anonymous asked:

you should totally write #27, where sansa is the runaway bride and jon is the getaway driver :)


Sansa stares at herself in the full-length mirror of her bridal suite. She is, at the very least, the very picture of what a bride should be. She spent an hour getting her hair and makeup professionally done, and her slip is couture; the wedding dress her mother insisted on is hung on the hook by the door. She touches the jeweled comb tucked into her intricate up-do, and feels a decidedly unhappy swoop in her stomach. She doesn’t feel like a bride. Not at all.

Her mother left to get them a glass of champagne. “To calm your nerves, darling,” she said. “It’s completely normal. I had to pop a Xanax before I walked down the aisle to your father.”

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Today’s the biggest day in any teenager’s life: your driving test. If you pass this, you’ll finally be able to get your license and be a functioning member of society, just like everybody at school. You get in the car for your exam and a few minutes later, a scruffy man with some tattoos gets in. He doesn’t strike you as much the instructorly type, but you go with it. You begin your exam but after a few blocks, some police cars with their sirens on begin to gain on you. “Shit,” your instructor mutters, “time for plan B.” Next thing you know there’s a gun to your head and you’re a getaway driver for a jewel heist. You HATE living in Los Santos…

me as a getaway driver

robber: faster damn you!!!!!!!!!The cops are right behind us!!!
me: damn you im already doing 47 in a 45 mph zone!!! we are already pushing our luck quite a bit here boys 

Drive (2011)

Director: Nicolas Winding Refn

Rating: R

Running Time: 100 min

Get in. Get out. Get Away.

Ryan Gosling has been on one hell of a roll recently, with Ides of March, Crazy Stupid Love, and now this…Gosling can do no wrong. Drive is no exception.

 Gosling is absolutely phenomenal in his role as the aptly named "Driver" a part time hollywood stunt driver by day, getaway driver by night, and our reluctant hero. “Driver” is a man of little words`and strong convictions, he only does what he feels is right, even when it means putting his own self preservation on the back burner. He`s a loner living a quiet solitary life, but that all changes after befriending Irene, the lonely wife of the convicted felon Standard and her young son Benicio. When Standard gets released from prison, he is  immediately forced  into a risky daytime robbery and Driver offers his talents as a wheel man…from there things get complicated, the robbery goes bad, driver is framed and hits are taken out on him and the ones he cares about.

 What`s not to like about this film, incredible acting from some of the best in the business-Gosling, Mulligan as well as the always great Bryan Cranston and Albert Brooks (theres nothing funny here, he`s a menacing, nasty bastard), a great electronic soundtrack  and a feeling and look that is somewhere between a classic 70`s heist flick and a John Hughes film from the 80`s (with flashes of some pretty hardcore violence that is) Every scene is so well thought out, from the romantic to the violent, it`s a slowburning thriller with a lot of heart and emotion, a mile away from the new trend of chaotic , indecipherable action sequences and one dimensional characters (I`m looking at you Michael Bay!) it really gives me hope that I can look forward to some smart action films in the near future. I am probably wrong about this, but one can hope.

 So, if you haven`t seen this, please do yourself a favor and go out and give it a try…it`s definitely woth it

4 and a half screeching wheels outta 5


Bad Getaway Driver

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“You were chased by the cops, got in my car and just yelled ‘Drive!’” AU (x)

modern au vaxleth feat. lots of snark from vox machina

The way Keyleth tells it long afterwards, when they are gathered at the bar and demanding she and Vax tell the story, she was just sitting in her car and minding her own business, thank you very much. She had perhaps noticed the shouting, yes, but idling at the curb and waiting for the light to change, she failed to notice the dark-haired man in the hoodie racing down the sidewalk as a a tiny man with flyaway hair shouted at him and a police officer chased after him––also shouting, as it just so happens.

And then, as Keyleth tells it, the door of her car swung open and a young man with dark hair and a hoodie dove into the backseat, shouting, “Drive, fucking drive!”

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633. Whenever the Marauders got in a fight, they'd change their names on the map. For instance, 'A Large Child' was one used often. James was once 'A Goddamn Horrible Getaway Driver' for almost a year and also due to that same incident, Remus was 'Jailbird' for four months.

submtited by purplex-memories

Knife Edge

Pairing: Regulus Black x Lily Evans

AU: Non-magical, 1920′s bank robbers AU

Word Count: 1,452

Written For: saycheesebiscuits

The Marauders are famous.

Not Dillinger-famous—is Dillinger even Dillinger-famous?—but their faces are printed on tattered newsstand Wanted posters and their heists are usually talked about for a few days or weeks or months depending on how stupid they make the authorities look and they have charming public personas and flatly ridiculous nicknames and in certain back-alley underground circles in Chicago and St. Louis and New York they’re basically celebrities, contraband whiskey on the house and one, two, three cheers all around—

The Marauders are famous.

