87 Quotes About Noir

Shouldering the duffel bag with the Marine Corps bulldog, Old Man knocked Jan's photo off the bed table. He turned to stone staring down at the photo. His face then splintered into hurt. Tears seeped into his eyes. He grappled for the nearest bedpost and slumped forward on extended arms. His shoulders jerked and head sagged a little while his heart broke. Old Man cried the mute cry of men of his generation. . Ed Lynskey

Rachel drank some more bourbon. “What I am trying to do, ” she said, “is tothank you. And to say it as genuinely as I can. I do thank you. I will remember aslong as I live when you came into the room and got me, and I will alwaysremember when you killed them, and I was glad, and you came and we put ourarms around each other. And I will always remember that you cried. Robert B. Parker

I'd done it, I'd crossed the line between accepted behavior and behavior most of the population would consider a lynching offense, and that morning I felt as real as any of the men in the Escape commercials. It had been dirty and nasty but I wanted more. Matthew Stokoe

I ripped all her clothes off. She twisted and turned, slow, so they would slip out from under her. Then she closed her eyes and lay back on the pillow. Her hair was falling over her shoulders in snaky curls. Her eye was all black, and her breasts weren’t drawn up and pointing up at me, but soft, and spread out in two big pink splotches. She looked like the great grandmother of every whore in the world. The devil got his money’s worth that night. . James M. Cain

What are you doing?” Alecto asked in surprise, stepping back. Laughing brightly, she dragged him towards the greenhouse, the shattered glass reflecting rainbows as brilliant as a million Kodak flashcubes, glittering as they were cascaded through the breeze. “See, don’t be afraid of the glass, it can’t hurt us, ” Mandy laughed, spectacularly eccentric, her eyes reflecting the fallen glass.“ I wasn’t afraid of the glass, but this isn’t a very secluded place that you just decided to vandalize, ” Alecto cautioned, smiling despite his words. Before Mandy could reply, she heard loud whispering in the air, behind the trees… it sounded like a group of people, all whispering in unison… “Somebody’s out there, ” she exclaimed nervously.“ Yeah, you’re right, ” Alecto replied. Suddenly a sharp new vibrancy seemed to fill his eyes and he smiled coldly, taking the tree branch from Mandy and rapidly smashing in all of Mrs. Matthias’ stained glass house windows with it. Blue, green, yellow, red, turquoise, purple and an array of other colors showered through the sky noisily, sounding like wind chimes and crashing waves. “They’ll go away, ” he told her, glancing up at the sky.“… Alecto, do you like me?” Mandy questioned, holding out her arms like a lopsided scarecrow as the glass fell through her dark red hair.“ Yeah, sure, ” he answered.“ Will you be my friend, then? A real friend, not just another person who feels sorry for me?” Mandy asked.“… Alright, Mandy Valems, ” Alecto agreed. Rebecca McNutt

Sometimes in life you meet a femme fatale and you can refuse them nothing they treat you like dirt but even the dirt they dish out has a taste you can resist? From the novel 'Adventures of a Dark Duke: The Pin Russell C. Brennan

She wasn't just a B-girl, she was carrying the whole ugly world in her eyes. Megan Abbott

They watch her when she comes to City Hall, they watch her at the social events, they watch the way she walks, hips rolling with no suggestion of provocation but with every sense that she knows more than any of the rest. A woman like that, they seem to be thinking, a woman like that has lived. Their wives from Orange County, they come from Minnesota or Dallas or St.Louis. They come from places with families, with sagging mothers and fathers with dead eyes and heavy-hanging brows. They carry their own promise of future slackness and clipped lips and demands. They have sisters, sisther with more babies, babies with sweet saliva hanging and more appliance and with husbands with better salaries and two cars and club membership. They iron in housedresses in front of the television set or by the radio, steam rising, matting their faces, as the children with the damp necks cling on them, sticky-handed. They are this. And Alice… and Alice… . Megan Abbott

She's dead. So is your fat pansy. You can be dead, too, if you want. Richard Stark

