A resolute lady

     "Who are you?" she repeated.

    "Let's say that I am an old army friend of Sam Bradley's."

    Her eyes hardened. "Oh? So you admit you're one of them?" Before I could reply, she said, "I'll just call the police."

    "It might be the best idea. But why don't you pout that gun down and let' talk this over. Sam left word he wanted to see me, and if you're a friend of his, we should compare notes. When he said he was in trouble, I hurried right over."

    "I'll bet you did! Now back against the wall. I am going to use the telephone, and if you have any doubts whatever I'll use this gun, just start something."

    I had no doubts.

(from "Stay Out of my Nightmare," by Louis L'Amour)

    

Quite a scrap

     He had been coming in, and I used his impetus. He went over flying and hit the table in front of me with a crash; the table collapsed like a sick accordion and with about the same sound. Being on my knees, I grabbed the legs of the nearest man with Milly and jerked hard. His head hit the table when he fell, and I was up fast to see Milly break away and the other man clawing at his hip.

    It was a bad move, leaving him as open as a Memphis crap game, and I threw my right down the groove with everything on it but my shoelaces. When a man grabs suddenly at his hip, his face automatically comes forward. His did, and brother, it was beautiful!

    His face came forward as if it had a date with my fist, and it was a date they kept. You could have heard the smack of that fist clear into the street, and his feet went from under him as if they'd been jerked from behind. He went down to all fours. Naturally, I didn't kick him. In police reports that might not look good, so when I sort of bent over him, my knee sort of banged into his temple. It was what might have been termed a fortuitous accident.

(from "With Death in his Corner," by Louis L'Amour)

She grew up!

     "If you can help me," I said, "it would mean a lot. Garzo was my pal."

    "Sure, I know. I'm Mildred Casey, remember? I lived down the block from Rock's old man. You two used to fix my bike."

    That made me look again. Blue eyes, the ghosts of freckles over the bridge of her nose, and shabby clothes. An effort to be lively with nothing much to be lively or happy about, but great courage. She still had that, with a fine sort of pride. There was hurt in her eyes where her heart showed, eyes that had kept looking at men wondering if this was the right one.

(from "With Death in His Corner," by Louis L'Amour)

Boot Hill

     "You won't see the town until we get close."

    "Near that mesa?"

    "Right up against it. Small town, about four hundred people when they're all home. Being off the state highway, no tourists ever go there. Nothin' to see, anyway."

    "No boot hill?" Nearly all of the little mining towns in this section have a boot hill, and from the look of them, shooting up your neighbors must have been the outstanding recreation in the old days.

    "Oh, sure. Not many in this one, though. About fifteen or twenty with markers, but they buried most of them without any kind of a slab. This boot hill couldn't hold a candle to Pioche. Over there they buried seventy-five before the first one died of natural causes.

(from "The Hills of Homicide," by Louis L'Amour)

Not an excuse, but closer than some

    From the beginning he had been inclined to sympathize with the financier who was writhing in the net cast about him by an unscrupulous blackmailer. Of all the crimes in the book he detested blackmail most, and it had been difficult to work up any real feeling about Sara Morton's death since learning of her attempted extortion scheme.

    True, blackmail didn't excuse murder in the eyes of the law, but in Harsh's case, considering his enormous loss if she exposed him, it was a pretty fair excuse.    

(from This Is It, Michael Shayne, by Brett Halliday)

Elaborate preparations

     "I want to handle this so you'll know I haven't double-crossed you no matter what happens. The Golden Cock bar will be crowded, and I'll mingle in the thickest of the crowds. The police may tail me and be watching. Don't speak to me or give yourself away in any way. Have a brief note wadded up to slip into my right hand, telling me where to meet you. I'll stay in plain sight after you give it to me, and won't communicate with anyone until I go out to my car and read the note. You can follow me to make sure I'm not being tailed. Then you'll know I'm on the level." 

    Shayne paused, feeling uncertain, yet hopeful. He knew it wasn't very good, but it was the best he could think of on the spur of the moment.

    "That sounds like a lot of melodramatic hocus-pocus," his caller complained.

    "That's the way it has to be if you want to see me tonight," he said flatly. "At the Golden Cock in half an hour." He cradled the receiver before the man could make further protests.

(from This Is It, Michael Shayne," by Brett Halliday)

Bluffing his way

     "I think I know your name," Shayne lied tranquilly.

    "I assure you that I did not kill her, Shayne," His voice broke on a falsetto key like the changing voice of a teenaged boy.

    "But you have no alibi for before seven?" Shayne said.

    "Precisely. And even though that alibi is sufficient, you can readily understand that a police investigation would bring the whole story to light . . . and ruin me."

    "Naturally," Shayne scowled heavily, wondering how long he could keep the man talking without giving away the fact that he hadn't the faintest idea what he was talking about.

(from This Is It, Michael Shayne," by Brett Halliday)