Getaway Car Quotes

My father was incredibly indecisive. As an example, take his wedding day. He couldn't decide where to sit in the getaway car, decide the fact he was supposed to be driving.

When tragedy hits close to home, like your neighbor’s house, it really makes you stop and think. And while you’re thinking, I’ll be speeding off in the getaway car.

A book acts as the getaway car when you need to escape. Even when you're the one writing it.

The Audi tires squealed as the vehicle tracked the same path. Jake hammered down the avenue, hunting for a getaway. Traffic thickened at the juncture ahead. A green light flickered into amber. He ramped up over the limit, punching over the white lines on a red signal. Tires screeched and a horn beeped. The needle sat on one hundred kilometers per hour. He fishtailed at a laneway. The GPS showed a right angle, car slid into a slot in an overhang. Jake got out and crept toward the opening, hugged the brick wall. He pulled the SIG and flicked off the safety. The Audi braked at the mouth. Door slammed. A shadow fell over the concrete. The swish of clothing indicated a possible weapon draw.

The more we are willing to separate from distraction and step into the open arms of boredom, the more writing will get on the page.

Art stands on the shoulders of craft, which means that to get to the art, you must master the craft. If you want to write, practice writing.

Here was a man who'd learned to write before he could think, a man who threw out logical fallacies like tacks behind a getaway car, and he always always always got away.

Maybe everyone does have a novel in them, perhaps even a great one. I don't believe it, but for the purposes of this argument, let's say it's so. Only a few of us are going to be willing to break our own hearts by trading in the living beauty of imagination for the stark disappointment of words.

We all have ideas, sometimes good ones, not to mention the gift of emotional turmoil that every childhood provides.

The journey from the head to the hand is perilous and lined with bodies. It is the road on which nearly everyone who wants to write—and many of the people who do write—get lost.

It turns out that the distance from head to hand, from wafting butterfly to entomological specimen, is achieved through regular, disciplined practice. What begins as something like a dream will in fact stay a dream forever unless you have the tools and the discipline to bring it out.

My point is, you were a part of the machine: an arm, a leg. You drove the getaway car. You threw bricks through the window and someone else grabbed the jewelry. You distracted the feds while the spies got away. You held her down while someone else beat her. You shot the deer and wounded it. When the second hunter came along, the deer could no longer run.

It’s a wonderful thing to find a great teacher, but you also have to find him or her at a time in life when you’re able to listen to, trust, and implement the lessons you receive.

Why is it that we understand that playing the cello will require work but we relegate writing to the magic of inspiration?

I found the bank robbery getaway car but was scolded over the FBI radio. Why?" ~ From Walking the Corporate Beat: Police School for Business People.

I think that what influences us in literature comes less from what we love and more from what we happen to pick up in moments when we are especially open.

There are in life a few miraculous moments when the right person is there to tell you what you need to hear and you are still open enough, impressionable enough, to take it in.

When tragedy hits close to home, like your neighbor’s house, it really makes you stop and think. And while you’re thinking, I’ll be speeding off in the getaway car. 


Wouldn’t hear of it. Long as you don’t need me to drive a getaway car for your bank robbery I’ll happily take you wherever you need to go. Think of it as the town welcome wagon.

Forgiveness, therefore, is key. I can’t write the book I want to write, but I can and will write the book I am capable of writing. Again and again throughout the course of my life I will forgive myself.

I believe that, more than anything else, this grief of constantly having to face down our own inadequacies is what keeps people from being writers. Forgiveness,

An essential element of being a writer is learning whom to listen to and whom to ignore where your work is concerned. Every

Flight is many things. Something clean and swift, like a bird skimming across the sky. Or something filthy and crawling; a series of crablike movements through figurative and literal slime, a process of creeping ahead, jumping sideways, running backward. It is sleeping in fields and river bottoms. It is bellying for miles along an irrigation ditch. It is back roads, spur railroad lines, the tailgate of a wildcat truck, a stolen car and a dead couple in lovers' lane. It is food pilfered from freight cars, garments taken from clotheslines; robbery and murder, sweat and blood. The complex made simple by the alchemy of necessity

It’s like with every passing mile, I am farther and farther away from safety—and farther from myself. From being human. I’m turning into this other type of being, one who jerks off criminals in crappy motel rooms. One who wants to be kissed in a getaway car.