Did you ever think much about jobs? I mean, some of the jobs people land in? You see a guy giving haircuts to dogs, or maybe going along the curb with a shovel, scooping up horse manure. And you think, now why is the silly bastard doing that? He looks fairly bright, about as bright as anyone else. Why the hell does he do that for living? You kind grin and look down your nose at him. You think he’s nuts, know what I mean, or he doesn’t have any ambition. And then you take a good look at yourself, and you stop wondering about the other guy… You’ve got all your hands and feet. Your health is okay, and you make a nice appearance, and ambition-man! You’ve got it. You’re young, I guess: you’d call thirty young, and you’re strong. You don’t have much education, but you’ve got more than plenty of other people who go to the top. And yet with all that, with all you’ve had to do with this is as far you’ve got And something tellys you, you’re not going much farther if any. And there is nothing to be done about it now, of course, but you can’t stop hoping. You can’t stop wondering…… Maybe you had too much ambition. Maybe that was the trouble. You couldn’t see yourself spending forty years moving from office boy to president. So you signed on with a circulation crew; you worked the magazines from one coast to another. And then you ran across a little brush deal-it sounded nice, anyway. And you worked that until you found something better, something that looked better. And you moved from that something to another something. Coffee-and-tea premiums, dinnerware, penny-a-day insurance, photo coupons, cemetery lots, hosiery, extract, and God knows what all. You begged for the charities, You bought the old gold. You went back to the magazines and the brushes and the coffee and tea. You made good money, a couple of hundred a week sometimes. But when you averaged it up, the good weeks with the bad, it wasn’t so good. Fifty or sixty a week, maybe seventy. More than you could make, probably, behind agas pump or a soda fountain. But you had to knock yourself out to do it, and you were standing stil. You were still there at the starting place. And you weren’t a kid any more. So you come to this town, and you see this ad. Man for outside sales and collections. Good deal for hard worker. And you think maybe this is it. This sounds like a right town. So you take the job, and you settle down in the town. And, of course, neither one of ‘em is right, they’re just like all the others. The job stinks. The town stinks. You stink. And there’s not a goddamned thing you can do about it. All you can do is go on like this other guys go on. The guy giving haircuts to dogs, and the guy sweeping up horse manute Hating it. Hating yourself. And hoping. Jim Thompson

I sat down in a booth, and the waitress shoved a menu in front of me. There wasn’t anything on it that sounded good, and anyway, one look at her and my stomach turned flipflops… Every goddamned restaurant I go to, it’s always the same way… They’ll have some old bag on the payroll – I figure they keep her locked up in the mop closet until they see me coming. And they’ll doll her up in the dirtiest goddamned apron they can find and smear that crappy red polish all over her fingernails, and everything about her is smeary and sloppy and smelly. And she’s the dame that always waits on me. . Jim Thompson

I decided to coin the term 'cosy crime noir' for Brighton Belle. That is 'cosy crime' for today's sensibilities because there is that slightly edgy element to it. Sara Sheridan

He told himself she wasn’t really such a bad person, she was just a pest, she was sticky, there was something misplaced in her make-up, something that kept her from fading clear of people when they wanted to be in the clear. David Goodis

In Woolrich's crime fiction there is a gradual development from pulp to noir. The earlier a story, the more likely it stresses pulp elements: one-dimensional macho protagonists, preposterous methods of murder, hordes of cardboard gangsters, dialogue full of whiny insults, blistering fast action. But even in some of his earliest crime stories one finds aspects of noir, and over time the stream works itself pure. In mature Woolrich the world is an incomprehensible place where beams happen to fall, and are predestined to fall, and are toppled over by malevolent powers; a world ruled by chance, fate and God the malign thug. But the everyday life he portrays is just as terrifying and treacherous. The dominant economic reality is the Depression, which for Woolrich usually means a frightened little guy in a rundown apartment with a hungry wife and children, no money, no job, and desperation eating him like a cancer. The dominant political reality is a police force made up of a few decent cops and a horde of sociopaths licensed to torture and kill, whose outrages are casually accepted by all concerned, not least by the victims. The prevailing emotional states are loneliness and fear. Events take place in darkness, menace breathes out of every corner of the night, the bleak cityscape comes alive on the page and in our hearts.(" Introduction") . Unknown

