ACTION & EFFORT, MIND IN MOTION, BODY IN MOTION, FOR WHAT IS IN MIND TO BE. THE MORE I WRITE THE FURTHER AWAY FROM THE CONCLUSION FEELS LIKE I’VE BEEN HERE FOR HOURS. YOU CAN’T FORCE IT, BUT THE REPS HELP. YOU ARE MORE LIKELY TO FIND THE GOODS WHILE IN MOTION THAN YOU ARE THINKING ABOUT WHAT YOU WISH TO BUILD. AT TIMES, IT MAY FEEL LIKE WHAT LIVES IN YOUR IMAGINATION IS GREATER OR MORE EXCITING THAN WHAT YOU HAVE MADE, CAN’T BE BETTER THAN WHAT IS, IF IT DON’T EXIST. WHEN YOU CONSIDER THE DETAILS, YOU SORT’OF GET WHY THESE THINGS DON'T HAPPEN. TAKE IT OR LEAVE IT, IT’S WHAT YA’ GOT. MUCH BETTER THAN A DICK IN YOUR HAND. LADIES AND GENTLEMAN, THANK YOU FOR OPENING UP DRAFT #5,330. THE COMPLETE IS ON ITS WAY. THE CHALLENGE, NOT MUCH THE TASK OF SCRIBBLING, ITS THE SLICING OF TEXT THAT MAKES OR BREAKS AN ENJOYABLE READ. IMPRESSIVE NOT ALWAYS EASY-TO-READ, EASY-TO-READ NOT ALWAYS IMPRESSIVE. THE SELECTION OF EDITS MADE NOT ALWAYS ABOUT THE PRACTITIONER’S CHOICE OF FAVORITES RATHER WHAT CONTRIBUTES TO THE DARN THING MAKING SENSE, WAS A MAN THAT TOSSED HIS CHARACTERS INTO FILTH, ALMOST TO PROVE A POINT. SOME LESSON ON LIFE AND WORTH, EVEN AT ITS WORST. A FEW BLACKLISTS AND REVOKED SCRIPTS — LATER, YOU FIND YOURSELF WORKING A CALCULATOR, COUNTING INVENTORY, CLOSING RECEIPTS AND FUCK, GOTTA SEND HALF A’DOZEN EMAILS, TONIGHT. BE OF VALUE, WORK, YOU’LL BE FINE.
ITS THE BRONX FOO’ ITS THE BRONX, DON’T MISS THE OBVIOUS. THE BRONX SPEAKS LOUDEST TO WHAT IS OBVIOUS, ITS THE BRONX. ‘SO I CAN TALK TO YOU?’ WAS ONE MAN LOOKING AT ANOTHER MAN IN THE EYES. ‘YEAH, I’M WITH YOU,’ THE MAN ANSWERS. ‘GOOD, DON’T BE STUPID, AND YOU KNOW WHY WE’RE MAD AT YOU,’ OLDER MAN HAD SPOKEN, MADE HIS WAY. ‘CUZ YOU LOOK LIKE THEM. IT’S MUTHAFUKKAS THAT LOOK LIKE YOU TERRORIZING THE CITY FOR DECADES, PEOPLE TALKING ABOUT ME BECAUSE I’M BLACK, I DON’T TRUST — YOU, I DON’T TRUST Y’ALL.’ WERE STRANGERS ON THE TRAIN. ALL OF US LIKELY OF SHAME. ALL OF US LIKELY OF CRIME. ARE PEOPLE LEARNING TO TRUST, ONCE MORE. WHAT IS IT ABOUT IF WE PROTECT THE SAME FLAG? LIKE, WE PROTECT THE WORDS THAT ATTRACT PEOPLE FROM DIFFERENT LANDS, NONE OF US HERE LOOK LIKE ONE ANOTHER, WE ALL CONTRIBUTE TO ITS EXISTENCE. WAS A LADY WAITING FOR HER STOP. WE ARRIVE, THE DOORS OPEN, SHE MAKES HER WAY OUT. SUPER HOT, ALL SORTS OF ATTRACTIVE, THE CHARACTER IN THIS FICTIONAL STORY IS A RESPECTED JOURNALIST, AND NEWS ANCHOR NOW. MAKES HER WAY INTO THE BUILDING, THIS BIG ASS FUCKING BUILDING? YES, IT HAS TO BE IN THIS BIG ASS FUCKING BUILDING. ELEVATOR GOES UP, BELL RINGS, SLIDES OPEN, IT LOOKS HOT. THIS IS A GOOD BUILDING. THE NEWS ANCHOR IS MET WITH GREETINGS, HANDS OVER HER COAT, REVEALS FURTHER HOTNESS, IS A FLOOR’S WORTH OF THE WEALTHIEST IN THE NATION, LIKELY THE WORLD. WAS THAT KID, AGAIN. A SPORTS ATHLETE RECOGNIZED HIM, ONE OF MANY GUESTS AT THE WINE GATHERING. JOURNALISTS, ROCKSTARS, LIBERTARIANS, PHILANTHROPIST, MEMBERS OF THE HOUSE OF REPRESENTATIVES, MEET AT THESE FUNCTIONS BECAUSE THAT’S HOW THINGS GET ORGANIZED. THE BASEBALL STAR PEEPS THE KID MAKING HIS WAY TO ABBY OR ABIGAIL, USUALLY ABBY, THE NEWS ANCHOR. APPARENTLY, THE KID AND ABBY KNOW ONE ANOTHER AND EMBRACE, THE BASEBALL STAR’S LIT, TURNS TO HIS PEOPLE ‘I’M TIRED OF THIS KID,’ FINISHES HIS DRINK, HANDS OVER THE GLASS, ‘GET ME ANOTHER,’ HE ORDERS, BASEBALL STAR MAKES HIS WAY TO THE KID. ‘WHO DO YOU THINK YOU ARE?’ ASKS FELIX SANTANA, BEST THAT EVER WAS, BEST THAT EVER WILL. ‘WE MET A WHILE BACK, I’M IAN, A SPORTS WRITER,’ ANSWERS IAN. IT GETS AWKWARD BECAUSE FELIX REFUSES TO SAY ANYTHING MUCH LESS BREAK FOCUS. FELIX LOOKS AT ABBY, ‘I’M MARRIED,’ SHOWS OFF HIS WEDDING RING, ‘I NEED TO TALK TO HIM,’ LOOKS AT IAN, LOOKS AT ABBY, ‘ALONE,’ FELIX INSISTS. IAN GIVES HER THE ‘OKAY.’ FELIX SANTANA BEGINS, ‘I LIKE YOU, BECAUSE YOU SHOW UP AND WHEN YOU SHOW UP IT’S ON TIME, YOUR BOSS TELLS ME YOU USUALLY MAKE GOOD WHEN DEADLINES ARRIVE,’ FELIX MAKES NOTE OF IAN’S GESTURE, ‘YOU THINK YOU CAN WRITE THOSE THINGS ABOUT ME AND I NOT DO MY HOMEWORK ON A FOO’ AS BOLD AS YOU. HUGGIN UP ON ALL THE HONEYS AND SHIT,’ SAYS FELIX. ‘I DON’T KNOW WHAT YOU’RE TALKING ABOUT,’ SAYS IAN. ‘PETE, TELL ME, WHAT DID THE KID SAY?’ REQUESTS FELIX. ‘I BELIEVE HE SAID AND I QUOTE, PHIL AND THE CROWS STRATEGY KEPT THEE HOMETOWN’S SLUGGER, HUMBLE, FOR THE NIGHT,’ READS PETE. ‘STRATEGY? SO YOU ACKNOWLEDGE THERE WAS SOME FUNNY BUSINESS GOING ON IN THE MOUND, HUHH? LEAST NOT ALL OF IT NEEDED TO BE TRASHED, NOT ONE OF, NOT AYE — , BUT THEE HOMETOWN SLUGGER, WHO YOU TALKING ABOUT? KEPT ME — , HUMBLE? HOW’D HE DO THAT? BY BEING DIRTY? PUES HABLA, MAN. COMO QUE SI YA ESTA TIMIDO,’ SAYS FELIX. ‘DUDE, I DON’T KNOW, I DO AS BEST OF A JOB TO REMAIN FAIR TO BOTH PARTIES, THIS PERSON OVER HERE MAY NOT LIKE THAT I WROTE THIS, THAT PERSON OVER
THERE MAY NOT LIKE THAT I WROTE THAT, IS IT ACCURATE? IT WAS A TIGHT NIGHT OF ACTION, WHICH YOU’ALL WON ANYWAY,’ SAYS IAN. ‘PLEASE, I MAKE FUN. YOU MAKE FUN, NO — YOU MAKE FUN FIRST, SO I MAKE FUN, REMEMBER THAT. DON’T MAKE FUN, I TELL YOU, HAVE RESPECT. WE’RE GOING TO BE READING EVERYTHING, AND I DO MEAN EVERYTHING. BE GOOD, EHH.’ FELIX AND HIS CROWD MAKE THEIR WAY. ABBY RETURNS WITH A COUPLE OF DRINKS, ‘THAT SHOULD BE A COLUMN, YOU KNOW. JOURNALISTS DEALING WITH THE ATHLETES FEELINGS,’ SUGGESTS ABBY. ‘THAT WASN’T COOL, I THOUGHT I DID A FAIR JOB,’ IAN PEEKS OVER TO ABBY, ‘I AGREE, IT WAS WELL WRITTEN,’ SHE ASSURES. ‘RIGHT,? I HAD SELECTED THE RECOMMENDED CHOICE OF LIVING HABITS FOR ALMOST TWENTY DAYS FOR THE NIGHT, AND THE COMPLETION OF THE FINAL PRINT. MORE TO NOT MISS ANYTHING, YOU KNOW, BUT YEAH, THE POINT IS TO AVOID SUCH CONFLICT. MY CHIEF’S GIVEN ME THE WORD TO NOT BE TIMID ABOUT GETTING GRAPHIC. I AM ALLOWED TO GET ALL SORTS OF UNCENSORED, UP IN HERE. THIS ISN’T COOL, I SHOULDN’T LET HIM PUNK ME LIKE THAT,’ SAYS IAN. ‘PROMISE ME YOU’RE NOT GOING TO GO ON PRESSING ON THE MAN’S BUTTONS,’ STATES ABBY. ‘YOU’RE RIGHT, ITS FELIX SANTANA,’ AGREES IAN.
