logo

59 pages 1 hour read

Raymond Chandler

The Big Sleep

Fiction | Novel | Adult | Published in 1939

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Chapters 14-19Chapter Summaries & Analyses

Chapter 14 Summary

Marlowe knocks on Joe Brody’s door. When Brody peers out, Marlowe says he has Geiger’s customer list, knows about the pornography, and wants to cut a deal. Brody lets Marlowe in, tosses him a cigar, and pulls a gun on him. Marlowe warns that Mars wouldn’t take kindly to knowing that Brody has Geiger’s merchandise. Brody lowers the gun.

Marlowe notices a curtain pulled across a doorway and a woman’s shoe pointing out from under it—it’s Agnes, the sexy clerk from Geiger’s store. She gives Marlowe a hateful look; she’s warned Brody about him.

Marlowe points out that by renting out Geiger’s 500 books, Brody can make an enormous amount of money, enough to kill for—so why bother with blackmail, especially when Carmen could testify to seeing Brody kill Geiger? Brody curses Carmen, which confirms to Marlowe that Brody and Agnes have Carmen’s nude photo. Marlowe says he’s a private eye, that he saw the Geiger murder scene, and that he and a witness tailed the book truck to Brody’s place. Marlowe offers to make Brody’s problems go away if Brody gives him the photo.

Brody admits that, though he got paid to stop seeing Carmen, he would have done so anyway: “She's too screwy for a simple guy like me” (62). He wants money for the photo; Marlowe says no, and Brody gives up. Just as he reaches into his jacket pocket to give back the picture, the door buzzer rings.

Chapter 15 Summary

Brody pulls a pistol from a desk drawer and hands it to Agnes, who aims it at Marlowe. Brody opens the door. Carmen enters with a gun against his mouth. Agnes turns her gun on Carmen, but Marlowe grabs it away. Brody grabs Carmen’s gun, and it goes off. Brody dives at her feet and knocks her down; the gun skitters away. Brody reaches into his pocket, but Marlowe points Agnes’s gun at him. Brody whines, “Don't let her kill me!” (64), as Marlowe laughs hysterically.

Carmen crawls toward her gun. Marlowe warns Brody to be still and retrieves Carmen’s gun. He collects all the guns and orders Brody to give him the photo. Brody hands over an envelope with the original negative and copies.

Carmen wants the photo and her gun, but Marlowe tells her to go home and wait. Happy, Carmen kisses him on the mouth and hurries away.

Chapter 16 Summary

Carmen’s gun is small with a pearl grip and a plaque with a dedication from Taylor. Marlowe thinks, “She made saps of all of them” (65). He pockets the pistol.

Marlowe asks Brody why he blackmailed Carmen instead of her father. Brody already tapped the general once and didn’t want to risk it again. He has serious money problems. In exchange for pretending that Carmen never was there, Marlowe promises some cash to Brody if he can swing it. When Brody won’t say where he got the photo, Marlowe responds that Brody he isn’t as smart as he thinks. Agnes sighs, “A half smart guy […] That’s all I ever draw” (67).

Marlowe points out that Brody still has no alibi for two murders. Brody admits he was watching Geiger’s house, trying to learn his methods, when he heard shots and saw Owen Taylor run from the house and drive away. When Taylor skidded off the road, Brody pretended to be a cop, knocked Taylor out, and found the photo. Taylor regained consciousness and drove off.

The door buzzer sounds. Brody answers, and someone shoots him dead.

Marlowe gives chase. Downstairs, the shooter fires twice at Marlowe, and runs away. Marlowe drives up and down the nearby streets until he hears whistling. He parks, pulls his gun, and hunkers down until the whistler walks past. He springs up and confronts the shooter. It’s the young valet from Geiger’s store.

The valet reaches for his gun, but Marlowe presses Carmen’s pistol into his belly. As sirens approach, Marlowe hustles the valet into his car and orders him to go home. Home is Geiger’s house—the valet is Carol Lundgren, Geiger’s partner. When Marlowe informs Lundgren that Brody didn’t shoot Geiger, Lundgren curses in frustration—clearly, he’d been eager for revenge.