As I exited the car, I glanced over at Henry. "Should I call Asher and tell him we won't be needing that getaway distraction?" Before Henry could reply, pop music reverberated off the building. Asher jogged into the middle of a large crowd and struck a dramatic pose. "You say distraction," Henry deadpanned, "Asher hears 'flash mob'." Five seconds later, Vivvie danced wildly past and gave me a questioning look. I nodded. "The possum has fallen on the nun!" Vivvie called to Asher. Asher didn't miss a beat of choreography. He shimmied and punched a fist into the air. "Long live the possum!

What I like about the job of being a novelist, and at the same time what I find so exhausting about it, is that it's the closest thing to being God you're ever going to get. All the decisions are yours. You decide when the sun comes up. You decide who gets to fall in love and who gets hit by a car. You have to make all the trees and all the leaves and then sew the leaves onto the trees. You make the entire world.

If I were taking notes, they would read: I see something. A shape? I have no idea. It’s not exactly the stuff that literary archives are made of.

as far as I’m concerned, writer’s block is a myth.

Time applied equaled work completed. I

Had I given equal weight to everyone who had something to say, every story would have turned into a terrible game of Twister (left

You can learn more, and more quickly, from other people’s missteps than from their successes. If

Art stands on the shoulders of craft,

I decided I was going to make up a novel, and that the novel was going to get me out of the restaurant. The novel was going to be my getaway car.

This is the FBI Hostage Negotiations Service. Press one if you wish to surrender. Press two for a getaway car. Press three for a helicopter. Press four for a pizza

The golf cart served as our getaway car, but it turned out a getaway car wasn’t truly a getaway car if you were taking what you wanted to get away from with you.

We are, however, entirely responsible for procrastination, and in the best of all possible worlds, we should also be responsible for being honest with ourselves about what is really going on. I

I remember complaining one night on the phone to my mother that we spent too much of our time worrying about love and money. “Think of it as research,” she said. “That’s what everybody writes about.

Forgiveness. The ability to forgive oneself. Stop here for a few breaths and think about this, because it is the key to making art and very possibly the key to finding any semblance of happiness in life.

We must sober up and admit that too many of the Republicans and the Democrats have played us, lied to us and stolen from us, while the getaway car was driven by the media. A media that can no longer claim with a straight face the role of journalist. Journalists print the things the powerful don’t want printed. What they do is public relations. Those PR firms will not print the truth about the average American who finds himself concerned with the direction of our country today. So we must. We are not violent. We are not racist. We are not anti immigrant. We are not anti-government. And we will not be silent anymore.

A blanket could be used to fix your broken marriage. You’ll also need duct tape, an empty car trunk, a getaway driver, and the most opportune moment to snatch your mother-in-law away to never be seen or heard from again. 


She told the woman to go to one of the online agent sites that list agents who are looking for new clients, and then follow their submission guidelines to the letter. If they ask for a twenty-page writing sample, do not send in twenty-two pages.

a woman raised her hand and said that her minister had told the congregation that they should never read novels with omniscient narrators, because the writer was trying to imitate God. “Really?” I said. “No Tolstoy? No Dickens?” The woman shook her head. I have to say it thrilled me to think that narrative structure was dangerous enough to rate its own Sunday sermon.) 

to pull away. “I promise this dog will not hurt you,” he said. “This is a golden retriever. He has a scary bark because he’s big, but he would let anyone into the house. For a belly rub, he’d help the thieves carry the valuables to their getaway car.

if I wanted to be a better writer, I was the only person who could push myself to do it. It was up to me to challenge myself, to be vigilant about finding the places in my own work where I was just getting by. “You have to ask yourself,” he said to me, “if you want to write great literature or great television.

Russell had told me how Carlos Marcello liked to send to Sicily for war orphans with no families. They would get smuggled in from Canada, like through Windsor, right across the water from Detroit. The Sicilian war orphans would think they had to take care of a matter and then they could stay in America and maybe they’d be given a pizza parlor or something. They would go paint a house and then they would get in the getaway car and be taken somewhere and their house would get painted and nobody back in Sicily would miss them. Because they were orphans and had no family there would be no vendettas, which are very popular things in Sicily. Carlos

People like to ask me if writing can be taught, and I say yes. I can teach you how to write a better sentence, how to write dialogue, maybe even how to construct a plot. But I can’t teach you how to have something to say. I would not begin to know how to teach another person how to have character, which was what Grace Paley did.

