Fast And Furious Family Quotes

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When Bush and Clinton were talking in 1984, Bush told Clinton ‘when the American people become disillusioned with Republicans leading them into the New World Order, you, as a Democrat, will be put into place.’ I expect that Clinton will be our next President based on that conversation I heard.” “This is serious information!” Billy looked up from his work. “Its no wonder the Feds are worried about your revealing what you know.” “There are a lot of people who know what I know7,” I assured him. “And even more are waking up to reality fast. People with Intelligence operating on a Need-to-Know are gaining insight into a bigger picture with the truth that is emerging. They gain one more piece of the puzzle and the Big Picture suddenly comes into focus. When it does, their paradigms shift. Mark and I are also aware of numerous scientists waking up to the reality of a New World Order agenda who are furious that they’ve been mislead and used. These people are uniting with strength, and the New World Order elite will need to play their hold card and switch political parties. Watch and see. Clinton will appear to ‘defeat’ Bush according to plan, while Bush continues business as usual from behind the scenes of the New World Order.” “Who do you think will follow Clinton?” “A compliant, sleeping public mesmerized by his Oxford learned charisma.” Billy looked up from his work again to clarify his question. “I mean into the Presidency.” “Hillary?” I smiled half-heartedly. “Seriously, she is brighter than Bill, and is even more corrupt. Knowing her, she’d probably rather work behind the scenes, although she may be used as another appearance of ‘change’ since she’s a woman. That’s just speculation based on how these criminals operate. They want to keep their power all in the family. I did see Bush, Jr. being conditioned, and trained for the role of President at the Mount Shasta, California military programming compound in 19868. He’s not very bright, though, so I don’t know how they could possibly prop him up…
Cathy O'Brien (ACCESS DENIED For Reasons Of National Security: Documented Journey From CIA Mind Control Slave To U.S. Government Whistleblower)
He swallows. “Then Mik was killed.” His voice is rough with emotion. Under my ear, his heart beats strong and fast. I close my eyes and squeeze him. For the first time since all this started, I’m furious with Declan. But this is their life, Declan’s and Malek’s both. Kill or be killed. There’s no other option. It’s a terrible Catch-22, because revenge starts the cycle all over again. You killed my cousin, now your life and the lives of everyone you love belong to me. You killed my brother, now I have to kill you. And maybe also take a family member hostage for good measure. And because you did that, now I have to retaliate, and on and on and on.
J.T. Geissinger (Savage Hearts (Queens & Monsters, #3))
Baltsaros ran across the ice. His tears froze on his cheeks. He was furious. They would pay. All of them. His skinny legs were a blur. He was fast! Fast like the lion on his family crest. His breath heaved in his bony chest. They would pay. Pay for being so… being so mean! Baltsaros tripped over a chunk of ice and went sprawling. He let out a cry and pulled himself up, wrapping his thin arms around his knee and rocking as he sobbed. There was blood on the ice. He had torn open his knee. He had ripped his pants. Mother would be furious about the pants. He sat and wept like a baby. It wasn’t fair! Then he saw the men on the ice. Strangers. Red hands. Red feet.
Bey Deckard (Sacrificed: Heart Beyond the Spires (Baal's Heart, #2))
Caleb’s expression was thunderous. “Where the hell have you been?” he growled, his arms folded across his chest. “I stayed the night in a boarding house,” Lily answered as she climbed down from the surrey. “Did you and Winola and Rupert have a nice dinner together?” He glared at her. “Get in that house!” “And do what?” Lily retorted. “Write ‘I will not disobey my husband’ a thousand times?” “Move!” Caleb roared. Lily’s aplomb fled in an instant, and she dashed toward the door of the cabin. “I’ll thank you to remember that I’m in the family way,” she was quick to say. She was recalling that other time, when Caleb would have paddled her if Velvet hadn’t happened along just in time to prevent it. Inside the cabin Caleb set Lily in a chair and proceeded to deliver a lecture that was, in many ways, worse than a spanking. He shouted, he listed the perils of traveling alone, he swore by all that was holy that if Lily ever did such a stupid thing again he’d wring her neck. Lily’s eyes were wide by the time he began to wind down, and when he sent her to the bedroom she went. When Caleb came to her it was from a different direction than expected. A terrible racket arose on the other side of the bedroom wall, and Lily watched in horrified amazement as an ax bit through the new wood. Furiously Caleb shaped a rude door. “Now,” he said, tossing the ax behind him, “it’s all one house. Welcome to our bedroom, Mrs. Halliday.” Lily was convinced she’d married a madman. “You stay away from me,” she said, scooting backwards on the bed. She didn’t move fast enough. Caleb caught hold of one of her legs, lifted it high, and began untying her shoelace. “There isn’t a chance in hell of that, sodbuster,” he said, and then he began rolling Lily’s stocking down. She trembled as his hand caressed her inner thigh for the briefest moment. “Not a chance in hell.” Only when the lovemaking was over and Caleb had risen from the bed did Lily’s pride come back into its own. The moment he stepped through the hacked-out opening into his side of the house she moved the bureau in front of the opening. “You stay on your side,” she said when she saw him through the opening above the chest of drawers, “and I’ll keep to mine.” As usual, Caleb had expected his romantic attentions to make everything all right between them. “Damn it, Lily,” he growled, bracing his hands on the bureau top and leaning forward ominously, “we’re married!” “As far as I’m concerned, we can just forget that unfortunate fact.” “That’s fine with me,” Caleb snapped. And then he turned and stormed away. Lily
Linda Lael Miller (Lily and the Major (Orphan Train, #1))
As a mom, I feel compelled to ask questions. Why are girls demanding the drug testosterone in skyrocketing numbers? Why are so many young girls and women getting mastectomies? What is happening when the young woman’s scarred mastectomy chest is glorified? Why is there a new industry profiting from removing any traces of femininity of our daughters? Why is this drastic medicalized trend rushed, creating a destructive trans train that roars fast and furious, ignoring the whole person, their history, and their family?
