CeLlular PhonE DAta #43

WAR IS TO THE DEATH BE IT NO HONOR IN RETREAT. THEORY OF THE BOARD IS TO CONTINUE ON 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,

DESPITE A MODEST AMOUNT OF MATERIAL BEING MADE AVAILABLE TO THE PUBLIC, PIERRE DE’CABRINI REMAINS A SOUGHT AFTER VOICE OF OPINION BECAUSE OF THE COMPLETED WORKS’ MERIT. HIS DEBUT STORY, ‘ROSE’DOVES NEVER CRY,’ CHARMED PUBLIC ENTHUSIASM. THE BOOK OFFERED READERS AN ASTUTE DETAILING OF RESOLUTION TO SOCIAL DILEMMAS, HONEST CHARACTER-INTERACTIONS, AND CAREFULLY STRINGED RHETORIC. THE STORY CLOSES TO A SATISFYING END, READERS WERE READY FOR MORE. THE WRITER WAS THEN ACKNOWLEDGED BY POP CULTURE MEDIA AS A ‘MUST KNOW’ FILMMAKER AFTER THE COMPLETION OF A CHRISTMAS SPECIAL’S RECORDING, ‘KISS ME UNDER A MISTLETOE, TONIGHT.’ THE MAN HAD MADE A LASTING IMPRESSION. HE WAS HERE TO STAY. IS DE’CABRINI IN A DINER, WAITING ON A POTENTIAL BUYER. OUTSIDE OF THE DINER IS HITMAN ONE AND HITMAN TWO, SITTING IN AN UNKNOWN HOOPTIE’VILLE. ‘YOU KNOW ANYTHING ABOUT THIS GUY?’ ASKS HITMAN TWO. ‘SOME WRITER,’ ANSWERS HITMAN ONE. ‘DIRECTED, KISS ME UNDER A MISTLETOE, TONIGHT,’ MENTIONS HITMAN TWO. HITMAN ONE DOESN’T SEEM TO CARE. ‘IT WAS AH BAD MUTHAFUKKA, STUPID MAD NOTE. IT IS A STORY ABOUT OVERCOMING FEAR AND TRUSTING YOUR DREAMS, KATHERINE HEIGL PLAYS THE MOM, LUHH’ THAT WHITE WOMAN,’ HITMAN TWO IS INTERRUPTED, HITMAN ONE SNAPS, ‘AYE MAN, WHAT THE FUCK ARE YOU JAWING ABOUT? WAIT IN THE CAR, DON’T SAY SHIT. WHEN HE STEPS OUT, I SMOKE THE FOO’, WE TAKE EVERYTHING BACK TO BOSS’MAN, EXCEPT FOR THIS PIECE OF SHIT. YOU’RE HERE FOR COVERAGE. SHIT GOES DOWN, YOU’RE HERE. SHIT’S NOT GOING TO GO DOWN, IT NEVER DOES. WATCH ME WORK, JOIN PASSENGER SIDE. FUCKING DICK RIDING CINEMA FAN BOY, ASKING ME QUESTIONS ABOUT THE COCKBLOWER’S PUBLICATIONS, WHAT’S THE MATTER WITH YOU?’ CONCLUDES HITMAN ONE. IT SEEMS AS IF THE MAN’S ANNOYANCE IS ENOUGH TO QUIET THE CHATTER. HITMAN TWO RAISES HIS HAND. ‘WHAT?’ ASKS HITMAN ONE. ‘I’M WITH YOU, FUCK IT. WHAT I WANNA KNOW IS, WHO’S PICKING UP THE STORY? IT’S DECISIONS LIKE THIS THAT ALTER THE QUALITY OF PRODUCT INTRODUCED TO THE PUBLIC. WE MIGHT NEED TO KEEP HIM ALIVE A LITTLE LONGER, IS ALL I’M SAYING. WHY GIVE UP THE SCRIPT TO LESSER HANDS?’ SUGGESTS HITMAN TWO. ‘I MIGHT BE THE STUPIDEST SON’MBITCH ALIVE MAKING CONVERSATION WITH A DUMMY. YOU’S A DUMMY! HAVE YOU NOT HEARD THE WORDS COMING OUT OF MY MOUTH? I DON’T GIVE A RATS’ASS WHAT THEY DO WITH THE MOVIE, I’M HERE TO MURDER THE FAGGOT AND THAT’S HOW I GET PAID. ARE WE CLEAR? HAVE YOU BEEN GIVEN ALL THE NECESSARY INFORMATION TO GET YOU TO RIDE BITCH AND BE QUIET? FUCKING BOZO, WHAT I GOTTA DO, PUT A MUZZLE ON IT?’ RELIEVES HITMAN ONE. ‘GOT IT, I’LL BE QUIET,’ SAYS HITMAN TWO. AND HE DOES, THET BOTH DO. THEY SIT AND WAIT. INSIDE THE DINER IS A WAITRESS REFILLING CABRINI’S COFFEE. PEOPLE DINING, LOOKS GREAT. NOT MUCH ACTION OUTSIDE, SOME KID ON A BIKE, CEMENT TRUCK ON REVERSE. ARRIVES A TOWN CAR, STEPS OUT SHIRLEY STOCKHOLM, ‘OH MY GOD,’ REACTS HITMAN TWO.