And I wonder if people do this all the time: fall for people because of their ability to pick getaway cars; or fall for people because of the way they look when they think nobody is watching; or fall for people because of the things they say, or the way they look at them, or the things they give up, or the things they cannot do. -Alina Chase

No one should go into debt to study creative writing. It

You wouldn’t believe all the nice people I’ve met at chemotherapy,” she

you also have to find him or her at a time in life when you’re able to listen to, trust, and implement the lessons you receive. The

I think that what influences us in literature comes less from what we love and more from what we happen to pick up in moments when we are especially open. For

had I listened to no one, or only to the people who liked me, the workshop would have been a waste of time.

Making friends with other writers you respect is reason enough to go to graduate school. You

To Jodi survival is really just a game.  Does Jodi really care about her freedom?  Or does Jodi care more about the exposure and attention all of this brings?  She may have been packing a getaway car with weapons, but perhaps getting caught was what she really wanted and needed.  To be talked to, listened to, for the world to show an interest in her.  No longer in the shadows, now we could all see Jodi.

novel excerpts rarely benefit from group critique. It’s one thing to get all those opinions when you’ve finished, but when you’re still in the middle of a project, it’s like having fifteen people give you conflicting directions as to how best to get to the interstate.) And

That's the beauty of discipline. It trumps everything. A lot of us are born with minimal talent, unhappy in our own skin and with the genetic makeup with which we were born. We have fucked-up parents, grow up bullied and abused, or are diagnosed with learning disabilities. We hate our hometown, our teachers, our families, and damn near everything about ourselves. We wish we could be born again as some other motherfucker in some other time and place. Well, I am proof that rebirth is possible through discipline, which is the only thing capable of altering your DNA. It is the skeleton key that can get you past all the gatekeepers and into each and every room you wish to enter. Even the ones built to keep you the fuck out! ... Discipline builds mental endurance because when effort is your main priority, you stop looking for everything to be enjoyable. Our phones and social media have turned too many of us inside out with envy and greed as we get inundated with other people's success, their new cars and houses, big contracts, resort vacations, and romantic getaways. We see how much fun everyone else is having and feel like the world is passing us by, so we bitch about it and then wonder why we are not where we want to be. When you become disciplined, you don't have time for that bullshit. p140

In the early '80s, I spent a year working on a verse-play -- based on the life of Anne Maguire (whose sister, Mairead, founded the Peace People movement after Anne took her own life). Anne's three children were killed on the pavement as she was wheeling the pram one day in 1976 by an IRA fugitive's getaway car -- the driver fatally shot by a British soldier; this singular incident crystallized for me so much of the terror then in the air. Writing was a way of keeping clear -- in the sense of fixing it, restoring it facet by facet, to clarity. Catching a moment of history like a fly in amber with the chorus of witnesses alive, outside. After all, poetry affords this license and extreme economy. I have no business, of course, to write about such matters, being a complete foreigner in Ireland. But you do it because it is nobody's business. What you write is nobody's business. Isn't that poetry? - "What You Write Is Nobody's Business": An Interview With Wong May (The Believer, May 2014)

the hand like a beggar’s upheld with the fingers forming a suggestion of what he deserves and desires to receive, shaping the alms, thumb almost touching finger tips, as though on the tip of the tongue he’s about to say in sleep and with that gesture what he couldnt say awake: ‘Why have you taken this away from me, that I cant draw my breath in the peace and sweetness of my own bed but here in these dull and nameless rags on this humbling stoop I have to sit waiting for the wheels of the city to roll,’ and further, ‘I dont want to show my hand but in sleep I’m helpless to straighten it, yet take this opportunity to see my plea, I’m alone, I’m sick, I’m dying – see my hand up-tipped, learn the secret of my human heart, give me the thing, give me your hand, take me to the emerald mountains beyond the city, take me to the safe place, be kind, be nice, smile – I’m too tired now of everything else, I’ve had enough, I give up, I quit, I want to go home, take me home O brother in the night – take me home, lock me in safe, take me to where all is peace and amity, to the family of life, my mother, my father, my sister, my wife and you my brother and you my friend – but no hope, no hope, no hope, I wake up and I’d give a million dollars to be in my own bed – O Lord save me –’ In evil roads behind gas tanks where murderous dogs snarl from behind wire fences cruisers suddenly leap out like getaway cars but from a crime more secret, more baneful than words can tell. The woods are full of wardens.

