Kill Now Pay Later by Robert Terrall

By Robert Terrall

Whilst Ben Gates took the task guarding the offers at a ritzy upper-class marriage ceremony, he inspiration it'd be an easy project: stand round, glance tricky, and ensure not one of the bridesmaids stroll off with the jewelry.
 
yet that used to be prior to a person slipped drowsing capsules into Ben’s espresso and a weird and wonderful theft try out left humans useless. Now Ben’s popularity is at the line – and if he doesn’t determine which of 3 attractive girls is hiding a murderous mystery, his existence can be as well…

First released 1960

"Ben Gates proves himself an improved than ordinary inner most eye… the telling is crisp and good paced."
— the hot York Times

"Savagely funny."
— Publishers Weekly

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Additional resources for Kill Now Pay Later

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Porfirio, “No Way Out,” 83–86. 18. Hazel E. Barnes, The Literature of Possibility: A Study in Humanistic Existentialism (Lincoln: University of Nebraska Press, 1959). 28 Steven M. Sanders 19. Albert Camus, The Myth of Sisyphus, trans. Justin O’Brien (New York: Vintage Books, 1955), 90. 20. Thomas Nagel, “The Absurd” (1971), reprinted in Nagel’s Mortal Questions (Cambridge: Cambridge University Press, 1979), 23. 21. See the entry on Red Light by Bob Porfirio in Silver and Ward, Film Noir, 241. 22.

13. Quoted in Hayde, My Name’s Friday, 43. 14. Hallam and Marshment, Realism and Popular Cinema, 194. Naked City : The Relativist Turn in TV Noir Robert E. Fitzgibbons Film noir’s evolution from the silver screen to the television screen was untidy at best; and this is nowhere more evident than in the transition from the feature-length movie The Naked City (Jules Dassin, 1948) to the TV show of the same title some ten years later. Although the movie was not the best of the noir genre, it was good and had many of the unmistakable classic noir markings: high-contrast black-and-white photography, stark images, severe camera angles, brutality, (a bit of) suggested sexual promiscuity, mystery, a major touch of evil, and moral absolutes.

In his new incarnation, Martin terrorizes the city with a series of daring liquor store robberies. The man’s intimate knowledge of how the police work suggests that he is a rogue cop. His cunning duplicity revealed by police lab work (bullets fired from the cop killer’s gun are shown to match one fired from the robber’s), the killer is eventually, in a striking sequence, given a face by police artists, who assemble the robbery victims to construct a group portrait. The patient and time-consuming check of leads provides yet another breakthrough.

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