Death by Two Hands

  Peter Drax

  Death by Two Hands

  ‘One brown mouse. Victim of foul play.’

  Chalk Street, Camden Town, is the busy scene for all kinds of commercial activity – some legal, some a little less so. By day, local crime boss Mr. Rivers works as a market trader, but gladly turns his attention to the potentially lucrative theft of fox-skins in the countryside. However, what should have been a simple robbery leads to a string of murders, and a Scotland Yard investigation, led by Chief-Inspector Thompson. A case in which one of the clues is no fox, but a fat brown mouse …

  Death by Two Hands was first published in 1937, and has remained out of print until this new edition. It includes an introduction by crime fiction historian Curtis Evans.

  ‘Little people in [the] grip of tragic destiny … brilliantly done’ Saturday Review of Literature

  ‘I have the highest opinion of Peter Drax’s murder stories … The secret of Peter Drax’s success is his ability to make the circumstances as plausible as the characters are real’ Sunday Times

  Contents

  Cover

  Title Page/About the Book

  Contents

  Introduction by Curtis Evans

  Chapter One

  Chapter Two

  Chapter Three

  Chapter Four

  Chapter Five

  Chapter Six

  Chapter Seven

  Chapter Eight

  Chapter Nine

  Chapter Ten

  Chapter Eleven

  Chapter Twelve

  Chapter Thirteen

  Chapter Fourteen

  Chapter Fifteen

  Chapter Sixteen

  Chapter Seventeen

  Chapter Eighteen

  Chapter Nineteen

  Chapter Twenty

  About the Author

  Titles by Peter Drax

  Tune to a Corpse – Title Page

  Tune to a Corpse – Chapter One

  Copyright

  Introduction

  Eric Elrington Addis, aka “Peter Drax,” one of the major between-the-wars exponents and practitioners of realism in the British crime novel, was born near the end of the Victorian era in Edinburgh, Scotland on 19 May 1899, the youngest child of David Foulis Addis, a retired Indian civil servant, and Emily Malcolm, daughter of an officer in the British Indian Army. Drax died during the Second World War on 31 August 1941, having been mortally wounded in a German air raid on the British Royal Navy base at Alexandria, Egypt, officially known as HMS Nile. During his brief life of 42 years, Drax between the short span from 1936 to 1939 published six crime novels: Murder by Chance (1936), He Shot to Kill (1936), Murder by Proxy (1937), Death by Two Hands (1937), Tune to a Corpse (1938) and High Seas Murder (1939). An additional crime novel, Sing a Song of Murder, having been left unfinished by Drax at his death in 1941 and completed by his novelist wife, was published in 1944. Together the Peter Drax novels constitute one of the most important bodies of realistic crime fiction published in the 1930s, part of the period commonly dubbed the “Golden Age of detective fiction.” Rather than the artificial and outsize master sleuths and super crooks found in so many classic mysteries from this era, Drax’s novels concern, as publicity material for the books put it, “police who are not endowed with supernatural powers and crooks who are also human.” In doing so they offered crime fiction fans from those years some of the period’s most compelling reading. The reissuing of these gripping tales of criminal mayhem and murder, unaccountably out-of-print for more than seven decades, by Dean Street Press marks a signal event in recent mystery publishing history.

  Peter Drax’s career background gave the future crime writer constant exposure to the often grim rigors of life, experience which he most effectively incorporated into his fiction. A graduate of Edinburgh Academy, the teenaged Drax served during the First World War as a Midshipman on HMS Dreadnought and Marlborough. (Two of his three brothers died in the war, the elder, David Malcolm Addis, at Ypres, where his body was never found.) After the signing of the armistice and his graduation from the Royal Naval College, Drax remained in the Navy for nearly a decade, retiring in 1929 with the rank of Lieutenant-Commander, in which capacity he supervised training with the New Zealand Navy, residing with his English wife, Hazel Iris (Wilson) Addis, daughter of an electrical engineer, in Auckland. In the 1930s he returned with Hazel to England and began practicing as a barrister, specializing, predictably enough, in the division of Admiralty, as well as that of Divorce. Recalled to the Navy upon the outbreak of the Second World War, Drax served as Commander (second-in-command) on HMS Warspite and was mentioned in dispatches at the Second Battle of Narvik, a naval affray which took place during the 1940 Norwegian campaign. At his death in Egypt in 1941 Drax left behind Hazel--herself an accomplished writer, under the pen name Hazel Adair, of so-called middlebrow “women’s fiction”--and two children, including Jeremy Cecil Addis, the late editor and founder of Books Ireland.