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Oh, by the way, security told me earlier that some guy showed up, claiming to be your assistant.” “Already? What time is it?” “It’s almost one o’clock,” he says. “Are you telling me you actually hired someone?” My heart drops. I shove past Cliff, ignoring him as he calls for me, wanting his question answered. I head straight for security, spotting Jack standing along the side with a guard, looking somewhere between disturbed and amused. “Strangest shit I’ve ever witnessed in Jersey,” Jack says, looking me over. “And that’s saying something, because I once saw a chimpanzee roller skating, and that was weird as fuck.” “I’m going to take that as a compliment, even though I know it isn’t one,” I say, grabbing his arm and making him follow me. It’s about a two-and-a-half hour drive to Bennett Landing, but I barely have two hours. “Please tell me you drove.” Before he can respond, I hear Cliff shouting as he follows. “Johnny! Where are you going?” “Oh, buddy.” Jack glances behind us at Cliff. “Am I your getaway driver?” “Something like that,” I say. “You ever play Grand Theft Auto?” “Every fucking day, man.” “Good,” I say, continuing to walk, despite Cliff attempting to catch up. “If you can get me where I need to be, there will be one hell of a reward in it for you.” His eyes light up as he pulls out a set of car keys. “Mission accepted.” There’s a crowd gathered around set. They figured out we’re here. They know we’re wrapping today. I scan the area, looking for a way around them. “Where’d you park?” I ask, hoping it’s anywhere but right across the street. “Right across the street,” he says. Fuck. I’m going to have to go through the crowd. “You sure you, uh, don’t want to change?” Jack asks, his eyes flickering to me, conflicted. “No time for that.” The crowd spots me, and they start going crazy, making Cliff yell louder to get my attention, but I don’t stop. I slip off of set, past the metal barricades and right into the street, as security tries to keep the crowd back, but it’s a losing game. So we run, and I follow Jack to an old station wagon, the tan paint faded. “This is what you drive?” “Not all of us grew up with trust funds,” he says, slapping his hand against the rusted hood. “This was my inheritance.” “Not judging,” I say, pausing beside it. “It’s just all very ‘70s suburban housewife.” “That sounds like judgment, asshole.” I open the passenger door to get in the car when Cliff catches up, slightly out of breath from running. “What are you doing, Johnny? You’re leaving?” “I told you I had somewhere to be.” “This is ridiculous,” he says, anger edging his voice. “You need to sort out your priorities.” “That’s a damn good idea,” I say. “Consider this my notice.” “Your notice?” “I’m taking a break,” I say. “From you. From this. From all of it.” “You’re making a big mistake.” “You think so?” I ask, looking him right in the face. “Because I think the mistake I made was trusting you.” I get in the car, slamming the door, leaving Cliff standing on the sidewalk, fuming. Jack starts the engine, cutting his eyes at me. “So, where to? The unemployment office?” “Home,” I say, “and I need to get there as soon as possible, because somebody is waiting for me, and I can't disappoint her.

The Night Bomber by Stewart Stafford Stefan and Elyse came home by rote, To find a stranger's chilling note, "I’m going to kill you" scrawled in red, Pranks locked out with nothing said. Then the hall window smashed, In a firework’s screaming flash, They threw it out before it burned, Danger had not passed, they learned. A ticking device left behind, Elyse kicked it away just in time, A garden explosion's massive bang, Their ears and windows loudly rang. They wondered what psycho did this deed, And how they'd crossed this evil breed, Then they heard them bomb their neighbours who thought Stefan and Elyse were perpetrators. Then another blast three doors down, Stefan ran to help with a worried frown, Concerned to see who else got hit, Seeing their attacker was still at it. A bomber in a ski mask did a backflip, To dodge their lunging, angry grip, He swung on ropes and vaulted high, An acrobat mocking with a stylish eye. The bomber fled in his getaway car, A neighbour leapt on before he got far, He held on tight but got dragged along, Rolled to the kerb, he couldn't hold on. The Night Bomber of Sheila’s Cabin On the loose, an explosive phantom, Stalking without any reason or pity, His laughter echoed across the city. © Stewart Stafford, 2023. All rights reserved.

Gallo and his party laughed along with everyone else at Don’s insults—sadly, there is no record of Don zinging Crazy Joe—and, after the show ended, they headed over to Umberto’s Clam House in Little Italy for Crazy Joe’s big birthday party. At around 4:30 a.m., as Gallo sat at his table, a middle-aged gunman calmly walked up and pumped two bullets into him before escaping in a getaway car. Crazy Joe, mortally wounded, staggered after him before collapsing in the street. The gangland slaying triggered a bloody mob war that lasted two years.

I’m also her getaway car if she does.

