Cerian

“Roarke: You'd enjoy flying more if you'd learn the controls.

Eve: I'd rather pretend I'm on the ground.

Roarke: And how many vehicles have you wrecked, had blown up, or destroyed in the last, oh, two years?

Eve: Think about that, then imagine it happening when I'm at the wheel at thirty thousand feet.

Roarke: Good point. I'll do the flying.”
― J.D. Robb, Kindred in Death

“I'm giving serious thought into eating yor wife” - Hannibal Lecter”
― Thomas Harris

“There is a distinct difference between "suspense" and "surprise," and yet many pictures continually confuse the two. I'll explain what I mean.

We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, "Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: "You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!"

In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.”
― Alfred Hitchcock

“Listen carefully. I'd crush you like a bug for causing my wife one single moment of pain. Believe it. Fear it. ”
― (Roarke)J.D. Robb