THE PARTY’S ROCKING AND AH ROLLING, ROLLING AND AH ROCKING, SOME SAD LADY GETS THE ATTENTION OF THE ROOM,
FLIGHT Z4319 CRASHED SOMEWHERE IN MINNESOTA, MAN OF THE YEAR, TWO YEARS IN A ROW WAS ONE OF 211, DEAD AT THE SCENE.
FUCKING SHIT, HOW DO YOU THINK I FEEL? I DIDN’T WANT TO OFF ANY OF THESE FICTIONAL CHARACTERS, BUT I NEEDED A CLEVER WAY OF GETTING RID OF THE MAN OF THE YEAR, TWO YEARS IN A ROW, IT CAME AT THE EXPENSE OF AN IMAGINARY FLIGHT CREW AND FICTIONAL PASSENGERS,
LET’S RETURN LATER AND CONCLUDE WITH AN ALTERNATE ENDING, ONE THAT DOES NOT INVOLVE SUCH A TRAGEDY FOR THE CAST AND CREW,
TROMBONE PLAYER WAKES UP TO SOME COLLEGE AD ON THE TELÉ. LOOKS AT HIS JOURNAL, ‘JOURNAL ENTRY ONE, HAD AN APPLE, STRING CHEESE, AND A HOT CHOCOLATE THIS NEW YEAR. WALKED THE PROMENADE,’ IS OUR TROMBONE PLAYER, READING. THINKING. PAPER’BALL AND TOSSES SOME EVIDENCE WORTH OF EFFORT. LIGHTS, CAMERA, ACTION, ON THE PAPER’BALL. WHAT’S THE PAPER’BALL DOING, YOU ASK? MINDING ITS SENSE, OR IT WAS WORTH A COUPLE OF CENTS BEFORE VANDALIZED AND FURTHER PENALIZED DUE TO THE PRACTITIONER’S DISSATISFACTION WITH HIS COLLECTION OF THOUGHT. WHEN WILL THE COARSE CONCLUDE ITS WRATH ON .10 CENTS WORTH OF PAPER? IS A USED PAPER’BALL STARING AT A COUPLE OF WALLS, THE WALLS MINDING THEIR OWN LIKE THE LONE PAPER’BALL. WHAT’S THE DEAL TROMBONE PLAYER? WHAT DID THE PAPER’BALL DO TO YOU? WAS ONCE A CLEAN SHEET OF PAPER, YA’ KNOW. TROMBONE PLAYER GETS ANNOYED AND MAKES SOME GESTURES OF ANNOYANCE — LETTING THE IMAGINARY CROWD IN HIS LIVING ROOM KNOW — HE’S ANNOYED. GRABS THE PAPER’BALL, FINDS HIS PEN, WRITES, ‘AN EFFORT WAS HAD HERE, DON’T GIVE UP.’ CONCLUDES THE TROMBONE PLAYER. HIS ROOMMATE, STUPIDFLYBEATS, OR YAVIK, WALKS-IN. NOBODY CALLS YAVIK, STUPIDFLYBEATS, BECAUSE OF HIS LAST NAME. HIS GRANDPAPA BORN IN THE UKRAINE MOVES TO AMERICA FOR A JOB TRANSLATING LITERATURE. GETS MARRIED, MAKES BABY, YAVIK’S DAD IS RAISED IN A SMALL TOWN SOMEWHERE IN AMERICA, GROWS UP TO BE A MEMBER IN OFFICE FOR INTERNATIONAL RELATIONS DEALING WITH OUR COUNTRY’S AGREEMENT OF TERMS WITH THE WORLD’S NATIONS LEADERS. THE LIVING ROOM’S TRASHED, ‘THE FUCK IS GOING ON ‘MAYNE? WHAT HAPPENED HERE?’ YAVIK INQUIRES. SEBASTIAN, THE TROMBONE PLAYER, SHELLED IN THE CENTER OF A DISASTER’S LIVING ROOM ANSWERS, ‘I WAS WRITING.’ WAS NO ARGUMENT TO BE HAD, WAS NO BICKERING TO TAKE PLACE, YAVIK BRINGS TACOS, YAVIK BRINGS BEER. ‘THIS ISN’T FLY, THIS ISN’T CLEAN, THIS ISN’T LOVE HOMMES. IS NO ARGUMENT TO BE HAD, IS NO BICKERING TO TAKE PLACE. I BRING TACOS. I BRING BEER,’ STATES YAVIK. ‘FACTS, NOTHING TO FIGURE OUT, NOTHING TO DWELL ON,’ ANSWERS SEBASTIAN. ‘RESPECT,’ REPLIES YAVIK. THESE KIDS ARE ABOUT TO PARTICIPATE IN SOME ILLEGAL SHIT. ‘I GOT SOME DRUGS, IF YOU WANT SOME. YOU DON’T HAVE TO HELP ME CLEAN UP AROUND HERE, JUST THOUGHT I’D ASK,’ SAYS SEBASTIAN. ‘AND DO WHAT? GO TO DISNEYLAND AND JOLLY AROUND THE LIVING ROOM LIKE A BUNCH OF FOLKLORES?’ SNOOTS YAVIK. ‘NO, WE DON’T HAVE TO DO ANY OF THAT,’ ANSWERS SEBASTIAN. ‘I’M KIDDING, I’LL DO SOME DRUGS WITH YOU,’ SAYS YAVIK. THE DUDES ARE LIVING IT UP, THE SUN’S MAKING ITS WAY DOWN, THEY HAVE A BALCONY, WITH A COFFEE TABLE, SEATS, PLANTS, CIGARETTE SMOKE, ‘THE GAY THING ISN’T GOING TO BE LIKE A RECURRING THEME WITH YOU IS IT? WE COULD DO STUFF TOGETHER AND IT NOT BE HOMO. FEEL ABOUT WHOMEVER, HOWEVER, BUT YOU KNOW, I’M NOT LOOKING TO HEAR IT,’ IS A SINCERE SEBASTIAN. ‘WELL, NO. SHARING ENDEARING TIMES WITH COCK THAT ISN’T MY BROTHER IS COOL AND ITS JOKES, SO I JOKE BECAUSE IT BREAKS A SENTIMENT’S TENSION,’ ANSWERS YAVIK. ‘MAKES SENSE,’ IS A LIT SEBASTIAN. ‘WELL — I GOTTA GET TO IT, LONG DAY TOMORROW,’ YAVIK CHEERS BEERS, MAKES HIS WAY INSIDE,
WE GOT TOGETHER AND MOVED FURNITURE, I’D SLEEP OVER FROM TIME TO TIME. THE BEST OF MOMENTS, YOU GOT SOMETHING TO DO, YOU GOT YOUR FRIENDS TO PARTNER UP WITH, GAY — !
WAR IS TO THE DEATH BE IT NO HONOR IN RETREAT, THEORY OF THE BOARD IS TO CONTINUE THE PATH TOWARDS THE KING’S KILL, YOUR KNIGHT LIKE ITS BISHOP AND ITS PAWN LIKE ITS MUSCLE ARE PREPARED TO DIE. NEVER, WOULD ANYONE WITH GOOD SENSE VOLUNTEER FOR A FOOL’S EXCHANGE, UNLESS CERTAIN OF SUDDEN END TO BATTLE. WILL BE ERRORS MADE ON THE BOARD. BOBBY FISCHER REMAINS AN ACKNOWLEDGED CHAMPION BECAUSE OF ACCURACY, GOSSIP RUMORED WORD OF FISCHER PROLONGING OR SHOWING’OFF ON THE BOARD, MOST OF THE PUBLIC AGREES, FISCHER WAS LIKELY TO BLUNDER LIKE SOME OF THE BEST PLAYERS IN THE WORLD. FISCHER PLAYED EXCEPTIONAL MOST OF THE TIME, TOUGH ON A BAD DAY, WOULD FIND VICTORY DESPITE BLUNDER. ’NIET, HIJO DE TU MADRE. CABRON, HOW?’ IS LYNDA, IMPORTANT PEEPS, SHE’S A CASTING DIRECTOR AND YAVIK’S GIRLFRIEND, ‘NIET, NIET, NIET,’ SHE SAYS. YAVIK WALKS INTO THE KITCHEN, LYNDA AND SEBASTIAN ARE ON THE BOARD, THIS EARLY MORNING. ‘THIS GUY’S GOOD,’ SAYS LYNDA, ‘WHERE’D YOU FIND HIM?’ SHE ASKS YAVIK.’WE WERE THERE, NOW WE’RE HERE,’ HE ANSWERS. YAVIK MAKES HIS WAY TO LYNDA, BUT SHE’S NOT HAVING IT. ‘NOHH, RUN IT BACK. DOUBLE OR NOTHING,’ IS LYNDA. SEBASTIAN IS HESITANT, ‘I’M NOT A SERIOUS PLAYER,’ LYNDA INTERRUPTS, ‘AND YOU’RE ONLY HERE FOR SOME CHEAP THRILLS, TIN'CAN IT, AND LET’S GET TO BUSINESS,’ IS A STERN LYNDA. TURNS OUT, SEBASTIAN IS NOT ONLY GOOD WITH INSTRUMENTS, BUT HAS A FAIR SENSE OF LOGIC, HE DOES WHAT MAKES MOST SENSE, DOESN’T MEAN HE ALWAYS WINS EVERYTHING, BUT A VICTORY OVER LYNDA MEANS HE IS AS GOOD AS HER FIDE RATING. ‘NIET, I’M ON BLACK,’ LYNDA INSISTS. ‘I FEEL LIKE I HAVE A RIGHTS TO DEFEND BECAUSE I JUST WON,’ SAYS SEBASTIAN. ‘BULLSHIT, KISS MY ASS. I DEFEND,’ LYNDA RETURNS FIRE. WHAT’S YAVIK GONNA DO? WHOSE SIDE DO YOU THINK HE’S ON? CLEARLY — HE WANTS THE BEST FOR HIS MANNS, I ALSO THINK HE’D LET LYNDA RUN SEBASTIAN OVER WITH A BUS, IF SHE FOUND IT NECESSARY. BEATING LYNDA FOR THE SECOND TIME MEANS SOMETHING, ‘WHAT’YA LOOKING AT HIM FOR? THIS WHAT YOU WANTED, THIS WHAT YOU GOT,’ PRESSES LYNDA. SEBASTIAN OPENS ON THE BOARD,
PINCHÉ CHAVALO, KEEP THINKING THIS IS PLAY, PLAY. IS NO PLAY, PLAY.
MEET LILS, SHE’S AN AMBITIOUS WOMAN CONVINCED THE STAGE IS AN APPROPRIATE HOME FOR HER SPEECH AND LANGUAGE, IS AN INTERPRETATION OF A TIME, WAS A SCENE, WASN’T IT?
THE EXISTING LANGUAGE, ‘WHERE IS THE CULTURE?’ WOMEN WANT AS MUCH MONEY MEN EARN FOR THE SAME TASK. GOES A THEORY REGARDING A NATION’S CONSTITUTION, THE LANGUAGE OF THE NOW. IT IS EITHER FOOS OR ERRBODY, I’M SAYING ERRBODY OR I’M SAYING FOOS, CUZ I’M NOT AFFORDING TO BE PRETENDING AS IF REPOSITIONING THE WHATEVER, DON’T READ THE FUCKING THING — THAN. FOOS RAISED THEIR DUMBASS HAND IN CLASS, IMMA GO WITH, AMERICAN. ANYTHING OTHER THAN FREE SPEECH, ARE THE DETAILS I DON’T HAVE TO OFFER MORE THAN ENTERTAINMENT. AMERICAN DIALECT BEING NOT FROM SPAIN, BLAH, BLAH, THE WORLD. YOU CAN’T FIND LONDON IN MEXICO LIKE YOU CAN’T FIND PARIS NOWHERE NEAR MEMPHIS, TEN A KEY! STARTED TO LET THE ‘ALMOST THERE,’ THING — BE, UNTIL I COULD REARRANGE THE LANGUAGE, AGAIN AND ONCE MORE. IT IS OPINION, IT IS INTERPRETATION, IT IS, AS BEST, WRITTEN ON A BILL THAT ADJUSTS A NATION’S AGREEMENT OF AMENDMENT, POWER, LIBERTY AND AUTHORITY, AS WELL AS — TRUST OF INTEGRITY & FAIRNESS FROM ITS CITIZENS, EXISTS THE AMERICAN CONSTITUTION, LIKE MANY OTHERS, ITS LANGUAGE CONTRIBUTES SOME TO OUR NATION’S HARMONY. ERRBODY READ THE THING, WE UNDERSTAND ONE ANOTHER, IS SOME OF THE TRUTH,
LIKE, HEAVY CLAIM, HOW DO YOU FEEL ABOUT WAR REGARDING CLAIM OF GOD’S LAW? THE HEAVENS REMAIN A MYSTERY TO CHANGED MIND FICKLE MORTAL FLESH AND BONE, YOU ASK ME. EXIST ENGINEERS THAT KNOW PLENTY ABOUT LAW AND NO ONE GIVES A DAMN ABOUT THEM, NO ONE, NOT ONE, NOT, ONE OF US HERE, THEY’VE DONE PLENTY FOR THE WORLD, DUDE, WE JUST PRETEND TO CARE, DON’T WE?
