Cop 26 Quotes

Why doesn't it bother her? Seriously, it doesn't. She's not putting on a front. She's in a serious relationship with a guy who has sex with other women for a living, and it doesn't matter to her." "I married a cop." Roarke smiled at her. "We all have our levels of acceptance. He was an LC when they met, just as she was a doctor, and one who often works in dangerous areas of the city." She shot him the same easy smile. "So...if I'd been an LC when we met, you wouldn't have any problem with me banging other guys. Professionally." "None at all, as I'd kick your ass and murder all of them. But that's my level of acceptance.

Cops and food, she thought. Put them in the same room, invite chaos.

There she was. Roarke stood in the office doorway, took a few enjoyable minutes to just watch her. She had such a sense of purpose, such a sense of focus on that purpose. It had appealed to him from the first instant he’d seen her, across a sea of people at a memorial for the dead. He found it compelling, the way those whiskey-colored eyes could go flat and cold as they were now. Cop’s eyes. His cop’s eyes. She’d taken off her jacket, tossed it over a chair, and still wore her weapon harness. Which meant she’d come in the door and straight up. Armed and dangerous, he thought. It was a look, a fact of her, that continually aroused him. And her tireless and unwavering dedication to the dead—to the truth, to what was right—had, and always would, amaze him. She’d set up her murder board, he noted, filling it with grisly photos, with reports, notes, names. And somewhere along the line in her day, she’d earned herself a black eye. He’d long since resigned himself to finding the woman he loved bruised and bloody at any given time. Since she didn’t look exhausted or ill, a shiner was a relatively minor event. She sensed him. He saw the moment she did, that slight change of body language. And when her eyes shifted from her comp screen to his, the cold focus became an easy, even casual warmth. That, he thought, just that was worth coming home for.

The officers of the 26th Precinct had their hands full. The night was starting out to be quite busy. What they did not realize is that it was only the beginning. Things were about to get worse and not just for them, but for the entire city.

Jack Webb had been active in radio for several years before Dragnet propelled him to national prominence. He had arrived at KGO, the ABC outlet in San Francisco, an unknown novice in 1945. Soon he was working as a staff announcer and disc jockey. His morning show, The Coffee Club, revealed his lifelong interest in jazz music, and in 1946 he was featured on a limited ABC-West network in the quarter-hour docudrama One out of Seven. His Jack Webb Show, also 1946, was a bizarre comedy series unlike anything else he ever attempted. His major break arrived with Pat Novak: for 26 weeks Webb played a waterfront detective in a series so hard-boiled it became high camp. He moved to Hollywood, abandoning Novak just as that series was hitting its peak. Mutual immediately slipped him into a Novak sound-alike, Johnny Modero: Pier 23, for the summer of 1947. He played leads and bit parts on such series as Escape, The Whistler, and This Is Your FBI. He began a film career: in He Walked by Night (1948), Webb played a crime lab cop. The film’s technical adviser was Sergeant Marty Wynn of the Los Angeles police. Webb and Wynn shared a belief that pure investigative procedure was dramatic enough without the melodrama of the private eye. The seeds of Dragnet were sown on a movie set.

Lucas nodded at him and said to the younger cop, “If you think that haircut makes you look like a Ranger, it doesn’t. It makes you look like a fuckin’ whorehouse doorknob.” “Yeah, well, fuck you, too,” the younger cop said. The older cop said, “Whorehouse doorknob? That’s good. I’ll have to remember that.

That’s not why I’m here. I’ve got a mission. I made a promise.” His chest expanded with a deep, ragged breath. “Ah, hell. Quit looking at me like you either want to shoot me or eat me up. I’m trying to do the right thing here.” Max’s rejection instantly sent her back to the times in her relationship with Richard when he’d rebuffed her advances. “I wasn’t very good, was I? I’m sor—” “Do not let that man come between us.” Max swiped his hand over his mouth and jaw and spun away. Just as quickly he faced her again and grabbed her wrist. “You call me whatever crass SOB you want to.” He pulled her hand to the front of his jeans and cupped it over the unmistakable warm bulge behind his zipper. “This is what you do to me. I don’t know why you and me fit together this good. If I could take you to bed right now and finish this, I would.” He released her and backed away, raising his hands in apology. “But that’s not what I’m here for. Neither one of us needs that kind of complication in our lives. I have to keep the mission in mind. I’m a cop. I have to think like a cop, not a...” “Not a what?” she asked, her voice barely a whisper. But he didn’t fill in the blank. “It’s not your job to deal with me. I’m damaged goods, Rosie. You can do better than me.

Joe, you’re thinking in slogans,” Lucas said. “You don’t talk to cops, you don’t inform on anybody, you don’t respond to threats. You’ve got to listen to what I’m saying. This isn’t make-believe. This isn’t political bullshit, or a TV show—this is a real thing.

Really, really dead,” said the guard. And, “I think I shot him, too.” “You did,” Lucas said. “I think you hit him in the butt—that stopped him. Hell of a shot.” Greer had broken into a heavy sweat, looked like he might faint: “How many guys did he hurt?” Lucas said, “Three. At least three. All cops . . . man, you did so good. Listen, we . . .” He was suddenly aware of the distant sound of a band playing “Happy Days Are Here Again,” and said, “Is that the march? Are they marching?

Lucas lifted his head to look around and saw that dozens of people were dead or wounded; and that cops were flowing in from everywhere, that fifteen civilians were filming the chaos with their iPhones, that two TV crews were already working it, and that people everywhere were screaming in pain . . . He and Bowden knelt next to Jubek and Jubek’s eyes were open and he said, “Hurt,” and Lucas could hear more clearly now and said, “Hang on,” and Jubek almost laughed and said, “I’m trying, dumbshit. Get me something . . .

I had to do some shopping,” Willie said, her voice sliding from a shout to a whine. “Yeah, she was over suckin’ Berg’s dick again,” Jesse said, loud enough for her to hear, but with a confidential tone, as though he were talking privately to the cops.

THIS WOULD BE the first tricky part, they knew. They’d come in on the south side of the fairgrounds, between the swine and sheep barns. There would be cops all over the place—though fewer at night—and they wanted to get to the machinery grounds, where there were always a number of pickups parked. While they had the truck pass, it wouldn’t stand a real check. If somebody called in the pass number, it’d show up as lost or stolen.

Roman thinker Cicero pointed out, “Socrates was perfectly right when he declared that there is a direct shortcut to winning a reputation: ‘Make yourself the sort of man you want people to think you are.’”26 Greek historian Xenophon reported that Socrates gave this advice: “If you want to be thought good at anything, the shortest and safest and most reputable way is to try to make yourself really good at it.”27 And James Madison wrote of his brother, “If he wishes to establish himself in the good will of the Country, the only durable as well as honorable plan will be to establish a character that merits it.”28

If you think that haircut makes you look like a Ranger, it doesn’t. It makes you look like a fuckin’ whorehouse doorknob.” “Yeah, well, fuck you, too,” the younger cop said.