Really man? Now you’re the one calling the shots?” Willow had taken off his helmet and finally turned off the bike. “Bringing Robert here to be the getaway driver? If you’re looking for escalation this isn’t it, you prick. I call the shots and the rest fall in line. I love you brother, but this isn’t the move.” A door had opened loudly at the distant motel, an odd-looking fellow had stepped out of the kiosk and was walking briskly towards them, muttering to himself out of earshot. Willow had taken this for even more leverage against his outcrying subordinate, “It’s people like this,” pointing at the approaching motel employee, “That gets us locked up. If we get the cops called on us again, he is the first witness to see us with the car or even the kids if he starts yelling and gets them to come out.

There is a moment in conversation - and I wish it came more often - when we change gear; it is usually getting late, and somebody takes a risk. Gradually, intimate trust and relaxation have met; perhaps we have had a few glasses of wine ... We lean forward: ‘Here's how I *really* see life’; ‘To be completely honest, this is what I think.’ We have cut loose from complaint , from defence, from the clever display of information. Now it's what we love, what we hold dear; what it is like to be you. In pursuit of romance, this would be the moment when flirtation has succeeded: it is no longer a question of teasing and probing while keeping one eye on the exit. We know we do not need the getaway car any more. One life opens to another life.

He set me up a couple of times. Without my knowing it—I found out later—he used me as a getaway driver on a hit-and-run jewel theft in the Burlington Arcade. “Here, Keith, I’ve got this Jag. Want to try it out?” What they wanted was a clean car and a clean driver. And Tony had obviously told these blokes that I was a good night driver. So I waited outside this place, not knowing what was happening. Tony was a good mate of mine, but he used to stitch me up.

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Discipline builds mental endurance because when effort is your main priority, you stop looking for everything to be enjoyable. Our phones and social media have turned too many of us inside out with envy and greed as we get inundated with other people’s success, their new cars and houses, big contracts, resort vacations, and romantic getaways. We see how much fun everyone else is having and feel like the world is passing us by, so we complain about it and then wonder why we are not where we want to be.

You cannot tell me you think Reputation is better than 1989," Levi says, his tone incredulous. Cassie snorts at him. "Levi. Of course I do. Two words: Getaway. Car.

When I met him, Don’s New York State driver’s license had been suspended; this happens when you’ve drawn enough speeding tickets, and he was always good at that. He wouldn’t have wanted a car anyway on West 46th Street, but that changed when he moved out to Canarsie. And the day came when the three-year suspension was up, and his license was restored. Whereupon he bought a car, and applied for insurance. And was astonished when the insurance company gave him a safe driver discount because he hadn’t had an accident or a speeding ticket in the past three years. There’s a word for that sort of thing. Westlakean.

The Hoke Mosely series by Charles Willeford The Red Right Hand by Joel Townsley Rogers Kill the Boss Goodbye by Peter Rabe The Gravedigger/Coffin Ed series by Chester Himes The Maltese Falcon by Dashiell Hammett Interface by Joe Gores The Eighth Circle by Stanley Ellin Sleep and His Brother by Peter Dickinson The Light of Day by Eric Ambler

My GetAway Car Is Parked In Front of A Library

All his ghosts, though, were gone. Except the boy. The boy cocked his head at Joe, as if surprised he was coming closer. Joe said, “You’re me?” The boy seemed confused by the question. Because he wasn’t the boy anymore. He was Vivian Ignatius Brennan. Saint Viv. The Gatekeeper. The Undertaker. “There were just too many mistakes,” Saint Viv said kindly. “Too late to go back and fix them all. Too late.” Joe didn’t even see the gun in his hand until Vivian fired the bullet into his heart. Didn’t make much noise, just a soft pop. The impact swept Joe’s legs out from under him, and he fell in the street. He put one hand to the cobblestone and tried to stand, but his heels wouldn’t grip the stone. Blood left the hole in the center of his chest and spilled onto his lap. His lungs whistled through the hole. The getaway car pulled up behind Vivian and a woman screamed hopelessly from somewhere close by. Tomas, if you’re seeing this, for Christ’s

We followed him to the cut bank of the river and watched as the underside of his truck suddenly became visible. The jump didn't get very far and, as anticipated, the wheels and most of the front of the Toyota sank into the soft mud of the Powder River effectively ending the vehicular portion of George's getaway.