  Commuting to his London office daily in the 1930s on the 9.16, Drax’s hobby became, according to his own account, the “reading and dissecting of thrillers,” ubiquitous in station book stalls. Concluding that the vast majority of them were lamentably unlikely affairs, Drax set out over six months to spin his own tale, “inspired by the desire to tell a story that was credible.” (More prosaically the neophyte author also wanted to show his wife, who had recently published her first novel, Wanted a Son, that he too could publish a novel.) The result was Murder by Chance, the first of the author’s seven crime novels. In the United States during the late 1920s and early 1930s, recalled Raymond Chandler in his essay “The Simple Art of Murder” (originally published in 1944), the celebrated American crime writer Dashiell Hammett had given “murder back to the kind of people who commit it for reasons, not just to provide a corpse; and with the means at hand, not with hand-wrought dueling pistols, curare and tropical fish.” Drax’s debut crime novel, which followed on the heels of Hammett’s books, made something of a similar impression in the United Kingdom, with mystery writer and founding Detection Club member Milward Kennedy in the Sunday Times pronouncing the novel a “thriller of great merit” that was “extremely convincing” and the influential Observer crime fiction critic Torquemada avowing, “I have not for a good many months enjoyed a thriller as much as I have enjoyed Murder by Chance.”

  What so impressed these and other critics about Murder by Chance and Drax’s successive novels was their simultaneous plausibility and readability, a combination seen as a tough feat to pull off in an era of colorful though not always entirely credible crime writers like S. S. Van Dine, Edgar Wallace and John Dickson Carr. Certainly in the 1930s the crime novelists Dorothy L. Sayers, Margery Allingham and Anthony Berkeley, among others (including Milward Kennedy himself), had elevated the presence of psychological realism in the crime novel; yet the criminal milieus that these authors presented to readers were mostly resolutely occupied by the respectable middle and upper classes. Drax offered British readers what was then an especially bracing change of atmosphere (one wherein mean streets replaced country mansions and quips were exchanged for coshes, if you will)—as indicated in this resoundingly positive Milward Kennedy review of Drax’s fifth crime novel, Tune to a Corpse (1938):

  I have the highest opinion of Peter Drax’s murder stories….Mainly his picture is of low life in London, where crime and poverty meet and merge. He draws characters who shift uneasily from shabby to disreputable associations….and he can win our sudden liking, almost our respect, for creatures in whom little virtue is to be found. To show how a drab crime was committed and then to show the slow detection of the truth, and to keep the reader absorbed all the time—this is a real achievement. The secret of Peter Drax’s success is h
is ability to make the circumstances as plausible as the characters are real….

  Two of Peter Drax’s crime novels, the superb Death by Two Hands and Tune to a Corpse, were published in the United States, under the titles, respectively, Crime within Crime and Crime to Music, to very strong notices. The Saturday Review of Literature, for example, pronounced of Crime within Crime that “as a straightforward eventful yarn of little people in [the] grip of tragic destiny it’s brilliantly done” and of Crime to Music that “London underworld life is described with color and realism. The steps in the weakling killer’s descent to Avernus [see Virgil] are thrillingly traced.” That the country which gave the world Dashiell Hammett could be so impressed with the crime fiction of Peter Drax surely is strong recommendation indeed. Today seedily realistic urban British crime fiction of the 1930s is perhaps most strongly associated with two authors who dabbled in crime fiction: Graham Greene (Brighton Rock, 1938, and others) and Gerald Kersh (Night and the City, 1938). If not belonging on quite that exalted level, the novels of Peter Drax nevertheless grace this gritty roster, one that forever changed the face of British crime fiction.

