was slow between Fairfax and La Brea. This was
prime shopping turf for suburban Goths and punks who
wouldn’t dream of parking their cars far from the stud, spike,
and shroud shops. After three, when school let out, it was even
worse.
We stopped to let a kid wearing enormous black shorts
with silver chains hanging down to his ankles cross the street.
His clothes were no big deal. The impressive part was his
head, which was shaved except for two clumps he’d dyed red
and sculpted into devil’s horns. Rafe took one look at him and
said, “Cool”—again—which was really starting to irk me.
Why did he keep saying that? The way I saw it, things were
the opposite of cool. Why were we chatting about nothing?
Why had he not said a word about our visit to the coroner’s? It
was strange. Not a single word about his dead former girl-
friend. Of course, it wasn’t my place to bring her up. If he
wanted to forget about her, that was fine with me.
“You haven’t said a word about Maren.” It slipped out.
Rafe turned off the music. “Oh. I’m glad you brought that
up. I’m going to need to take tomorrow off, too. Maren’s body
was released to Will this morning, and her ashes are going to
be scattered off the cliffs in Palos Verdes at around eleven. Will
said that’s what she would’ve wanted. They ruled her death a
suicide, by the way.”
56
“I’m sorry,” I said, chastened.
He reached over to turn on my mike. “Paramount Studios,
Cece.”
We parked the car at a meter opposite the ornate, historic
archway at the north end of Bronson Avenue. According to Hol-
lywood lore, the wrought-iron filigree at the top was added af-
ter crazed female fans of Rudolph Valentino overwhelmed
security and streamed in over the original gate.
Rafe got out of the car and stuck his cap on his head. “Did
you know Charles Bronson took his new name from this gate?”
“Alfred A. Knopf wanted Hammett to change his name.
He thought it was too hard for people to pronounce.”
“They wanted me to change my name, too. Robert Simon
was their idea of a good name.”
“Sounds like a lawyer.”
“Lee Majors, the star of The Six Million Dollar Man, was
born Harvey Lee Yeary. I met him a long time ago in the green
room, waiting to go on with Jay Leno. Man, I’d have changed
that name, too.”
“Jay Leno?”
“Harvey Lee Yeary.”
We sat on the hood of his car, looking north. There were
billboards as far as the eye could see. Spearmint Rhino, an up-
scale gentlemen’s club. Citibank. A horror movie featuring a
girl in a towel wielding a knife. California avocados. In the dis-
tance were the snowcapped San Gabriel Mountains. I won-
dered how different it’d looked here in 1930. That was the year
Hammett had arrived in Hollywood, fresh from writing four
best-selling novels. David O. Selznick decided Hammett would
class up the joint—write screenplays, doctor scripts, finesse
57
dialogue. What neither of them knew, of course, was that
Hammett’s best work was already behind him.
“While he was at Paramount,” I said out loud, “Hammett
finished The Thin Man. That was the last book he’d ever
write.”
It was the part of his life most people couldn’t fathom.
Hammett lived for almost thirty years after The Thin Man
without ever finishing another book. Just before he died, he
was visited by a reporter who asked him why he kept three Un-
derwood typewriters. Still in his pajamas at noon, the tall,
gaunt, by then toothless man answered by saying he wanted to
remind himself that he used to be a writer.
“What went wrong?” asked Rafe.
“I don’t know,” I answered. “He lived fast. He spent money
like it was water. He liked women and alcohol, and he went
through a lot of both.”
“Did Hollywood ruin him?” Interesting question coming
from an actor.
“He was sick. He was a drunk. He felt like a hack and
wanted to be taken seriously.” I paused. “Maybe he was