APPROACH IS NEVER ENDING, I THINK ITS LIKE THE RULE IN GOVERNMENT THAT COMPRESSES THE THING TO RED OR BLUE, REPUBLICAN OR DEMOCRAT, WHAT AM I TALKING ABOUT — APPROACH TO ACTING, A PERSONAL SINCERITY OR AN ABSOLUTE ADOPTION OF WRITTEN CHARACTER, ARE THE TWO EXTREMES FOR ANYONE AND EVERYONE; PERSONAL SINCERITY OR AN ADOPTION OF TRAITS AND QUIRKS. TRAINED ACTORS GO, ‘YOU’RE — REWRITING MY CHARACTER, UHM, DON’T — DO THAT,’ AND SAY IT LIKE THAT, VERY SPOILED, VERY ENTITLED. CAN’T RE-WRITE THE CHARACTER, IS WHY YOU NEED A SQUAD TO SHAPE SCENES AND CHARACTER INTERACTION, GOES THEORY AND APPROACH, /
HOW DID ANYTHING ON THIS WALL, / CRAZY, STUPID, THINKING.
OUR PAPA LIKE OUR GRANDPAPA’S ANCESTORS LIKELY SPOKE NAWAT OR NAHUATL. THE CLOSER WE GET TO MEXICO, THE MORE MAYA AND ZAPOTEC WE WOULD HEAR, IN 1776, THE DECLARATION OF INDEPENDENCE WAS SIGNED BY 56 DELEGATES, LIBERATING THE AMERICAN PEOPLE FROM BRITISH RULING,
VATOS LIKE BLACK PEOPLE, INDIAN PEOPLE, ASIAN PEOPLE, RUSSIANS, KNOW AMERICAN. AMERICAN IS UNIQUE TO THE LAND’S PEOPLE, WE KNOW ERRBODY BUSINESS AND ERRBODY KNOWS YOURS,
LANGUAGE HAS GRANTED WHITE PEOPLE AND PEOPLE OF COLOR — ALIKE, LIBERTY. PEOPLE OF COLOR ARE AMERICAN,
, and you are the way that you are. wanna be mad at me.
‘IS NO DISCUSSION TO BE HAD, THAT’S THE SCENE. HE SAYS HE LOVES HER, SHE SAYS HE’S CHICKEN SHIT. HE DRIVES OFF THE CLIFF, THEY DIE TOGETHER,’ IS FILMMAKER DE’CABRINI TALKING TO THE STAFF. ‘WE GET THAT THEM DYING TOGETHER IS IMPORTANT TO YOU, NO ONE GOES TO THE MOVIES FOR A BIOPIC ON DIVORCE,’ ITS LYNDA, BY THE WAY, ‘BUT — THEIR RIDE TO THE END IS SO MEAN, AND SAD, AND ANNOYING. WE WANT THEM HOT AND HEAVY WITH ONE ANOTHER AND HELP ME OUT HERE GUYS, WE ALL AGREE, WE GOTTA MAKE GOOD WITH THE SPICE,’ SHE INSISTS. ‘I KEEP MY EXPLOSION?’ ASKS DE’CABRINI. ‘YES, YOU WILL KEEP THE VERY EXPENSIVE, SOME MAY SAY EXCESSIVE ON LOCATION MURDER SUICIDE SCENE,’ ANSWERS LYNDA. ‘THE TEAM THINKS I’M EXCESSIVE? YOU ALL THINK I’M EXCESSIVE?’ THE CLAIM FLUSTERS DE’CABRINI, ‘I DON’T KNOW WHY THINGS NEED TO GET DONE THE WAY I SAY SO, BUT IT IS USUALLY WHAT WORKS BEST. PLEASE, IF ANYONE HAS A MUCH MORE AFFORDABLE IDEA AND OR CARES TO REWRITE A SCENE, BY ALL MEANS, SHOW ME THE FUCKING WAY,’ SAYS DE’CABRINI. ‘YOU ARE MISCONSTRUING WHAT I’M SAYING AND BEING UNCOOL, RIGHT NOW,’ REPLIES LYNDA. ‘WHAT ARE YOU SAYING?’ SINCERELY ASKS DE’CABRINI. ‘CAN WE PUT THE CAR IN CRUISE CONTROL AND HAVE OUR COUPLE SHARING SALIVA BEFORE THEIR DEATH’S EXPLOSION?’ REQUESTS LYNDA.