Chapter 17 Summary

Marlowe knows that Lundgren lives with Geiger and that they are lovers. Lundgren jumps out of the car, but Marlowe follows and they fight. Marlowe gets Lundgren into a choke hold until the young man collapses. Marlowe drags him behind a hedge and handcuffs the unconscious Lundgren’s arms behind his back.

He drags Lundgren inside. Lying face-down, Lundgren comes to and resumes cursing. Marlowe visits Geiger’s bedroom; it’s untouched. He unlocks Lundgren’s bedroom and finds two flickering candles, incense, and Geiger’s body, fully dressed, lying in state on the bed. Chinese tapestries are arranged in a cross atop him, covering the blood. Geiger’s arms lie folded across his chest.

Marlowe calls Ohls at home and tells him that, if the police have Owen Taylor’s revolver, it’s missing three bullets. He asks Ohls to come to Geiger’s house.

Chapter 18 Summary

Ohls and Marlowe caravan to the stately home of District Attorney Taggart Wilde near Lafayette Park. A police chauffeur keeps an eye on the still handcuffed Lundgren while Ohls and Marlowe go inside.

Ohls and Marlowe sit near the portly DA and Cronjager, a hatched-faced, nervous-fingered police captain in a fine suit. Cronjager reports on the Brody killing. His men found a rattled blond woman outside—Agnes—trying to start Brody’s car. She claims she saw the murder but not the killer.

Ohls says the killer is sitting outside in his car—Marlowe caught him and reported a second killing that he’d been keeping quiet. Cronjager is irritated about private eyes going their own way. Ohls explains what they know: the Owen Taylor pier death, its connection to the Sternwoods, Taylor killing Geiger, and Brody’s killer being Geiger’s partner.

Marlowe fills in more details but omits Carmen’s visit to Brody’s place and Eddie Mars’s visit to Geiger’s house. Cronjager scolds Marlowe, pointing out that, had he simply reported Geiger’s murder right away, Brody would probably still be alive. Wilde asks whether Brody might have killed Geiger and planted the weapon on Taylor, but Marlowe says Brody’s interests were commercial, not lethal. He wouldn’t have killed Geiger in front of Carmen, but Taylor might have. Lundgren might at first have hidden Geiger’s body, then thought better of it and laid Geiger out respectfully on the guest bed. When Lundgren saw Geiger’s books being stolen, he must have assumed Brody killed Geiger—that’s why he shot Brody.

Marlowe turns over the Geiger blackmail papers, Carmen’s photo, and Geiger’s coded notebook. When Wilde asks if Marlowe has told them everything, Marlowe replies that he left out a couple of details to protect Sternwood: “[M]y client is entitled to that protection, short of anything but a Grand Jury” (82). Plus, keeping the blackmail suppressed the police’s interests: The police permitted Geiger’s porn store to operate, which might come out during grand jury proceedings.

The group agrees to keep the scandal out of the papers. Wilde again asks Marlowe for more details, but protecting the client is Marlowe’s chief duty. Wilde warns that the Sternwood family is bound eventually to get into trouble it can’t hide. He asks if Regan might be central to the family’s problems, but Marlowe doubts it—the general liked Regan and was hurt by his son-in-law’s sudden departure. Wilde hands Marlowe Carmen’s photo and the Geiger blackmail envelope: “I've no further use for them” (85).

Chapter 19 Summary

Late in the evening, Marlowe arrives home. In the lobby, one of Eddie Mars’s men orders Marlowe to come with him to see his boss. Exhausted, Marlowe refuses. The guy almost goes for his gun, but Marlowe browbeats him into leaving. Mars calls Marlowe, who confirms that he never mentioned Mars to the police. Mars has news about Regan, but Marlowe says he isn’t looking for that man.

Marlowe downs a much-needed drink and dials the Sternwoods. He tells the butler, Norris, to inform Vivian that Carmen’s pictures are safe. Later, Marlowe’s phone rings; he ignores it, places a piece of paper between the phone’s bell and clapper, and goes to sleep: “I had a bellyful of the Sternwood family” (87).