John Brooks.’ Immediately, I thought of the odds. First of just surviving in such a place, next of surviving and then becoming a cop. ‘Vertical ghettos, each one of them. Me and John used to say it was the only time when you had to take the elevator up when you were going to hell.’ I just nodded. This was out of my realm completely. ‘And that’s only if the elevators were working,’ he added. I realized that I never considered that Brooks might be a black man. There was no photo in the computer printouts and no reason to mention race in the stories. I had just assumed he was white and it was an assumption I would have to analyze later. At the moment, I was trying to figure out what Washington was trying to tell me by taking me here. Washington pulled into a lot next to one of the buildings. There were a couple of dumpsters coated with decades of graffiti slogans. There was a rusted basketball backboard but the rim was long gone. He put the car in park but left it running. I didn’t know if that was to keep the heat flowing or to allow us a quick getaway if needed. I saw a small group of teenagers in long coats, their faces as dark as the sky, scurry from the building closest to us, then cross a frozen courtyard and hustle into one of the other buildings. ‘At this point you’re wondering what the hell you’re doing here,’ Washington said then. ‘That’s okay, I understand. A white boy like you.’ Again I said nothing. I was letting him run out his line. ‘See that one, third on the right. That was our building. I was on fourteen with my grand-auntie and John lived with his mother on twelve, one below us. They didn’t have no thirteen, already enough bad luck ’round here. Neither of us had fathers. At least ones that showed up.’ I thought he wanted me to say something but I didn’t know what. I had no earthly idea what kind of struggle the two friends must have had to make it out of the tombstone of a building he had pointed at. I remained mute. ‘We were friends for life. Hell, he ended up marrying my first girlfriend, Edna. Then on the department, after we both made homicide and trained with senior detectives for a few years, we asked to be partnered. And damn, it got approved. Story about us in the

Attack a heavily guarded train full of Jewish prisoners?” one asked. “Have you lost your mind, Avi?” “Of course not—have you?” Avi retorted, his face flush with anger. “They’re Jewish prisoners. Isn’t it our job to save them—or some of them, at least—if we possibly can?” “Not if it’s a suicide mission,” the commander shot back. “How do you plan to do it?” “I’d like twenty-two men,” Avi said. “Two experts in explosives to blow up the tracks. Two snipers plus another half-dozen trained marksmen to take out the SS troops and provide cover. I’ll also need a half-dozen men with bolt cutters and wire cutters and the like to open up the train cars, and a third half-dozen to drive the getaway cars.

Greg talks about it as becoming their helper. Their advocate or means to get what they want. “It sounds like you’re hungry. Let me get you some food.” “You want a getaway car? What type of car do you want?” He becomes the intermediary, their partner. From the beginning he establishes that he is there to help them and that they are a team.

Showing someone you cared wasn’t always about surprise trips to Paris or spa getaways or a brand-new car with a bow on it. Sometimes it was about filling up their gas tank or making sure their favorite coffee never ran out.

There was an old joke about a man who is driving somewhere with an accordion in the back of his car. He parks the car outside a diner in a sketchy part of town and goes in for dinner. When he comes out he sees that the rear window of his car has been smashed out. He runs up to it and discovers that, while he wasn’t looking, some miscreant has thrown a second accordion in there and made a clean getaway. During Rufus’s past life trying to operate a farm, he’d learned that this actually explained a lot about farm and ranch life. As soon as someone found out you had fifty acres, they’d remember

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Yesterday morning, I felt the same way, I saw Madilyn in the corner with her hand wrapped around Ray and it pisses me off so much you have no idea. I wanted her arm wrapped around my waist, not his, or even the other way around; I don’t know what I want at this point. She was smiling and giggling about something stupid that he said like used to do with me, it makes me sick she is mine, I can stand it, him breathing on her and kissing her nick hell I thought she was gay. I am the one that wants to be nuzzled up against her. He was bending down to kiss her, and I so wanted to kick him dead in the ass hole. Payback is a b*tch, is not! She looks up and sees me, yet does she care at this point or am I dreaming yet another dream, that’s even more freaked than the last. She was looking at me with goo-goo eyes, yet kissing him, or was he kissing her? What is going on and what is going down. Then he takes my hand and drags him over to him, pushing other people out of the way, then makes both kiss him at the same freaking time- the same freaking time! What’s wrong with an asshole! Jenny was looking over our shoulder saying damn! Just what I always wanted a three-way with Ray and Madilyn in the hallway. I don’t know what is turning me on anymore. I see getaway and get off, and that is what they both said they were turning to do. And everyone in the hallway has that simple smile on their face, like- oh yeah. I search for my sunglasses in my purse to cover my crying eyes. I just said it was to keep the glare out of my eyes when I put them on. I look in the visor mirror, and I see Liv smiling at me. Like I knew she was going to cry, yet really, I wanted to see if my makeup was okay. I start to tune myself out. I don’t hear the phones going off. I can’t hear their laughter or chirpy voices. I can’t see the houses rushing by or the cars, I just close my eyes and fade away in my daydreams. Maybe I’ll tell her that I wish I was the girl I used to be, but at the same time, I know that I won’t dare. She would think I was crazy. They all would. Jenny might just say- ‘Okay if you feel that way, you can go back to flowing me around like my shadow. Go- to be with all the losers or the speed, and don’t think about coming back.’ I don’t want that either. It gets quiet, and I open my eyes, and I keep quiet, just looking out the window, as it steams up and I have to keep wiping it with my palm. The light outside is faint and soggy-looking like the sun is attempting to roll over the horizon of tree-covered hills and peeking into the valleys. The day is overcast like the sun is too lazy to get out of bed and wake itself up. The shadows are as piercing and jagged as needles. Like the shadow, I used to be wanting to be in the group of three girls following them around in awe. I watch buzzard, black crows, vultures circling the SUV like I am dead meat. It was a scary omen taunting me, from down below. I see all of the fifty or more taking off at the same time from power lines above, following me like a creepy shadow of death.