Home? What is home? Home is where a house is that you come back to when the rainy season is about to begin, to wait until the next dry season comes around. Home is where your woman is, that you come back to in the intervals between a greater love - the only real love - the lust for riches buried in the earth, that are your own if you can find them. Perhaps you do not call it home, even to yourself. Perhaps you call them 'my house, ' 'my woman, ' What if there was another 'my house, ' 'my woman, ' before this one? It makes no difference. This woman is enough for now. Perhaps the guns sounded too loud at Anzio or at Omaha Beach, at Guadalcanal or at Okinawa. Perhaps when they stilled again some kind of strength had been blasted from you that other men still have. And then again perhaps it was some kind of weakness that other men still have. What is strength, what is weakness, what is loyalty, what is perfidy? The guns taught only one thing, but they taught it well: of what consequence is life? Of what consequence is a man? And, therefore, of what consequence if he tramples love in one place and goes to find it in the next? The little moment that he has, let him be at peace, far from the guns and all that remind him of them. So the man who once was Bill Taylor has come back to his house, in the dusk, in the mountains, in Anahuac. ("The Moon Of Montezuma") . Cornell Woolrich

Banks watched the sun creep over the forest of oak trees and a crack of light broke through the night and grew longer and wider and ate the black like a fungus until the darkness was gone and there was light and it was day. Matthew McBride

The rain fell like dead bullets. Scott Nicholson

The lighter something is, the easier it is to darken it. Bruce Crown

I'll remember you... I remember everyone I've lost. Rebecca McNutt

IT TOOK a conscious effort for Tallow to keep his hand off his gun as he walked up the apartment building’s stairs. There was no threat here. He told himself that with every step. But every step held memory. Warren Ellis

Bina, thank you. Bina, listen, this guy. His name wasn't Lasker. This guy-' She puts a hand to his mouth. She has not touched him in three years. It probably would be too much to say that he feels the darkness lift at the touch of her fingertips against his lips. But it shivers, and light bleeds in among the cracks. Michael Chabon

I cadged a complimentary green matchbook with a gold bird icon from the Bell canning jar. Later we'd use the matches to light our spliffs. My fingertips tapped the stem to the gizmo that dinged a bell. Nobody came out. Wrong signal, so I did two bell rings. No response prompted me to tap out a series of bell rings. Ed Lynskey

The finest thing in the world is knowing how to belong to oneself. Michel de Montaigne Laurie Stevens

From Chapter 1:The main rub was the lack of RnR and I burned out. Three years and three stripes later, I ejected from the MP Corps, vowing I'd never do police or criminal investigative work again. Instead, I returned home when I should've learned better. Ed Lynskey

In near panic, I craned my neck to gaze over the cabin’s roofline a bursting fireball. Ed Lynskey

Just the night before, a puma’s howl had set a chill at my spine and, man, life didn’t get any richer than that. Ed Lynskey

The biggest mistake you can make is thinking you know who you are. J.P. Bloch

She killed to get the dream she wanted, then found out it didn't want her back. Robyn Hugo McIntyre

He began as a minor imitator of Fitzgerald, wrote a novel in the late twenties which won a prize, became dissatisfied with his work, stopped writing for a period of years. When he came back it was to BLACK MASK and the other detective magazines with a curious and terrible fiction which had never been seen before in the genre markets; Hart Crane and certainly Hemingway were writing of people on the edge of their emotions and their possibility but the genre mystery markets were filled with characters whose pain was circumstantial, whose resolution was through action; Woolrich's gallery was of those so damaged that their lives could only be seen as vast anticlimax to central and terrible events which had occurred long before the incidents of the story. Hammett and his great disciple, Chandler, had verged toward this more than a little, there is no minimizing the depth of their contribution to the mystery and to literature but Hammett and Chandler were still working within the devices of their category: detectives confronted problems and solved (or more commonly failed to solve) them, evil was generalized but had at least specific manifestations: Woolrich went far out on the edge. His characters killed, were killed, witnessed murder, attempted to solve it but the events were peripheral to the central circumstances. What I am trying to say, perhaps, is that Hammett and Chandler wrote of death but the novels and short stories of Woolrich *were* death. In all of its delicacy and grace, its fragile beauty as well as its finality. Most of his plots made no objective sense. Woolrich was writing at the cutting edge of his time. Twenty years later his vision would attract a Truffaut whose own influences had been the philosophy of Sartre, the French nouvelle vague, the central conception that nothing really mattered. At all. But the suffering. Ah, that mattered; that mattered quite a bit. Barry N. Malzberg