‘HI, SARAH. I’M,’ MAN OF THE YEAR, TWO YEARS IN A ROW, IS INTERRUPTED BY SARAH. ‘I KNOW WHO YOU ARE, PRETTY BOY. YOU’RE THE FOO’ CASTED TO PLAY MY FATHER,’ SARAH REBUTTALS. ‘MY NAME IS ANDY, AND FORGET THE JOB. I QUIT RIGHT NOW, ’ SAYS MAN OF THE YEAR, TWO YEARS IN A ROW, ANDY. ‘YOU THINK THERE’S A CHANCE OF US HAVING ANYTHING TOGETHER?’ QUESTIONS SARAH. ‘I THINK SO, YEAH,’ ANDY REPLIES. ‘YOU’RE OUT OF YOUR MIND,’ SHE ANSWERS. ‘I READ YOUR MEMOIR, AND FOUND YOUR USE OF PLANTS AS A SYMBOL TO ILLUSTRATE OUR NEED LIKE ITS NEED OF ROOM TO GROW, WISE BEYOND LOTS OF OUR YEARS. ONE CAN ONLY IMAGINE WHAT SORT’OF METAPHORS YOU HAVE WRITTEN IN THAT JOURNAL OF YOURS, AFTER ALL THESE YEARS,’ MENTIONS ANDY. A STUNNED SARAH HAS NO SHOT, THEY HOOK UP. THEY GOT TO. NO THEY DON’T. THEY SHOULD, IT MAKES SENSE. ‘I AM NOT FALLING FOR NO FUCKING ACTOR IN A FUCKING AIRPORT. MIND YOURS. I AM WARNING YOU,’ SARAH GATHERS HER THINGS AND CREATES DISTANCE BETWEEN THE TWO. WHO KNOWS? MAYBE ANDY IS INCORRECT, MAYBE HE SHOULD LEAVE HER ALONE. OUR MAN OF THE YEAR, TWO YEARS IN A ROW IS AT THE BAR, ‘SHE MAY PEPPER SPRAY YOU, BUT YA’ NEVER KNOW — YOU MIGHT WIN HER OVER. YOU’RE THE DUDE THAT WAS CASTED FOR DE’CABRINI’S LOST FILES AND I DON’T FIND YOU TALENTED AT ALL,’ SAYS BARTENDER EDDY. ‘WHAT?’ PONDERS ANDY. ‘I MEAN GOOD ON YOU, BUT LIKE, CHIWETEL EJIOFOR, PAUL GIAMATTI, MOS DEF. THESE ARE CLEARLY YOUR SUPERIORS. MOS DEF GETS CASTED TO A SUCCEEDED DOUGLAS ADAMS NOVEL AND THE TEAM WINS ONE AWARD FOR BEST 30 SECOND AD SPACE. THE EXTENDED PLAY BEING GIVEN AWAY FOR FREE ON YOUTUBE. YOU GET CASTED TO SOME DUDE’S NEVER TO BE TOLD, NOT SO TRUE CRIME STORY AND ARE ON THE COVER OF EVERY MULTIMEDIA PRINT & WEB PLATFORM. PFF, BULL — SHIT. TELL ME MAN OF THE YEAR, TWO YEARS IN A ROW, HOW DOES IT FEEL TO BE LIVING IT UP BECAUSE YOU WERE CASTED TO A PICTURE THAT HASN’T BEEN FUCKING RECORDED, YET?’ CONCLUDES BARTENDER EDDY. ‘YOU DON’T THINK I’M TALENTED?’ ANDY DARES BARTENDER EDDY, ‘NOHHPE,’ ANSWERS EDDY,
Trust your peeps, everything else will land where it should.
THE STAGE IS NO FUGAZI, THESE ARE THE PEOPLE THAT HAVE PROVEN FAIR. WAS A MAN AT A BUS STOP, MUST BE GOING TO ANOTHER AUDITION.
THE SUBJECTS AND THE STAFF MAKING CONVERSATION ABOUT WHAT MAKES SENSE, LEADING TO WHAT IS RECORDED AND CAPTURED. MOTION AFTER MOTION OF THE SAME SCENE, SOMETHING’S OFF, PEOPLE ARE FRUSTRATED, WHAT CAN IT BE? ‘ANYONE GOT ANY IDEAS?’ SOME DUDE RAISES HIS HAND, ‘I CAN CALL, THE MAN.’
‘THE MAN? WHO’S THE MAN?’
‘I DON’T REMEMBER HIM EVER GIVING ME A NAME —,’
‘SO — HOW ARE WE SUPPOSE TO,’
‘HOLD UP, HERE’S HIS BUSINESS CARD.’
BUSINESS CARD READS, ‘CALL ME, IM THE MAN, 555-1455.’
‘YOU THINK HE CAN HELP US OUT?’
‘I DON’T KNOW, I MET HIM AT MY MOM’S BANQUET, YOU KNOW ROBO-GEEKS, ATHLETES, POTENTIAL CLIENTS, IMPORTANT PEOPLE. WE TALKED AT THE OPEN BAR, HOMEBOY’S KIND OF A GENIUS. SAYS ONCE HE FIGURED OUT SHADOWS IN MOVING PICTURE HE WAS SWIMMING IN THE DOUGH.’
