence. The hero wields an ebony walking stick with devastating effectiveness, cracking skulls and breaking bones in the finest pulp tradition.

An important contribution in Nightmare Town is
The First Thin Man,
which here achieves its first book printing. This early version of 1930 stands in sharp contrast to the novel Hammett eventually finished for Alfred A. Knopf three years later, with vast differences in basic approach, mood, plot, and tone. A call from Hollywood and the promise of substantial film money had caused Hammett to abandon the original manuscript at sixty-five typed pages. When he returned to it three years later, John Guild, the Op-like working detective – dedicated, stoic, close-mouthed – was replaced by Nick Charles, a hard-drinking, party-loving cynic, an ex-crime solver with no desire to solve more crimes; he just wanted another martini. It was Nick’s wife, Nora (modelled directly on Lillian Hellman), who badgered him into becoming a detective again to solve the case of the missing thin man.

Dashiell Hammett had undergone a major life change between 1930 and 1933, and Nick Charles marked the end of Hammett’s career as a novelist. He had written himself into a blind corner and no longer believed that the criminal ills of society could be dealt with on a one-to-one basis. In Hammett’s view, a lone detective (such as Sam Spade or John Guild) could do nothing to stem the mounting tide of societal corruption. The detective’s code of personal honour could have no effect on a dishonourable world. Hammett’s core bitterness and cynicism, reflected in a less obvious form in his earlier work, had now taken centre stage. He was no longer able to believe in heroes. Even plainspoken, down-to-earth, working heroes.

In 1951, after he was sentenced for contempt because he refused to name names before a federal judge in New York, Hammett spent five months in jail in defence of his political beliefs. But he never believed in political violence and had been shocked when Senator Joseph McCarthy asked him if he had ever engaged in an act of sabotage against the United States. Having served his country in two world wars as an enlisted soldier, he loved America, even as he despised its capitalist politics.

Hammett’s final years, following his release from prison, were sad ones. His name was removed from a film based on one of his characters; his radio shows were cancelled; and a scheduled collection of his fiction was dropped by the publisher. He spent most of his last decade isolated in a small gatekeeper’s cottage in Katonah, New York. On two occasions shots were fired through his front windows, but Hammett bore his exile with stoic acceptance.

Sick and frail, blacklisted as a political pariah, unable to write, and hounded by the IRS for taxes on money he no longer earned, Samuel Dashiell Hammett died of lung cancer in 1961, at the age of sixty-six.

He considered himself a literary failure, but, as this book helps prove, he was anything but that. No other writer since Edgar Allan Poe has exerted a greater influence on mystery fiction. His art was timeless and his work has not dated. In the genre of detective fiction, he was a master.

That mastery is evident in
Nightmare Town,
the largest collection of his shorter works and by far the most comprehensive.

WILLIAM F. NOLAN

West Hills, California 1999

A small woman – a girl of twenty in tan flannel – stepped into the street. The wavering Ford missed her by inches, missing her at all only because her backward jump was bird-quick. She caught her lower lip between white teeth, dark eyes flashed annoyance at the rear of the passing machine, and she essayed the street again.

Near the opposite curb the Ford charged down upon her once more. But turning had taken some of its speed. She escaped it this time by scampering the few feet between her and the sidewalk ahead.

Out of the moving automobile a man stepped. Miraculously he kept his feet, stumbling, sliding, until an arm crooked around an iron awning-post jerked him into an abrupt halt. He was a large man in bleached khaki, tall, broad, and thick-armed; his gray eyes were bloodshot; face and clothing were powdered heavily with dust. One of his hands clutched a thick, black stick, the other swept off his hat, and he bowed with exaggerated lowness before the girl’s angry gaze.

The bow completed, he tossed his hat carelessly into the street, and grinned grotesquely through the dirt that masked his face – a grin that accented the heaviness of a begrimed and hair-roughened jaw.

“I beg y’r par’on,” he said. “’F I hadn’t been careful I believe I’d a’most hit you. ‘S unreli’ble, tha’ wagon. Borr’ed it from an engi-eng’neer. Don’t ever borrow one from eng’neer. They’re unreli’ble.”

The girl looked at the place where he stood as if no one stood there, as if, in fact, no one had ever stood there, turned her small back on him, and walked very precisely down the street.

He stared after her with stupid surprise in his eyes until she had vanished through a doorway in the middle of the block. Then he scratched his head, shrugged, and turned to look across the street, where his machine had pushed its nose into the red-brick side wall of the Bank of Izzard and now shook and clattered as if in panic at finding itself masterless.

“Look at the son-of-a-gun,” he exclaimed.

A hand fastened upon his arm. He turned his head, and then, though he stood a good six feet himself, had to look up to meet the eyes of the giant who held his arm.

“We’ll take a little walk,” the giant said.