Trust me. What a phrase. Is it a phrase or an idiom? I was never a wordsmith and I was too far along in life to even attempt to tackle a problem as complicated as words. Do writers struggle as much with words as a painter does with his paint and his brush?“ Okay, ” it is impossible not to trust a beautiful woman. Even macho noir anti-heroes who talk about staying out of trouble and doin’ nothin’ for nobody always get sucked into intricate snares set for them by beautiful women… I would not be an exception. Bruce Crown

The viewpoint character in each story is usually someone trapped in a living nightmare, but this doesn't guarantee that we and the protagonist are at one. In fact Woolrich often makes us pull away from the person at the center of the storm, splitting our reaction in two, stripping his protagonist of moral authority, denying us the luxury of unequivocal identification, drawing characters so psychologically warped and sometimes so despicable that a part of us wants to see them suffer. Woolrich also denies us the luxury of total disidentification with all sorts of sociopaths, especially those who wear badges. His Noir Cop tales are crammed with acts of police sadism, casually committed or at least endorsed by the detective protagonist. These monstrosities are explicitly condemned almost never and the moral outrage we feel has no internal support in the stories except the objective horror of what is shown, so that one might almost believe that a part of Woolrich wants us to enjoy the spectacles. If so, it's yet another instance of how his most powerful novels and stories are divided against themselves so as to evoke in us a divided response that mirrors his own self-division.(" Introduction") . Unknown

May they run free forever and grow back their limbs! Henry Mosquera

It's only crazy if we fail. Henry Mosquera

This is the Rock, sweetheart, ” the owner added. “There’s no tragedy you can’t profit from. Henry Mosquera

There’s no tragedy you can’t profit from. Henry Mosquera

The only thing altruism will get you here is a boot stomping on your head. Henry Mosquera

It’s a case of mistaken identity. It’s one big mistake. You weren’t even in the country when it happened.” Maja in the short story 'Metro' by Steen Langstrup Steen Langstrup

Inevitably, his vision verged toward the fantastic; he published a scattering of stories - most included in this volume - which appeared to conform to that genre at least to the degree that the fuller part of his vision could be seen as "mysteries." For Woolrich it all was fantastic; the clock in the tower, hand in the glove, out of control vehicle, errant gunshot which destroyed; whether destructive coincidence was masked in the "naturalistic" or the "incredible" was all pretty much the same to him. RENDEZVOUS IN BLACK, THE BRIDE WORE BLACK, NIGHTMARE are all great swollen dreams, turgid constructions of the night, obsession and grotesque outcome; to turn from these to the "fantastic" was not to turn at all. The work, as is usually the case with a major writer was perfectly formed, perfectly consistent, the vision leached into every area and pulled the book together. "Jane Brown's Body" is a suspense story. THE BRIDE WORE BLACK is science fiction. PHANTOM LADY is a gothic. RENDEZVOUS IN BLACK was a bildungsroman. It does not matter. Barry N. Malzberg

Ever since I could remember, She was all that mattered. James J. Caterino

Normally, I don't take to drinking so early in the morning, but I bend the rules when I get my ass kicked before sunrise."-- Thomas Morelli C.J. Fella

You do know I’m not psychic, right?’ Dash looked down at her. ‘Joy...you do know that normal people don’t see ghosts, right? Amy Andrews

Dash shoved his hands on his hips and looked down into the bowl. ‘You gave my fish pink rocks?’ he said as he turned to face her. Joy shrugged. ‘I didn’t really look at the colour I just grabbed the nearest bag.’‘ It had to be pink?’‘ There’s some blue as well.’ He looked into the bowl again. ‘Not really.’ Joy couldn’t believe she was having a conversation about pink rocks when the bigger question of what the hell he’d found out about the robberies was still unanswered. ‘You think it’s going to turn Ralph gay?’ she asked sweetly. ‘Given that he’s living his life out solo it’s kind of a moot question, don’t you think?’‘ You’re right, I think he needs a girlfriend. Or a boyfriend.’‘ With those rocks? I think he needs Fishtank Barbie in there.’‘ Is your masculinity threatened because your fish has pink rocks?’ Dash folded his arms. ‘He’s a bloke. He doesn’t do pink.’ Joy glanced at the bowl. ‘It works, ’ she said. ‘It..blends.’‘He’s orange, ’ Dash said. ‘Since when have pink and orange gone together?. Amy Andrews

