Cornell Woolrich, The Fantastic Stories of Cornell Woolrich

"She was ready to be a fugitive with him for the rest of her life - 'Whither thou goest, I will go; thy people shall be my people' - and when a Parisienne is ready to leave Paris behind forever, that's something. ("I'm Dangerous Tonight")"

"The sightseers would have been disappointed, as the real thing always makes a poorer show than the fake. ("I'm Dangerous Tonight")"

"It seems so long ago that he was last afraid of anything. Seventeen, was he then? Eighteen? Sometimes he thinks he's missing a lot by being like this - fear gives life a fillip. He wonders how it is he lost it all, and what there is - if anything - ever to bring it back. ("Jane Brown's Body")"

"Fear! Fear again, for the first time since his 'teens. Fear, that he thought he would never know any more. Fear that no weapon, no jeopardy, no natural cataclysm, has ever been able to inspire until now. And now here it is running icily through him in the hot Chinese noon. Fear for the thing he loves, the only fear that can ever wholly cow the reckless and the brave. ("Jane Brown's Body")"

"But that's the Way, and there is no other. And once his mind's made up, the trembling and aimless walking stops, and he can look doom in the face without flinching. ("Jane Brown's Body")"

"Go to Zillicks down the block. It has three booths at the back. Go in the middle one and wait. When you lamp me turning the pages of the directory outside, shove your money in the return-coin slot and walk out. Take it easy. Don't let the druggist see you. Your stuff'll be there when you go back for it. If you're even a dime short don't show up, it won't do ya no good. Twelve o'clock tonight.''Twelve o'clock;' Fisher agreed. They separated. How many a seemingly casual street-corner conversation like that on the city's streets has just such an unguessed, sinister topic. Murder, theft, revenge, narcotics. While the crowd goes by around it unaware. ("I'm Dangerous Tonight")"

"When she comes down to supper I don't like her any better; in fact, a hell of a lot less. She's put on a shiny dress, all fishscales, like this was still India or the boat. On her head she's put a sort of beaded cap that fits close-like a hood. A mottled green-and-black thing that gleams dully in the candlelight. Not a hair shows below it, you can't tell whether she's a woman or what the devil she is. Right in front, above her forehead, there's a sort of question-mark worked into it, in darker beads. You can't be sure what it is, but it's shaped like a question mark. ("Kiss of the Cobra")"

"She's a slinky sort of person, no angles at all; and magnetic - you can't take your eyes off her. She's dressed like a Westerner, but her eyes have a slant to them. They are the eyes of an Easterner. She doesn't walk like our women do, she seems to writhe all in one piece - undulates is the word. ("Kiss Of The Cobra")"

"Men's loyalty to their women dies hard - and almost always too late. ("I'm Dangerous Tonight")"

"O'Shaughnessy is hitting Denholt on the side of his head with his free arm, great, walloping, pile-driver blows. The two of them stagger together, like partners in a crazy dance. Glass is breaking all around them. Gray smoke from the six shots, pink-and-white dust from the chipped brick-and-plaster walls, swirl around them in a rainbow haze. Something vividly green flares up from one of the overturned retorts, goes right out again. O'Shaughnessy tears the emptied gun away, flings it off somewhere. More breaking glass, and this time a tart pungent smell that makes the nostrils sting. The crunch of pulverized tube glass underfoot makes it sound as if they were scuffling in sand or hard-packed snow. ("Jane Brown's Body")"

"Three o'clock in the morning. The highway is empty, under a malignant moon. The oil drippings make the roadway gleam like a blue-satin ribbon. The night is still but for a humming noise coming up somewhere behind a rise of ground. Two other, fiercer, whiter moons, set close together, suddenly top the rise, shoot a fan of blinding platinum far down ahead of them. Headlights. The humming burgeons into a roar. The touring car is going so fast it sways from side to side. The road is straight. The way is long. The night is short. (Jane Brown's Body")"

"Now the moon of the Aztecs is at the zenith, and all the world lies still. Full and white, the white of bones, the white of a skull; blistering the center of the sky well with its throbbing, not touching it on any side. Now the patio is a piebald place of black and white, burning in the downward-teeming light. Not a leaf moves, not a petal falls, in this fierce amalgam. ("The Moon Of Montezuma")"

"It had grown darker now; it was full night already, with the swiftness of the mountainous latitudes. The square of sky over the patio was soft and dark as indigo velour, with magnificent stars like many-legged silver spiders festooned on its underside. Below them the white roses gleamed phosphorescently in the starlight, with a magnesium-like glow. There was a tiny splash from the depths of the well as a pebble or grain of dislodged earth fell in. ("The Moon Of Montezuma")"

"A raging, glowering full moon had come up, was peering down over the side of the sky well above the patio. That was the last thing she saw as she leaned for a moment, inert with fatigue, against the doorway of the room in which her child lay. Then she dragged herself in to topple headlong upon the bed and, already fast asleep, to circle her child with one protective arm, moving as if of its own instinct. Not the meek, the pallid, gentle moon of home. This was the savage moon that had shone down on Montezuma and Cuauhtemoc, and came back looking for them now. The primitive moon that had once looked down on terraced heathen cities and human sacrifices. The moon of Anahuac. ("The Moon Of Montezuma")"

"A scattering of pinpoint lights shows up in the blackness ahead. A town or village straddling the highway. The indicator on the speedometer begins to lose ground. The man glances in his mirror at the girl, a little anxiously as if this oncoming town were some kind of test to be met. An illuminated road sign flashes by: CAUTION! MAIN STREET AHEAD - SLOW UP The man nods grimly, as if agreeing with that first word. But not in the way it is meant. The lights grow bigger, spread out on either side. Street lights peer out here and there among the trees. The highway suddenly sprouts a plank sidewalk on each side of it. Dark store-windows glide by. With an instinctive gesture, the man dims his lights from blinding platinum to just a pale wash. A lunch-room window drifts by. ("Jane Brown's Body")"

"It must be dawn, and the last breath went out of this body on the table - how long before? Irretrievably gone from this world, as dead as though she had lived a thousand years ago. Men have cut the isthmus of Panama and joined the two oceans; they have bored tunnels that run below rivers; built aluminum planes that fly from Frisco to Manila; sent music over the air and photographs over wires; but never, when the heartbeat of their own kind has once stopped, never when the spark of life has fled, have they been able to reanimate the mortal clay with that commonest yet most mysterious of all processes; the vital force. And this man thinks he can - this man alone, out of all the world's teeming billions! ("Jane Brown's Body")"

"And the blood remembers what the heart has never learned. The approach to kill. ("The Moon Of Montezuma")"

"The shears found his throat this time. He fell down on top of them and was silent. Something dark like mucilage glistened where he lay. She had jumped back - not in remorse, but to keep the bottom of her skirt clear of his blood. ("I'm Dangerous Tonight")"

"On hands and knees the figure comes pacing along beside the wall that flanks the patio, lithe, sinuous, knife in mouth perpendicular to its course. In moonlight and out of it, as each successive archway of the portico circles high above it, comes down to join its support, and is gone again to the rear. The moon is a caress on supple skin. The moon of Anahuac understands, the moon is in league, the moon will not betray. ("The Moon of Montezuma")"

"Extreme joy and extreme sorrow are indistinguishable beyond a certain point. ("Jane Brown's Body")"