Dashiell Hammett - Afraid Of A Gun and Other Stories

Steve bounded upright, swung his stick. A bone cracked like a whip, a man reeled back holding a hand to his temple.

"Behind me—close!" Steve cried to the girl, and felt her hands on his back.

Men filled the doorway. An invisible gun roared and a piece of the ceiling flaked down. Steve spun his stick and charged the door. The light from the lamp behind him glittered and glowed on the whirling wood. The stick whipped backward and forward, from left to right, from right to left. It writhed like a live thing—seemed to fold upon its grasped middle as if spring-hinged with steel. Flashing half-circles merged into a sphere of deadliness. The rhythm of incessant thudding against flesh and clicking on bone became a tune that sang through the grunts of fighting men, the groans and oaths of stricken men. Steve and the girl went through the door.

Between moving arms and legs and bodies the cream of the Vauxhall showed. Men stood upon the automobile, using its height for vantage in the fight. Steve threw himself forward, swinging his stick against shin and thigh, toppling men from the machine. With his left hand he swept the girl around to his side. His body shook and rocked under the weight of blows from men who were packed too closely for any effectiveness except the smothering power of sheer weight.

His stick was suddenly gone from him. One instant he held and spun it; the next, he was holding up a clenched fist that was empty—the ebony had vanished as if in a puff of smoke. He swung the girl up over the car door, hammered her down into the car—jammed her down upon the legs of a man who stood there—heard a bone break, and saw the man go down. Hands gripped him everywhere; hands pounded him. He cried aloud with joy when he saw the girl, huddled on the floor of the car, working with ridiculously small hands at the car's mechanism.

The machine began to move. Holding with his hands, he lashed both feet out behind. Got them back on the step. Struck over the girl's head with a hand that had neither thought nor time to make a fist—struck stiff-fingered into a broad red face.

The car moved. One of the girl's hands came up to grasp the wheel, holding the car straight along a street she could not see. A man fell on her. Steve pulled him off—tore pieces from him—tore hair and flesh. The car swerved, scraped a building; scraped one side clear of men. The hands that held Steve fell away from him, taking most of his clothing with them. He picked a man off the back of the seat, and pushed him down into the street that was flowing past them. Then he fell into the car beside the girl.

Pistols exploded behind them. From a house a little ahead a bitter-voiced riflw emptied itself at them, sieving a mudguard. Then the desert—white and smooth as a gigantic hospital bed—was around them. Whatever pursuit there had been was left far behind.

Presently the girl slowed down, stopped.

"Are you all right?" Steve asked.

"Yes; but you're—"

"All in one piece," he assured her. "Let me take the wheel."

"No! No!" she protested. "You're bleeding. You're—"

"No! No!" he mocked her. "We'd better keep going until we hit something. We're not far enough from Izzard yet to call ourselves safe."

He was afraid that if she tried to patch him up he would fall apart in her hands. He felt like that.

She started the car, and they went on. A great sleepiness came to him. What a fight! What a fight!

"Look at the sky!" she exclaimed.

He opened his heavy eyes. Ahead of them, above them, the sky was lightening—from blue-black to violet, to mauve, to rose. He turned his head and looked back. Where they had left Izzard, a monstrous bonfire was burning, painting the sky with jewelled radiance.

"Goodbye, Izzard," he said drowsily, and settled himself more comfortably in the seat.

He looked again at the glowing pink in the sky ahead.

"My mother has primroses in her garden in Delaware that look like that sometimes," he said dreamily. "You'll like 'em."

His head slid over against her shoulder, and he went to sleep.

—End—

NIGHT SHOTS

The house was of red brick, large and square, with a green slate roof whose wide overhang gave the building an appearance of being too squat for its two stories; and it stood on a grassy hill, well away from the country road upon which it turned its back to look down on the Mokelumne River.

The Ford that I had hired to bring me out from Knownburg carried me into the grounds through a high steel-meshed gate, followed the circling gravel drive, and set me down within a foot of the screened porch that ran all the way around the house's first floor.

"There's Exon's son-in-law now," the driver told me as he pocketed the bill I had given him and prepared to drive away.

I turned to see a tall, loose-jointed man of thirty or so coming across the porch toward me—a carelessly dressed man with a mop of rumpled brown hair over a handsome sunburned face. There was a hint of cruelty in the lips that were smiling lazily just now, and more than a hint of recklessness in his narrow gray eyes.

"Mr. Gallaway?" I asked as he came down the steps.

'Yes." His voice was a drawling baritone. "You are—"

"From the Continental Detective Agency's San Francisco branch," I finished for him.

He nodded, and held the screen door open for me.

"Just leave your bag there. I'll have it taken up to your room."

He guided me into the house and—after I had assured him that I had already eaten luncheon—gave me a soft chair and an excellent cigar. He sprawled on his spine in an armchair opposite me—all loose-jointed angles sticking out of it in every direction—and blew smoke at the ceiling.

"First off," he began presently, his words coming out languidly, "I may as well tell you that I don't expect very much in the way of results. I sent for you more for the soothing effect of your presence on the household than because I expect you to do anything. I don't believe there's anything to do. However, I'm not a detective. I may be wrong. You may find out all sorts of more or less important things. If you do—fine! But I don't insist upon it."

I didn't say anything, though this beginning wasn't much to my taste. He smoked in silence for a moment, and then went on, "My father-in-law, Talbert Exon, is a man of fifty-seven, and ordinarily a tough, hard, active, and fiery old devil. But just now he's recovering from a rather serious attack of pneumonia, which has taken most of the starch out of him. He hasn't been able to leave his bed yet, and Dr. Rench hopes to keep him on his back for at least another week.

"The old man has a room on the second floor—the front, right-hand corner room—just over where we are sitting. His nurse, Miss Caywood, occupies the next room, and there is a connecting door between. My room is the other front one, just across the hall from the old man's; and my wife's bedroom is next to mine—across the hall from the nurse's. I'll show you around later. I just want to make the situation clear.

"Last night, or rather this morning at about half-past one, somebody shot at Exon while he was sleeping—and missed. The bullet went into the frame of the door that leads to the nurse's room, about six inches above his body as he lay in bed. The course the bullet took in the woodwork would indicate that it had been fired from one of the windows—either through it or from just inside.

"Exon woke up, of course, but he saw nobody. The rest of us—my wife, Miss Caywood, the Figgs, and myself—were also awakened by the shot. We all rushed into his room, and we saw nothing either. There's no doubt that whoever fired it left by the window. Otherwise some of us would have seen him—we came from every other direction. However, we found nobody on the grounds, and no traces of anybody."