There was nothing like the cold, heavy steel of a gun, the soft moan of an appreciative woman or the sharp burn of a good single malt to make a man grateful to be alive. Tonight, with his gun gone and his sex life a wasteland, Dash had to settle for whiskey. Amy Andrews

A woman could do a lot of crazy things for a pair of fine-looking dimples. Amy Andrews

He was wearing a gleaming cream-coloured linen suit, and a Panama hat. The weirdest thing about this was that he was not the most outlandish-looking person in the room by a long way. Not that Little Miss Dresses-Like-Bogart over here has a right to complain Alexis Hall

Pulling out onto the highway I noticed a stone pillar commemorating the Donner Party. They were a true testament to the American spirit, push forward at all costs and eat the dead when necessary. Wasn’t that the American dream in a nutshell. Josh Stallings

I had a funny feeling as I saw the house disappear, as though I had written a poem and it was very good and I had lost it and would never remember it again. Raymond Chandler

When the guy with asthma finally came in from the fire escape, Parker rabbit-punched him and took his gun away. Richard Stark

Downtown, a dress for Meg- I do it every time I kill a man. James Ellroy

It was a cool day and very clear. You could see a long way-but not as far as Velma had gone. Raymond Chandler

A second red-orange spearhead leaps straight at O'Shaughnessy. The whole world seems to stand still. Then the gun behind it crashes, and there's a cataclysm of pain all over him, and a shock goes through him as if he ran head-on into a stone wall. A voice from the car says blurredly, while the ground rushes up to meet him, 'Finish him up, you guys! I'm getting so I don't trust their looks no more, no matter how stiff they act! ' ("Jane Brown's Body"). Cornell Woolrich

When a child disappears, the space she’d occupied is immediately filled with dozens of people. And these people–relatives, friends, police officers, reporters from both TV and print–create a lot of energy and noise, a sense of communal intensity, of fierce and shared dedication to a task. “But amid all that noise, nothing is louder than the silence of the missing child. It’s a silence that’s two and a half to three feet tall, and you feel it at your hip and hear it rising up from the floorboards, shouting to you from corners and crevices and the emotionless face of a doll left on the floor by the bed. “It’s a silence that’s different from the one left at funerals and wakes. The silence of the dead carries with it a sense of finality; it’s a silence you know you must get used to. But the silence of a missing child is not something you want to get used to; you refuse to accept it, and so it screams at you.“ The silence of the dead says, Goodbye. “The silence of the missing says, Find me. Dennis Lehane

Don't make a career out of underestimating me." – Claire de Haven James Ellroy

Gary Robinson died hungry. He wanted fried chicken, the three-piece box for $2.19. Drunk, loud, and obnoxious, he pushed ahead of seven customers on line at a fast-food chicken outlet. The counter girl told him that his behavior was impolite. She calmed him down with sweet talk, and he agreed to step to the end of the line. His turn came just before closing time, just after the fried chicken ran out. He punched the counter girl so hard her ears rang, and a security guard shot him–three times. . Edna Buchanan

When you're reading a good noir, the shocks and twists have a way of feeling deja vu-like, as if you saw them coming, but hoped the characters would take a left turn.. not answer the phone, not sleep with that woman, not sell drugs to those cops.. but knew they would. It would have been wrong if they didn't, and the real surprise can be that you care about someone you know is in for hell. You relate to them, even when their hell is so much bigger than your own. But we're all going to die, and we all make mistakes. The best noir stories make you forget plot entirely by giving you characters that feel so well-realised you can't look away as they fall. . Ed Brubaker

I let my gaze travel out the picture window. Unlike at my old doublewide trailer perched on the fringe of a played out quarry, here I owned a real yard with real grass that screamed for mowing each Monday a.m. I sat at the kitchen table, cooling off from just having finished this week's job. Yes, here in 2005, I was a full-fledged suburbanite, but I'd been called worse. Ed Lynskey