Our getaway driver, Cobra, was anxiously waiting for us inside the large SUV car that was just parked around the bank.

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Isn’t Gresham on the route to get to Colton and the Association’s farm is just down the road from there?” Lt. Vincent rubbed his hand over his face. “Yes, figured you would think of that. But it’s not enough.” “Not for a warrant, but it’s an indicator.” They stared at each other. “My captain just assigned two three-man detective teams to the murder.” “You must have more. What about descriptions of the men? Didn’t the people in the bank give you anything on them?” “Not much. One army sergeant said that four of them were young, moved quickly. The fifth one seemed older, a little heavier, maybe overweight. Only one man spoke, the old guy. The rest of them just waved guns and pointed to put the tellers and the customers down on the floor. “Oh, the first robbery was just before opening. They grabbed an employee who had just unlocked the front door, pushed her inside, all five rushed in and they locked the door behind them. So no customers to deal with. “The second robbery was just before closing time. Again they locked the front door then put everyone on the floor. Two of the men vaulted over the counter so quickly that the workers didn’t have time to press the alarm buttons. So there was no rush to finish the job.” “With military precision?” Matt asked. “Sounds like it. They left both banks by rear doors that are always locked so nobody saw them make their getaway except one guy in the alley who was painting the rear of his store. He was the one who got the plate on the Lincoln.” “You knew the dead guard?” “Yes. He had retired from the PD before I came, but that was my bank and I always talked to him when I went in there. A nice guy. Good cop. Damned sorry that he’s gone.” “What about this lady cop?” “She’s off at four. I’ll ask her if she can have a cup of coffee with us here about four fifteen. Her name is Tracy Landower. She’s barely big enough to be a cop. She stretches to make five-four, and must weigh about a hundred and ten. She’s strong as an anvil tester. Strong hands and arms, good shoulders and legs like a Marine drill sergeant. She runs marathons for fun.” “I won’t try to out run her.” “Good. She has short dark hair, a cute little pixie face, and eyes that can stare you right into the pavement.” “Sounds like a good cop. I’m anxious to meet her.”   CHAPTER FOUR   Anthony J. Carlton was an only child of parents who were comfortably fixed for money and lived in a modest sized town near Portland called Hillsboro. His father was a lawyer who had several clients on retainer, who took on some of the toughest defense cases in the county, and some in Portland. He was a no nonsense type of dad who had little time for his son who had a good school and a car of his own when he turned sixteen.

Here's some advice: If you ever have to kill someone, do it alone. No buddy watching your back, no friend with the getaway car, no one swearing you were with them.

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Murder Me for Nickels. Kill the Boss Goodbye. Why would anybody ever want to read a book called Kill the Boss Goodbye? And yet, Kill the Boss Goodbye

. Then I found myself toying with pomposities like The Time of the Hero, but my feeling is, if the title is too boring to read all the way through, it might keep readers from trying the novel. So Kahawa it is. The original publisher of Kahawa, in 1982, was in the midst of an upheaval. My original editor was let go before publication, to be replaced with an oil painting of an editor; pleasant, even comforting to look at, but not much help in the trenches. The publisher moved by fits and starts—more fits than starts, actually—and though the book received good reviews, no one at the publishing house seemed able to figure out how to suggest that anybody might enjoy reading it. So it didn’t do well. My current publisher is not suffering upheavals, my current editor is lively and professional, and when it was suggested that Kahawa might be given a second chance of life, I was both astonished and very pleased. I’ve made minor changes in the text, nothing substantive, and agreed to write this introduction, and here we are, by golly, airborne again. By coincidence, I ran into that oil painting at a party a few months ago. He said, “Are you writing any more African adventure novels?” “No,” I said, “but Warner is going to put out Kahawa again, in hardcover.” His jaw dropped. “Why?” he asked. (This is what we have to put up with, sometimes.) “I think they like it,” I said. I hope you do, too.

