Cargo Movie Quotes

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I still can’t unsee Tommy’s outfit: nighttime sunglasses, a dark blazer as loose and baggy as rain gear, sand-colored cargo pants with pockets filled to capacity (was he smuggling potatoes?), a white tank top, clunky Frankenstein combat boots, and two belts. Yes, two belts.
Greg Sestero (The Disaster Artist: My Life Inside The Room, the Greatest Bad Movie Ever Made (A Gift for Film Buffs))
#1 of 2 Leah munched another chip as she watched a couple on-screen race madly away from men with guns who were intent on killing them. She and Seth sat shoulder to shoulder on the sofa, both slumped down until they were practically lying on their backs. Seth had pulled the matching ottoman up against the sofa, so it really did feel as if they were lying in bed together, watching a movie. She slid him a covert glance. He had donned black cargo pants and a black T-shirt after his shower but had left his big feet bare. He had also left his hair loose. It now spilled over the back of the sofa in a glossy curtain, the thick wavy tresses still drying. He chuckled at something the male protagonist said. Leah smiled. She loved seeing him laugh. She didn’t think he did so as often as he should. Every once in a while, she noticed his gaze would slide to her legs. Her feet were propped on the ottoman close to his. The robe she had borrowed had parted just above her knees and fallen back, leaving most of her legs bare. And that pale flesh repeatedly drew Seth’s attention. She held the bag of chips out to him. Smiling, unaware that the faint golden light of desire illuminated his eyes, he poked his hand in and drew out a couple of chips. She smiled back, then returned her attention to the screen. The protagonists had at last made it to safety. They checked each other over for wounds, something both had miraculously escaped incurring in true Hollywood fashion. Then they fell into each other’s arms, finally giving in to the lust that had sparked between them ever since their first contentious meeting. Leah sighed as she watched them peel each other’s clothes off with eager hands. It made her want to do the same with Seth. Her body even began to respond as her imagination kicked in. “I miss sex.” The words were out of her mouth before she could question the wisdom of speaking them. “I do, too,” Seth confessed. She glanced over at him and found his eyes glued to the screen. More so since I met you. Her eyes widened when his voice sounded in her head. “Really?” “Yes.” The actors on-screen fell naked onto the bed and began to simulate sex, their moans and groans and cries of passion filling the room. “It’s natural to miss it,” he said matter-of-factly. “Nothing to feel guilty about.” “No. I mean, you really miss it more since you met me?” He froze. A look of dismay crossed his features as he cut her a glance. “I said that out loud?” “No. I heard it in my head.” Sh**. She grinned. “I heard that, too.” F**k.
Dianne Duvall (Death of Darkness (Immortal Guardians, #9))
the You of the future I dreamed up a cargo ship full of multicolored storage units It didn't capsize like in the movies It just floated there exposing its anatomy and woke up a full 30 secs before the sadness kicked in Do you ever wish you were always sleeping
Tommy Pico
Even today, a decade later, I still can’t unsee Tommy’s outfit: nighttime sunglasses, a dark blazer as loose and baggy as rain gear, sand-colored cargo pants with pockets filled to capacity (was he smuggling potatoes?), a white tank top, clunky Frankenstein combat boots, and two belts. Yes, two belts. The first belt was at home in its loops; the second draped down in back to cup Tommy’s backside, which was, he always claimed, the point: “It keeps my ass up. Plus it feels good.
Greg Sestero (The Disaster Artist: My Life Inside The Room, the Greatest Bad Movie Ever Made (A Gift for Film Buffs))
La DolceVita. The movie opens with a panorama of Rome’s magnificent skyline, the grand dome of St. Peter’s in the center. A helicopter carrying a large object appears in the distance. The camera zooms in; the object is a statue of Christ being hauled away from a downtown square. The camera then focuses on a group of young sunbathers who, distracted from their pleasure by the whirring blades, laugh mockingly. Why shouldn’t Jesus take the bus like everyone else? The helicopter flies on to discard its outdated cargo on a trash pile, and the youngsters return to their sun worship.
Charles W. Colson (God & Government: An Insider's View on the Boundaries Between Faith & Politics)