Quote taken from Chapter 1: That's the idea. Listen, Frank, this one is different. She's a keeper." He let that part gel in me. "Get your head screwed on straight and move to Richmond. You hate it living in Pelham. Ed Lynskey

The hotel was guest-friendly with hourly rates and had enough room to swing a cat, if it were a small cat and you wanted to swing it. James A. Newman

A quick butchers shows up Old Bill three-handed, also a particularly nasty female grass—-and if looks were acid baths the two she collects from us would reduce her to gristle quicker than Mrs. Durand-Deacon. Derek Raymond

It's time to end the brain drain and move to brain gain. It's time for a great mind of Nigeria to return home. You're the mind we need, Doctor. Deji Olukotun

That pistol I gave you is a piece of crap. You can’t hit anything with it, not at that distance.” Staring at her with tears in his blinking eyes, he says, “I did.” Conversation between Alis K and WillyThe Informer Steen Langstrup

There is always a unique atmosphere in the car when you drive through the City with a dead body in the back. Steen Langstrup

The hallmarks of the noir style are fear, guilt and loneliness, breakdown and despair, sexual obsession and social corruption, a sense that the world is controlled by, malignant forces preying on us, a rejection of happy endings and a preference for resolutions heavy with doom, but always redeemed by a breathtakingly vivid poetry of word (if the work was a novel or story) or image (if it was a movie). ("Introduction") . Unknown

Fine by me, Jack. I just have to plug in the machine. The City will have to change its name to Sunny Beach.”“We don’t have a beach.”“ Well, you know what I mean …”Conversation on Radio Fake 112.8 MHzIn The Shadow of Sadd Steen Langstrup

He's prowling back and forth like a lion with distemper now. There's a shiny streak down one side of his face. "I shouldn't have let her go ahead - I ought to be hung! Something's gone wrong. I can't stand this any more! " he says with a choked sound. "I'm starting now -""But how are you -""Spring for it and fire as I go if they try to stop me." And then as he barges out, the fat lady waddling solicitously after him, "Stay there; take it if she calls - tell her I'm on the way-" He plunges straight at the street-door from all the way back in the hall, like a fullback headed for a touchdown. That's the best way. Gun bedded in his pocket, but hand gripping it ready to let fly through lining and all. He slaps the door out of his way without slowing and skitters out along the building, head and shoulders defensively lowered. It *was* the taxi, you bet. No sound from it, at least not at this distance, just a thin bluish haze slowly spreading out around it that might be gas-fumes if its engine were turning; and at his end a long row of un-colored spurts - of dust and stone-splinters - following him along the wall of the flat he's tearing away from. Each succeeding one a half yard too far behind him, smacking into where he was a second ago. And they never catch up. ("Jane Brown's Body"). Cornell Woolrich

And he's alone there, with the unconscious pilot lying a little way off for company, and some other guy he's never even seen, only spoken to over the radio. He wants to sleep so badly - dying they call it - and he can't. Something's bothering him to keep him awake. ("Jane Brown's Body") Cornell Woolrich

The struggle doesn't last long; it's too unequal. Their momentary surprise overcome, they close in on him. The well-directed slice of a gun-butt slackens the good arm; it's easy to pry the disabled one from around the racketeer's collar. Tereshko is trembling with his anger. 'Now him again! ' he protests, as though at an injustice. 'All they do is die and then get up and walk around again! What'sa matter, you guys using spitballs for slugs? No, don't kick at him, that'll never do it - I think the guy has nine lives! ' ("Jane Brown's Body") . Cornell Woolrich