Lisa Shultz (The Trans Train: A Parent's Perspective on Transgender Medicalization and Ideology)
Caroline stared at the checkerboard of fields passing by. She had expected him to be furious, but except for a little yelling through the door at the barber’s, his usual good nature had prevailed. She had forgotten that about him, how fast his temper disappeared, how he never carried grudges.
Ellen O'Connell (A Grand Race (Sutton Family, #3))
from their peak in 2006, and the decline is explained entirely by the evaporation of interesting, intelligent mid-budget films. Studios realized their assumption that they had to make every type of movie for everyone was no longer true. So they focused on the types of movies that delivered the biggest and most consistent profits to their publicly traded parent corporations. Increasingly, that meant movies that appealed to audiences in Russia, Brazil, and China. These consumers weren’t likely to understand the cultural subtleties of an American drama or to consider people talking or even running for their lives to be adequate bang for their buck on an expensive night out. They expected spectacle, particularly if they were paying premiums for an IMAX or 3D screen, and they wanted stories that made sense to a villager in China, a resident of Rio de Janeiro, or a teenager in Kansas City. Transformers, in other words. And The Avengers. And Jurassic World and Fast and Furious and Star Wars. With the exception of 1997’s Titanic, which made a spectacle out of the sinking of a cruise ship and Leonardo DiCaprio’s eyes, the forty-eight highest-grossing Hollywood films overseas are all visual-effects-heavy action-adventure films or family animation.
Ben Fritz (The Big Picture: The Fight for the Future of Movies)
Movie stars didn’t become irrelevant, but they became very inconsistent in attracting an audience. People used to go to almost any movie with Tom Cruise in it. Between 1992 and 2006, Cruise starred in twelve films that each grossed more than $100 million domestically. He was on an unparalleled streak, with virtually no flops. But in the decade since then, five of Cruise’s nine movies—Knight and Day, Rock of Ages, Oblivion, Edge of Tomorrow, and The Mummy—were box-office disappointments. This was an increasingly common occurrence for A-listers. Will Ferrell and Ben Stiller couldn’t convince anyone to see Zoolander 2. Brad Pitt didn’t attract audiences to Allied. Virtually nobody wanted to see Sandra Bullock in Our Brand Is Crisis. It’s not that they were being replaced by a new generation of stars. Certainly Jennifer Lawrence and Chris Pratt and Kevin Hart and Melissa McCarthy have risen in popularity in recent years, but outside of major franchises like The Hunger Games and Jurassic World, their box-office records are inconsistent as well. What happened? Audiences’ loyalties shifted. Not to other stars, but to franchises. Today, no person has the box-office track record that Cruise once did, and it’s hard to imagine that anyone will again. But Marvel Studios does. Harry Potter does. Fast & Furious does. Moviegoers looking for the consistent, predictable satisfaction they used to get from their favorite stars now turn to cinematic universes. Any movie with “Jurassic” in the title is sure to feature family-friendly adventures on an island full of dinosaurs, no matter who plays the human roles. Star vehicles are less predictable because stars themselves get older, they make idiosyncratic choices, and thanks to the tabloid media, our knowledge of their personal failings often colors how we view them onscreen (one reason for Cruise’s box-office woes has been that many women turned on him following his failed marriage to Katie Holmes).
Ben Fritz (The Big Picture: The Fight for the Future of Movies)