  Curtis Evans

  CHAPTER ONE

  Chalk Street was crowded from end to end and from pavement to pavement with a slow-moving jostling crowd. Costers’ barrows lined the gutters.

  It was lunch-time on a frosty day in November, and business was brisk among the office and warehouse workers in the district. Office boys staring, and sucking bars of chocolate. Girls from a near-by box factory, squealing and laughing, arm in arm in twos and threes. All were hatless. It was a custom of the midday crowd in Chalk Street.

  Here you could be cured of every disease for threepence; could satisfy any thirst with sarsaparilla, blackcurrant or lemon juice for tuppence; could buy studs, mouse traps, wire puzzles or embrocation. Not dully as in a shop, but gaily, adventurously, for you never knew what you’d be buying next. That was the attraction of Chalk Street.

  If you were broke there was entertainment enough to make any one forget the hunger pangs of a lunchless lunch-hour.

  For the serious and medically minded there was usually a lecture in progress given by an elderly gentleman wearing mutton chop whiskers, a high choker collar and a stock. Professional jealousy had forced him to leave Harley Street, or so he said.

  With the help of a highly coloured diagram of the “innards” of the human body, he traced the origin of all ills.

  A box of his pills would cure them and if you didn’t choose to pay the price—three brown coins to you, sir—well, it wasn’t no good coming back and blaming him if you died in the night. And he wasn’t no blinking quack. Here to-day and gone to-morrow. He’d be on this stand at the same time next week and the week after.

  Behind a barrow piled high with open boxes of silk stockings a young man held forth in a voice that could have competed ably with a dance band trumpet.

  “’Ere y’are. Hevery one guaranteed. Not a ladder in a boxful. Pick ’em where you like. Got every shade. ’Ere y’are. Hevery one guaranteed—”

  Alongside him an earnest little man in a greenish bowler and a very large muffler croaked over a load of gramophone records.

  “Turn ’em over, gents. Turn ’em over. Dances four-pence. Red labels a bob. Turn ’em over. No, sir, I don’t think I has got a Caruso. Getting very scarce them Carusos is. I ’ad one only last week but the blinking kid put his foot on it. Just after I’d bought ’im a new pair of boots.”

  A little farther on a man with a mouth which was always wide open yelled the virtues of chocolates. He dived a dirty hand into a box of “assorteds” and held them up to view.

  “Tuppence a quarter! Tuppence a quarter! Best quality. Cost a tanner anywhere else. Who wants? Who wants?” The crowd surged round the chocolate merchant, fascinated by the never-ceasing flow from his india rubber mouth. Tuppences, slyly proffered, were thrown contemptuously into a cardboard box. A quarter was weighed and wrapped. And another, and another.

  Nearly every stall or barrow had its attendant crowd except that of Mr. Rivers. He never shouted. He never waved his arms about or told the story of an adventurous life, to catch the attention of the crowd.

  He stood behind his barrow with his hands thrust deep in the pockets of his tightly buttoned overcoat. He was wearing a flat cloth cap. A cigarette hung limply from his mouth.

  “Everything in the tray tuppence. Everything in the tray tuppence. Pick ’em where you like.”

  The tray was filled with pieces of iron and steel of every imaginable shape. Padlocks, nails, screws, key-rings, hinges, screw-drivers, gimlets, bradawls.

  There was a painted plate dangling from a stick which read:

  “Keys cut while you wait.”

  A man came up to Mr. Rivers from behind and touched him on the arm.

  “Barney’s back.”

  “O.K.”

  Mr. Rivers did not turn round as he asked: “Where is he?”

  “Up by the Gink’s barrer, doing his stuff.”

  Mr. Rivers looked up and down the street and then said out of the side of his mouth to a melancholy-looking man by his side:

  “I’ll be back in a minute. You stop here.”

  Joe Kemp edged along the pavement to the position which Mr. Rivers vacated, and took up the chant.

  “Everything in the tray tuppence.”

  Mr. Rivers made his way slowly through the crowd to where an oldish man in a wide black felt hat was standing in the gutter between two barrows.