In the morning, newspaper headlines state that Brody shot Geiger over a business dispute and that Carol Lundgren, who had a long rap sheet, killed Brody in revenge. Agnes Lozelle is under guard as a witness; Owen Taylor’s death is ruled a suicide; Chief Cronjager gets the credit for closing both cases. No mention is made of Marlowe or the Sternwoods.

Chapters 14-19 Analysis

The novel’s slow buildup of dread and tension—the mood that surrounds Marlowe’s methodical investigation and clue collection—is released in Chapter 15’s action-packed encounter between Marlowe, Brody, Agnes, and Carmen. After intricate and sometimes convoluted maneuvering, the novel here becomes fast-paced and violent as lies and parleys turn into gunplay, fisticuffs, and a murder. The fight occurs in a matter of minutes as several of the characters find themselves in the same room, their various motives suddenly entangled. Some of the resulting struggles, both verbal and physical, have an air of physical comedy. Marlowe acknowledges this when, at one point, he laughs hysterically. The novel uses his laughter for structure and characterization. After the climatic fight sequence, his uncontrollable hilarity releases tension, letting readers know that this exciting episode is over. It also signals his mordant attitude toward the situations that his profession put him in. It is also an interesting aspect of the novel’s misogyny. When Carmen laughs in Chapter 12, Marlowe describes the sound in infantilized and dismissing terms as a giggle; in response, he assaults her to get her to stop—a beating that the novel wants readers to believe she enjoys. Here, however, Marlowe’s similarly inappropriate laughter gets no opprobrium from the novel and provokes no violence from the other characters. Instead, his laughter is a mark of release and denouement.

The novel uses a time-tested trick to handle depicting obscenity while not actually running afoul of laws prohibiting its appearance in print. When Marlowe captures Geiger’s partner, a young man named Carol Lundgren, for killing Brody in misplaced revenge, Lundgren utters the “F”-word over and over—an important piece of characterization for a man later revealed to be a hardened criminal with a long rap sheet. However, in the 1930s, this expletive is extreme; printing such a profanity was enough to have a book banned for obscenity. To have it both ways, the novel expects readers to fill in what’s missing, printing the phrase “Go — — yourself” (72) with blanks in place of the swear word. Chandler’s indirect use of the curse is a technique developed in the 19th century by English writers eager to test the boundaries of permitted language without actually offending readers. Only in the 1960s would the US Supreme Court severely limit obscenity laws, giving writers more freedom to render the reality of spoken language more explicitly.

The tragedies of Owen Taylor and Carol Lundgren feed into the novel’s depiction of Love as a Catalyst for Bad Decisions. Owen Taylor shot Geiger to protect Carmen, the woman he loves, from a devastating blackmail—a choice that puts the chauffeur into enough danger that he possibly died by suicide. The novel never solves Taylor’s death; the reader’s best guess is that, injured and desperate after his encounter with Joe Brody, and perhaps believing that the police are onto him, Taylor drove off the pier on purpose. Still, the writers of the movie version wrestled with whether Taylor was murdered; Chandler was more interested in the social worlds of perpetrators and their victims than having fully resolved mysteries. Meanwhile, Lundgren’s respectful treatment of Geiger’s body and the lonely funeral he holds for the dead man come read as heroically romantic, despite the author’s biases. His rash jumping to the conclusion that Brody killed Geiger and his snap decision to shoot Brody in revenge—both actions fueled by love—doom Lundgren to prison.

The conclave at DA Wilde’s house shows the corruption and murky ethics of the authorities, playing into the novel’s theme of The Good, the Bad, and the Ambiguous. The decision to keep the Sternwoods out of the news so the police protection of Geiger’s business isn’t revealed suggests that the LAPD is rife with wrongdoing—a historically accurate portrayal of 1930s LA police and city government. In the novel, Marlowe fits perfectly into this shady world: He is a smart man who also lies and cheats, manipulating people and playing them off against one another. While Marlowe is ostensibly trying to protect people from crime, his loyalties here lie with the deplorable Sternwood family, whose behavior is bad enough for the DA to hope that it eventually comes to light. Marlowe doesn’t defend the downtrodden—because only the rich can hire private investigators, he necessarily does their dirty work.

blurred text
blurred text
blurred text
blurred text