The man in bleached khaki examined the other from the tips of his broad-toed shoes to the creased crown of his black hat, examined him with a whole-hearted admiration that was unmistakable in his red-rimmed eyes. There were nearly seven massive feet of the speaker. Legs like pillars held up a great hogshead of a body, with wide shoulders that sagged a little, as if with their own excessive weight. He was a man of perhaps forty-five, and his face was thick-featured, phlegmatic, with sunlines around small light eyes – the face of a deliberate man.

“My God, you’re big!” the man in khaki exclaimed when he had finished his examination; and then his eyes brightened. “Let’s wrestle. Bet you ten bucks against fifteen I can throw you. Come on!”

The giant chuckled deep in his heavy chest, took the man in khaki by the nape of the neck and an arm, and walked down the street with him.

Steve Threefall awakened without undue surprise at the unfamiliarity of his surroundings as one who has awakened in strange places before. Before his eyes were well open he knew the essentials of his position. The feel of the shelf-bunk on which he lay and the sharp smell of disinfectant in his nostrils told him that he was in jail. His head and his mouth told him that he had been drunk; and the three-day growth of beard on his face told him he had been very drunk.

As he sat up and swung his feet down to the floor details came back to him. The two days of steady drinking in Whitetufts on the other side of the Nevada-California line, with Harris, the hotel proprietor, and Whiting, an irrigation engineer. The boisterous arguing over desert travel, with his own Gobi experience matched against the American experiences of the others. The bet that he could drive from Whitetufts to Izzard in daylight with nothing to drink but the especially bitter white liquor they were drinking at the time. The start in the grayness of imminent dawn, in Whiting’s Ford, with Whiting and Harris staggering down the street after him, waking the town with their drunken shouts and roared-out mocking advice, until he had reached the desert’s edge. Then the drive through the desert, along the road that was hotter than the rest of the desert, with – He chose not to think of the ride. He had made it, though – had won the bet. He couldn’t remember the amount of the latter.

“So you’ve come out of it at last?” a rumbling voice inquired.

The steel-slatted door swung open and a man filled the cell’s door. Steve grinned up at him. This was the giant who would not wrestle. He was coatless and vestless now, and loomed larger than before. One suspender strap was decorated with a shiny badge that said MARSHAL.

“Feel like breakfast?” he asked.

“I could do things to a can of black coffee,” Steve admitted.

“All right. But you’ll have to gulp it. Judge Denvir is waiting to get a crack at you, and the longer you keep him waiting, the tougher it’ll be for you.”

The room in which Tobin Denvir, J.P., dealt justice was a large one on the third floor of a wooden building. It was scantily furnished with a table, an ancient desk, a steel engraving of Daniel Webster, a shelf of books sleeping under the dust of weeks, a dozen uncomfortable chairs, and half as many cracked and chipped china cuspidors.

The judge sat between desk and table, with his feet on the latter. They were small feet, and he was a small man. His face was filled with little irritable lines, his lips were thin and tight, and he had the bright, lidless eyes of a bird.

“Well, what’s he charged with?” His voice was thin, harshly metallic. He kept his feet on the table.

The marshal drew a deep breath, and recited:

“Driving on the wrong side of the street, exceeding the speed limit, driving while under the influence of liquor, driving without a driver’s license, endangering the lives of pedestrians by taking his hands off the wheel, and I parking improperly – on the sidewalk up against the bank.”

The marshal took another breath, and added, with manifest regret:

“There was a charge of attempted assault, too, but that Vallance girl won’t appear, so that’ll have to be dropped.”

The justice’s bright eyes turned upon Steve.

“What’s your name?” he growled.

“Steve Threefall.”

“Is that your real name?” the marshal asked.

“Of course it is,” the justice snapped. “You don’t think anybody’d be damn fool enough to give a name like that unless it was his, do you?” Then to Steve: “What have you got to say – guilty or not?”

“I was a little -“

“Are you guilty or not?”

“Oh, I suppose I did -“

“That’s enough! You’re fined a hundred and fifty dollars and costs. The costs are fifteen dollars and eighty cents, making a total of a hundred and sixty-five dollars and eighty cents. Will you pay it or will you go to jail?”

“I’ll pay it if I’ve got it,” Steve said, turning to the marshal. “You took my money. Have I got that much?”

The marshal nodded his massive head.

“You have,” he said, “exactly – to the nickel. Funny it should have come out like that-huh?”

“Yes-funny,” Steve repeated.

While the justice of the peace was making out a receipt for the fine, the marshal restored Steve’s watch, tobacco and matches, pocket-knife, keys, and last of all the black walking-stick. The big man weighed the stick in his hand and examined it closely before he gave it up. It was thick and of ebony, but heavy even for that wood, with a balanced weight that hinted at loaded ferrule and knob. Except for a space the breadth of a man’s hand in its middle, the stick was roughened, cut and notched with the marks of hard use – marks that much careful polishing had failed to remove or conceal. The unscarred hand’s-breadth was of a softer black than the rest – as soft a black as the knob – as if it had known much contact with a human palm.

