In Raymond Chandler’s The Long Goodbye, there’s a scene where one of Mendy Melendez’s boys follows Philip Marlowe out of a bar. There might have been trouble, Marlowe says, “if this enormous man hadn’t got out of an enormous car” and thrown the kid one-handed against the wall. “What was that?” Marlowe asks the bruised gangster. “Big Willie Magoon. A policeman. He thinks he’s tough.”

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