And then, with a shock like high-voltage coursing through me, the phone beside me started pealing thinly. I just stood there and stared at it, blood draining from my face. A call to a tollbooth? It must, it must be a wrong number, somebody wanted the Information Booth or-! It must have been audible outside, with all I had the slide partly closed. One of the redcaps passing by turned, looked over, then started coming across toward where I was. To get rid of him I picked up the receiver, put it to my ear.' You'd better come out now, time's up, ' a flat, deadly voice said. 'They're calling your train, but you're not getting on that one - or any other.'' Wh-where are talking from?'' The next booth to yours, ' the voice jeered. 'You forgot the glass inserts only reach halfway down.' The connection broke and a man's looming figure was shadowing the glass in front of my eyes, before I could even get the receiver back on the hook. I dropped it full-length, tensed my right arm to pound it through his face as soon as I shoved the glass aside. He had a revolver-bore for a top vest-button, trained on me. Two more had shown up behind him, from which direction I hadn't noticed. It was very dark in the booth now, their collective silhouettes shut out all the daylight. The station and all its friendly bustle was blotted out, had receded into the far background, a thousand miles away for all the help it could give me. I slapped the glass wearily aside, came slowly out. One of them flashed a badge - maybe Crow had loaned him his for the occasion. 'You're being arrested for putting slugs in that phone. It won't do any good to raise your voice and shriek for help, try to tell people different. But suit yourself.' I knew that as well as he; heads turned to stare after us by the dozens as they started with me in their midst through the station's main-level. But not one in all that crowd would have dared interfere with what they mistook for a legitimate arrest in the line of duty. The one with the badge kept it conspicuously tilted in his upturned palm, at sight of which the frozen onlookers slowly parted, made way for us through their midst. I was being led to my doom in full view of scores of people. ("Graves For The Living") . Cornell Woolrich

When a beautiful blonde asks, you don't say no. V.T. Davy

This may not be art as art commonly goes; the lack of discipline, of control, would seem to rule it out of that category. And yet Woolrich's lack of control over emotions is a crucial element in his work, not only because it intensifies the fragility and momentariness of love but also because it tears away the comfortable belief, evident in some of the greatest works of the human imagination such as Oedipus Rex, that nobility in the face of nothingness is possible. And if Woolrich's work is not art as commonly understood, there is an art beyond art, whose form is not the novel or story but the scream; and of this art Woolrich is beyond doubt a master. ("Introduction"). Unknown

A Dick and Jane story written in blood and battered bone. See Spot.See Spot run. See Spot run from a gaping chest wound. Run Spot run. See Detective smear Spot into a baggy for DNA testing. J.E. Mac

It's hard to say goodbye for good at any time or any place. It's harder still to say it through a meshed wire. It crisscrossed his face into little diagonals, gave me only little broken-up molecules of it at a time. It stenciled a cold, rigid frame around every kiss. Cornell Woolrich

The dark clouds make the black sea. (Les nuages noirs - Font la mer noire) Charles De Leusse

The phone rang. Softly, in actuality, yet it seemed loud and ominous, as phones do at night in dark hotel rooms. Jim Thompson

Being a Berlin cop in 1942 was a little like putting down mousetraps in a cage full of tigers. Philip Kerr

I had killed a man, for money and a woman. I didn't have the money and I didn't have the woman. James M. Cain

But you understand the relationship between pi and Gaussian curvature, right? pg 264 Danyl McLauchlan

Steve needed to be careful here. He'd read mid-twentieth-century science fiction so he knew that once you started switching realities you ran into problems with nested levels of existence. Danyl McLauchlan

I preyed on this sort of thing, discontentment, a clash of passions among the rivals, and the zealots. Open sores opened secrets. That’s how I roll.” Jackson Guild, The Trinity Conspiracy, Betrayal at Black Mesa Jeff Shear

But suspense presupposes uncertainty. No matter how nightmarish the situation, real suspense is impossible when we know in advance that the protagonist will prevail (as we would if Woolrich had used series characters) or will be destroyed. This is why, despite his congenital pessimism, Woolrich manages any number of times to squeeze out an upbeat resolution. Precisely because we can never know whether a particular novel or story will be light or dark, allegre or noir, his work remains hauntingly suspenseful.(" Introduction"). Unknown

So. You're a fallen angel." She folded her arms." I'm not fallen, " he said roughly." Then what are you?" He shrugged. "Busted. Vicki Pettersson

I never met an addict who came from a nice home . I've met addicts that came from families that had money and nice houses. But never from a nice home. Sara Gran

Winter was gray and mean upon the city and every night was a package of cold bleak hours, like the hours in a cell that had no door. David Goodis

Taking my drink, I moved around the bar to her. Her smile was a little crooked as I sat down. I guessed it had been a wet night for platinum blondes. Michael McCretton

Noir is a court of human relations, and some crimes are beyond legal restitution. Margo Jefferson