Craig Rice

Rabe followed this with Time Enough to Die, the last of the Daniel Port novels—whew!—and the only good one.

Time Enough to Die is the last of the Port novels and the first of Rabe’s final cluster of five excellent books. The second of these, My Lovely Executioner, is another total change of pace, and a fine absorbing novel.

The only Sixties mysteries with any merit at all were written in the Fifties by Chester Himes. On the

The Murders in the Rue Morgue

Science Fiction. I have sold thirteen stories, two of which have not yet been published and none of which are any damn good. I have sold to Universe, Original, Future, Super, Analog, Amazing, If, and Galaxy. A fourteenth story was sold to Fantastic Universe, which proceeded to drop dead before they could publish it. Both John Campbell and Cele Goldsmith have asked me to write sequels to novelettes of mine they had bought (I haven’t written either, and won’t). In a desk drawer I have twenty-odd thousand words of a science fiction novel, which is good, but which I’m not going to finish because it isn’t worth my while. Avalon pays three hundred and fifty dollars for a book, and I wouldn’t support such piracy either by writing for them or buying their wares. John Campbell isn’t the hero, so it can’t be serialized in Analog. If finished, it would run a lot longer than forty-five thousand words, so that leaves out Ace. There’s no gratuitous sex, so that excludes Galaxy/Beacon (or would if they were still being published). It isn’t a silly satire about a world controlled by advertising agencies or insurance companies or the A&P, so it can’t be serialized in Galaxy Magazine. It’s in sensible English, so Amazing is out. It isn’t about the horrors of Atomic War, so no mainstream hardcover house would look twice at it. I’d like to write it anyway for my own amusement (you know, like a real writer-type), but unpublished manuscripts unfortunately have a low enjoyment quota, at least for me. So the hell with it.

Take John Carroll, perhaps the only man ever to break both out of and into prison. In the twenties, Carroll and his wife, Mabel, were known throughout the Midwest as the Millionaire Bandits. Eventually captured and convicted, John Carroll was sentenced to Leavenworth while Mabel was imprisoned at the women’s reformatory at Leeds. At that time, in 1927, Leavenworth was still thought

halfway through a one-thousand-two-hundred-page book called The Permanent Way, by M. F. Hill, which

With his twelfth book, Blood on the Desert, Rabe gets his second wind, goes for a complete change of pace, and produces his first fully satisfying work since Kill the Boss Goodbye. It’s

And next, published in May of 1960, Rabe’s sixteenth Gold Medal novel in exactly five years, was Murder Me for Nickels, yet another change of pace, absolutely unlike anything that he had done before. Told in first person by Jack St. Louis, right-hand man of Walter Lippit, the local jukebox king, Murder Me

Nineteen-sixty was also when a penny-ante outfit called Abelard-Schuman published in hardcover Anatomy of a Killer, a novel Gold Medal had rejected, I can’t think why. It’s third person, as cold and as clean as a knife, and this time the ghostly unemotional killer,

But at least we’d already be inside a getaway car,” he says.

deeply about. The answer was fiction writing for Byliner (“The Getaway Car: A Practical Memoir about Writing and Life”),

They didn’t need to inspect each vehicle’s interior; they simply needed to examine each exhaust pipe. Bank Robbery 101: The getaway car was already fired up and ready to go.

Purple Dress is extremely enthusiastic and wants to know what his “plan” is, because she hasn’t been part of a gang with a plan since she was young and was part of a gang that was planning a bank robbery, she tells them. “Wow! How did that go?” Green Shirt asks. “Oh, it didn’t happen. The bus was late, so when we got there the bank was closed.” Purple Dress shrugs. “You took the bus to a bank robbery?” Green Shirt wonders. Purple Dress looks a little offended. “Well, if we could afford a getaway car we wouldn’t have had to rob a bank, now would we?

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Almost. There was one more, in December of 1962, called The Box (the only Rabe novel published with a Rabe title). The Box may be Rabe’s finest work, a novel of character and of place, and in it Rabe managed to use and integrate more of his skills and techniques

Mr. Ripley’s Return

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