“Not a bad weapon in a pinch,” the marshal said meaningly as he handed the stick to its owner. Steve took it with the grasp a man reserves for a favourite and constant companion.

“Not bad,” he agreed. “What happened to the flivver?”

“It’s in the garage around the corner on Main Street. Pete said it wasn’t altogether ruined, and he thinks he can patch it up if you want.”

The justice held out the receipt.

“Am I all through here now?” Steve asked.

“I hope so,” Judge Denvir said sourly.

“Both of us,” Steve echoed. He put on his hat, tucked the black stick under his arm, nodded to the big marshal, and left the room.

Steve Threefall went down the wooden stairs toward the street in as cheerful a frame of mind as his body – burned out inwardly with white liquor and outwardly by a day’s scorching desert-riding – would permit. That justice had emptied his pockets of every last cent disturbed him little. That, he knew, was the way of justice everywhere with the stranger, and he had left the greater part of his money with the hotel proprietor in Whitetufts. He had escaped a jail sentence, and he counted himself lucky. He would wire Harris to send him some of his money, wait here until the Ford was repaired, and then drive back to Whitetufts – but not on a whisky ration this time.

“You will not!” a voice cried in his ear.

He jumped, and then laughed at his alcohol-jangled nerves. The words had not been meant for him. Beside him, at a turning of the stairs, was an open window, and opposite it, across a narrow alley, a window in another building was open. This window belonged to an office in which two men stood facing each other across a flat-topped desk.

One of them was middle-aged and beefy, in a black broadcloth suit out of which a white-vested stomach protruded. His face was purple with rage. The man who faced him was younger – a man of perhaps thirty, with a small dark moustache, finely chiselled features, and satiny brown hair. His slender athlete’s body was immaculately clothed in gray suit, gray shirt, gray and silver tie, and on the desk before him lay a Panama hat with gray band. His face was as white as the other’s was purple.

The beefy man spoke – a dozen words pitched too low to catch.

The younger man slapped the speaker viciously across the face with an open hand – a hand that then flashed back to its owner’s coat and flicked out a snub-nosed automatic pistol.

“You big lard-can,” the younger man cried, his voice sibilant; “you’ll lay off or I’ll spoil your vest for you!”

He stabbed the protuberant vest with the automatic, and laughed into the scared fat face of the beefy man – laughed with a menacing flash of even teeth and dark slitted eyes. Then he picked up his hat, pocketed the pistol, and vanished from Steve’s sight. The fat man sat down.

Steve went on down to the street.

Steve Unearthed the garage to which the Ford had been taken, found a greasy mechanic who answered to the name of Pete, and was told that Whiting’s automobile would be in condition to move under its own power within two days.

“A beautiful snootful you had yesterday,” Pete grinned.

Steve grinned back and went on out. He went down to the telegraph office, next door to the Izzard Hotel, pausing for a moment on the sidewalk to look at a glowing, cream-colored Vauxhall-Velox roadster that stood at the curb – as out of place in this grimy factory town as a harlequin opal in a grocer’s window.

In the doorway of the telegraph office Steve paused again, abruptly.

Behind the counter was a girl in tan flannel – the girl he had nearly run down twice the previous afternoon – the “Vallance girl” who had refrained from adding to justice’s account against Steve Threefall. In front of the counter, leaning over it, talking to her with every appearance of intimacy was one of the two men he had seen from the staircase window half an hour before – the slender dandy in gray who had slapped the other’s face and threatened him with an automatic.

The girl looked up, recognised Steve, and stood very erect. He took off his hat, and advanced smiling.

“I’m awfully sorry about yesterday,” he said. “I’m a crazy fool when I -“

“Do you wish to send a telegram?” she asked frigidly.

“Yes,” Steve said; “I also wish to -“

“There are blanks and pencils on the desk near the window,” and she turned her back on him.

Steve felt himself colouring, and since he was one of the men who habitually grin when at a loss, he grinned now, and found himself looking into the dark eyes of the man in gray.

That one smiled back under his little brown moustache, and said:

“Quite a time you had yesterday.”

“Quite,” Steve agreed, and went to the table the girl had indicated. He wrote his telegram:

Henry Harris

Harris Hotel, Whitetufts:

Arrived right side up, but am in hock. Wire me two hundred dollars. Will be back Saturday.

Threefall. T.

But he did not immediately get up from the desk. He sat there holding the piece of paper in his fingers, studying the man and girl, who were again engaged in confidential conversation over the counter. Steve studied the girl most.