  Round the brim of the felt hat crawled two mice. One was fawn and white and was called Fanny. The other, her husband, was a portly brown and white gentleman mouse called George.

  The outer circuit of the hat was rigged up with jumps made of tape and match-sticks. Two squares of cardboard bore the words “start” and “finish.” Cheese rubbed on the jumps induced the plethoric George to clamber up and over. Fanny was “expecting” so did not exert herself.

  Ninety per cent of Barney’s audience watched the mice. The remainder listened to his story of an adventurous life at sea, about girls in Rio, girls in Pago Pago, girls in San Francisco.

  Barney was an avid reader of American True Life Romance Magazines.

  He was coming to the point when he was going to offer for sale bottles of an elixir which had given him strength in his youth to battle round the Cape, when Mr. Rivers came along.

  He stood on the pavement until Barney had made his sales, then he took a step forward and touched him on the arm.

  “All right. I’m a-coming to you in a minute.”

  “Back again?”

  Barney swung round nearly bringing Fanny to an early death. She held on to a jump with her tiny pink feet.

  The smile was wiped off Barney’s mobile features, then it came again.

  “Yes, here I am, Mr. Rivers. Back for the winter season.”

  “Got anything?”

  Barney, with his head on one side, nodded three times.

  “I don’t fancy it’s much in your line, but—”

  “I’ll see you at Joe’s place to-night.”

  “O.K.”

  Mr. Rivers walked away and Barney turned to find his audience had melted in the way that London crowds do.

  Mr. Rivers went back to his stand. Joe made way for him.

  “All right, you can carry on. I’m going to have some chow.”

  He turned away from the noise of the market down a quiet street. A hundred yards on he stopped outside a café and looked in over a dirty lace curtain.

  The place was crowded. Mr. Rivers kicked open the swing door and walked up to a counter.

  “Coffee and ham sandwich,” he ordered, and leaning on an elbow ran his eye over the tables. There was no one there he knew.

  “’Morning, Mr. Rivers.”

  Spike Morgan moved out from behind a screen. He was a man of about twenty-five, his eyes were a cold blue, and there was a hardness in his face that put ten years on his age. He was wearing a stained raincoat
and a light fawn felt hat with a green band.

  “What cheer, Spike. I thought I’d run into you here. Busy?”

  “Not so as you’d notice it.”

  Mr. Rivers nodded and felt in his pocket for money to pay for his meal.

  “Come over here.” He picked up his cup and plate and walked to a table in the far corner of the smoke-clouded room. “Do you want a job?”

  “I don’t mind,” Spike answered carelessly. Though he hadn’t the price of a bed in his pocket, he didn’t intend to give anything away. Mr. Rivers was not deceived. He opened his sandwich and dabbed it liberally with mustard.

  Spike asked: “What sort of a job?”

  “Don’t know yet. A smash most likely.”

  “Where?”

  “In the country.”

  Spike drew in a lungful of smoke and coughed it out. Then he looked down at the toes of his shoes. Mr. Rivers went on eating his sandwich. When he had finished it, he took a gulp of coffee, wiped his mouth and lit a cigarette. Spike’s gaze wandered round the room.

  “Thought I’d let you know in case you were thinking of getting fixed up. Here’s a quid to go on with.” Mr. Rivers took a note from his pocket and laid it on the table. Spike picked it up carelessly.

  “What’s the cut?” he asked.

  “A corner for you.”

  “Who else is in on this?”

  Mr. Rivers ignored the question and, dusting some crumbs off his waistcoat, got up and pushed back his chair.

  “I’ll send word when I want you.”

  “O.K.” Spike waited till Rivers had gone, and then he called to the woman behind the counter, “Sausage an’ mash twice and coffee.”

  He hadn’t eaten that day and, when the plate was put before him, he walked into it like a schoolboy. Crime hadn’t paid any dividends for the past few weeks.

  Mr. Rivers walked to the end of the street. Then he saw Leith and stopped. Detective-Sergeant Leith had a disconcerting habit of asking questions which were awkward to answer. He was walking slowly through the crowd, his hands thrust deep into the pockets of his Burberry.