‘I SEEN’T IT DUDE, I SEEN’T IT. GOT ME ON ALL SORTS OF TEN,’ BARTENDER EDDY AND SOME OF THE AIRPORT STAFF STANDING OUTSIDE WHILE ON BREAK, ‘IT’S THE MAN OF THE YEAR, TWO YEARS IN A ROW, AT THE BAR. WE WERE CASUALLY COOLING AND I DECIDE TO POP SHIT, DON’T ASK ME WHY, IT’S HOW I WAS FEELING. AND I’M POPPIN’ SHIT, FEELING HOW I’M FEELING,’ BARTENDER EDDY IS INTERRUPTED BY A CO’WORKER, ‘MAN, GET TO THE STORY,’ SHE SAYS. ‘HE WENT FRRR, FRRR, TWO PINTS OF STOUT ON THE TABLE,’ SAYS BARTENDER EDDY. WE HEAR, ‘NAH, NO WAY, UH-UGH.’ FROM THE CIRCLE. ‘HE THEN GOES, WELL — WE GOTTA DRINK,’ CONTINUES BARTENDER EDDY. ‘DID YOU?’ ASKS A LADY. ‘YEAH, I DID. IT WAS GOOD BEER,’ SAYS EDDY.
BARTENDER EDDY AND ANDY AT THE BAR, ‘THE GOAL OF DECEPTION IS TO GET THE EYES TO LOOK OVER THERE WHEN THEY SHOULD HAVE BEEN LOOKING OVER HERE,’ ANDY POINTS TO HIS RIGHT HAND ON THE BAR TABLE, PINT ONE, PINT TWO. BARTENDER EDDY IS STUNNED, I MEAN THAT’S IMPRESSIVE.
‘LET’S DRINK,’ SAYS ANDY.
BLASPHEMY! NO, YOU DID NOT. DIABLO. BAD. IS ONE REACTION, ‘YOU’RE NOT LIKE INTO SOME WICKED STUFF ARE YOU?’ ASKS BARTENDER EDDY. ‘ME, NO. I’M CHRISTIAN PASSIVIST, FUCK I WANNA WRECK YOUR SHIT FOR? DRINK WITH ME,’ SAYS ANDY, MAN OF THE YEAR, TWO YEARS IN A ROW,
STUCK AT THE AIRPORT DRINKING WITH BARTENDER EDDY, MAKES YOU WONDER, CAN DO ALL THAT,
SARAH WANTS NOTHING TO DO WITH THE MAN,
A date with the trombone player, at the local hotspot, The one dude and lil’ Julio are chatting at the bar,
We don’t let the trombone player win, we allow him his path,
Was a trombone player’s audition, ‘you’re looking to be the suit,’ says the cool foo of the group. ‘That’s tough,’ says the cool foo, the team is in agreement. Interjects a lady, ‘you guys,’ looks at the trombone player, ‘these guys are really hung up on our, man of the year, two years in a row, wearing the suit — but I don’t know why you wouldn’t be an appropriate match, sweet-thang,’ says the lady of the year, remember, the award is not about being a celebrity. Cool foo looks around, looks at the trombone player, ‘do your thing — ’ the trombone player goes alright fuck yeah and begins to play the trombone. The cool foo looks at his watch, looking and listing. Listing and looking, you have to play fair, don’t tell this guy he licks balls at playing the trombone. ‘Hey, bud. Thank you.’ Says the cool foo. ‘Wait it’s only a few more notes until I riff,’ says the trombone player. ‘We’re good. Do you do anything else?’ Asks the cool foo. ‘The ad said, talent hosting worth a million bucks,’ replies the trombone player. ‘What are you getting at?’ an annoyed cool foo questions. ‘I do lots of things. This is my talent,’ replies the trombone player. ‘Well no. we need an actor. Second, you suck.’ says the cool foo. An insulted trombone player replies, ‘I do not.’ a quick witted cool foo replies, ‘that’s correct, you blow,’ a chuckling cool foo does the extra stuff, hi fives the team, ‘got him.’ back to the trombone player. Again, an insulted trombone player, ’Do you know anything about music? Does anyone here know anything about music?’ The trombone player looks around, guys laughing. is a lady, not crying, but there’s something in her eyes, ‘that was amazing,’ she says. The trombone player, ‘see! Thank you.’ Trombone player to the cool foo, ‘I work hard man, talking shit.’ The council quiets. speaks a member of the board, ‘you’re really good. Original material is rare, even rarer is something that is as good as what you’ve performed, for us.’ The cool foo loses his cool, a little bit, it is important for the cool foo to be a person, it is as important for the cool foo to remember, thy is the cool foo, we pay you for a reason, ‘you’re all on drugs. That’s what’s happening — ‘ another lady of the board interjects, its lynda, ‘no, you’re on drugs. Brian and bree know instruments like they read sheet music. They just gave us an educated verdict. What’s your name, Sebastian?’ to Sebastian, return to lynda, ‘as impolite, as well as incorrect this foo may be, he brings up a good point. our very own, man of the year, two years in a row, will audition for this role and is likely to get it. Not for nothing, you impressed a few of us here, can we give you a call for a second read, if necessary?’ Lynda asks. ‘Yes. I’d like that,’ says the trombone player. ‘Thank you for your time,’ concludes lynda.