They’re famous for being crafty; for being tricky; for outsmarting the bank managers and the policemen and the prison wardens and always—always—always getting away with it. They’re also famous for something else, something that Regulus doesn’t connect to Lily Evans until she’s already irrevocably immersed in his bed and his blood and life.

The Marauders’ getaway driver is a girl.

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There are two different ways people view Mastermind!Parker.

Some people, and these are usually the marks who don’t know Thief!Parker by reputation, think she is too fill-in-the-blank to be any threat (too young, too pretty, too crazy…) They learn better when their business blows up in their faces. Occasionally literally; after all, this is “Everything Blows Up, Silly” Parker making the calls now.

And then there are the people who are terrified. Even under Nate this was considered the nastiest crew this side of the Atlantic. And that was under an honest man. (People in the business don’t understand Nate very well so they don’t understand that he was the most ruthless of the lot.) They are terrified to find out what the crew has become under the control of the crazy thief.

It turns out both groups are wrong. Parker isn’t too any of those things to make a good mastermind. She always does things young, like being a getaway driver, but she is always good at it. And maybe she is a little crazy, but that helps when masterminding. As for ruthlessness, she isn’t nearly as ruthless as Nate. In fact, just the opposite. She is far more likely to see the potential for something better, even in her marks, far more likely to give second chances because she is living her second chance. She goes out of her way to help the random people who are in trouble, not just her client. And she isn’t willing to place her team in as much risk as Nate was because winning isn’t everything to her, family is.

Roll To Me

AN: Ah, a little oneshot for the dearest blazexkeys as a belated birthday present.  :3  I hope this will do… a little short, but I hope you like it in any case.  HAPPY BIRTHDAY!!

Summary: Lucy thinks it’s insane enough that she ran away from her wedding, but she’s in for a whole new ride of crazy when she meets the cute getaway cab driver.  Based on the song “Roll To Me” by Del Amitri.  Nalu AU Oneshot.  (Found also here)

Look around your world, pretty baby

Is it everything you’d hoped it’d be?

The wrong guy, the wrong situation

The right time to roll to me

Roll to me

Lucy Heartfilia figured that on one’s wedding day, one should be looking in the mirror at their wedding dress with absolute joy, dreaming ahead to the countless days in the future to be spent with the love of their life represented by the pure white of her perfect dress.

A big indicator that this was probably her doom was the fact that she rather felt like throwing up all over the damned thing.

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Getting over the hump

I dusted off a short story last night. It was the first time in months I’ve worked on any new fiction. I opened the file and added the following:

He only beat her once. It was a dumb thing, she knows, and he shouldn’t have done it, but wasn’t completely without blame either. She can’t even remember what they were fighting about (tka woman would totally remember, so you’ll have go back and fix this part.) But he had the dogs out, and as their voices got louder, the yipping of the dogs got louder until she finaly kicked the pomeranian. She hadn’t meant to kick it hard. She’d just meant to push it away so she could stand her ground with a little more confidence. So she didn’t have to worry about stepping on the damn thing. The dog skidded to the side and gave out a little yelp. Then it whimpered and limped away. When she looked away from the dog and back towards Robbie, something in him had changed. He didn’t seem angry anymore, and his eyes weren’t glazed.

“You kick that dog?” he said.

“I didn’t mean to,” she said. There was edge in his voice that made her go cold down the length of her spine.

“I saw you kcik it.”

“Robbie, I didn’t mean to.” She didn’t bring up her hands on purpose. It’s like she just noticed them there in front of her. Pale white like flags of surrender. “I didn’t mean to,“ she said again.

He swept her hands down with his forearm and gave her a quick, hard jab to the forehead. She sat right down on the carpet and looked up at him. Everything moved so slowly then. He reached down, and she thought he was going to help her, but he didn’t. He grabbed her upper arm hard enough to leave his grip bruised on her flesh for days afterwards. He yanked her off the floor and slapper her hard across the face. First with his open palm, then with the back of his hand. She heard the flat dull smack and felt her warm spit pool near her collar bone.

The section is only 334 words. It’s very clearly part of a shitty first draft. It’s something I had to write but didn’t want to. I knew once I wrote it, the story would be set, the necessary conclusion inescapable.

It’s a funny thing, fiction. I create characters and fall a little in love with them. Sometimes a lot. It becomes a scary prospect when bad things must happen. When characters allow themselves to stay in situations or act in ways I find unforgivable. In those moments they become most damaged, least likable, and in the end, most human, with all the inherent follies and foibles and terrors.

But it’s exactly the most frightening moments writers must write, for when we brace against that wall and shove through, we can be confident what we’re putting on the page is finally worth something. If not to others, at least to ourselves.


I would do this tbh “Bad Getaway Driver”

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