HITMAN ONE KEEPS TO HIMSELF, FUCK DOES HE NEED THIS GUY BLABBERING FOR? SHIRLEY STOCKHOLM ENTERS THE DINER, MAKES HER WAY TO DE’CABRINI, PAPI GETS OFF HIS ASS AND SHAKES HANDS WITH STOCKHOLM, NONE OF THAT DOUBLE TAP BULLSHIT BECAUSE HER NAME IS SHIRLEY, DE’CABRINI ISN’T NEGOTIATING WITH SHIRLEY, DE’CABRINI IS NEGOTIATING WITH A STOCKHOLM. ‘THERE IS NO SUCH THING AS 50/50 IN THIS BUSINESS, SIR. YOU KNOW THAT, I KNOW THAT. TELL ME, WHAT’S IT GOING TO COST TO MAKE AND I’LL BRING THAT NUMBER TO THE BOARD,’ STATES STOCKHOLM. ‘THE REASON I’M ANNOYED IS BECAUSE YOU TALK TO ME LIKE YOU WANT A STRAIGHT UP ANSWER, I GIVE YOU MY ANSWER, YOU SAY IT’S NOT GOING TO HAPPEN. WHAT DO YOU SUGGEST?’ REPLIES DE’CABRINI. THE WAITRESS MAKES HER WAY, SERVES THEM PANCAKES, OOH — SHIRLEY GOT THE WAFFLES, LOTS OF BACON AND SAUSAGE LINKS, EGG AND HASH BROWNS, GOING ON AT THE DINING TABLE. ‘AND IF THERE’S ANYTHING ELSE, LET ME KNOW,’ OFFERS THE WAITRESS. DE’CABRINI AND STOCKHOLM AT THE TABLE, ‘CAN WE EAT? I’M FAMISHED,’ SAYS SHIRLEY. ‘OF COURSE, LOOK AT ALL OF THIS, WHERE ARE MY MANNERS?’ SAYS DE’CABRINI. STOCKHOLM BEGINS WITH HER ORANGE JUICE. ITS A COOL LOOKING PLACE, I RECOMMEND TAKING SOME PICTURES, IF YOU’RE EVER IN THE AREA. BACK IN THE HOOPTIE’VILLE, WE GOT HITMAN ONE, WE GOT HITMAN TWO. WE GOT HITMAN ONE PLAYING IT COOL, WITH A GUN TO HIS HEAD. WE GOT HITMAN TWO — WITH A GUN, IN HIS HAND. ’YOU DIG WHAT I’M TELLING YOU? IT DOESN’T MAKE SENSE, TO ME. YOU GOTTA MAKE IT MAKE SENSE,’ REQUESTS HITMAN TWO. ‘WHAT ARE YOU TELLING ME, RIGHT NOW?’ HITMAN ONE WANTS TO KNOW. ‘TRUTH BE TOLD, MAN — LOOK AT ME WHILE I’M TALKING TO YOU!’ DEMANDS HITMAN TWO. HITMAN ONE TURNS HIS HEAD, SLIGHTLY, HE’S ALL EYES AND EARS. ‘TRUTH BE TOLD I DON’T CRY, IT’S NOT FOR ME, IT’S NOT WHAT I DO. SLID OUT THE WOMB REAL SMOOTH’LIKE, BEEN THAT WAY ALL MY LIFE. AND WHEN I DID, IT LEFT ME WONDERING ABOUT THE SORT OF ALTITUDES THAT EXIST BEYOND THE CLOUDS HAVING ARTEEST OR CONNOISSEURS ALREADY TRANSCRIBED SUCH FREQUENCIES, ARE YOU GETTING THE PICTURE?’ ASKS HITMAN TWO. ‘YOU GOT A HARD ON FOR HEAVEN BECAUSE YOU WATCHED SOME MOVIE ABOUT TURTLE’DOVES,’ HITMAN ONE IS HIT WITH A — WHAPP! WITH THE BOTTOM OF THE GUN’S MAGAZINE. ‘WHAT THE FUCK, MAN,’ GRUNTS HITMAN ONE. ‘ROSE’DOVES, NOT TURTLE’DOVES,’ HITMAN TWO IS INTERRUPTED, ‘I DON’T GIVE A — CRAP!’ REPLIES HITMAN ONE. HITMAN TWO WHAPPS HITMAN ONE, ONCE MORE, ‘HAVE SOME RESPECT,’ SAYS HITMAN TWO. ‘GIVE ME A FUCKING BREAK, YOU’RE STILL A CROOK, YOU STILL SIN’D PLENTY AFTER WATCHING THE THING, AND WILL LIKELY WRECK MORE LIVES AFTER THIS BECAUSE YOU’RE AN IDIOT. RESPECT? COULD YOU PUT THE GUN DOWN, PLEASE, I’M ALMOST TAKING YOU SERIOUS,’ SAYS HITMAN ONE. ‘HOW ABOUT YOU TRY LISTENING AND MAYBE I DON’T KILL YOU, WANT TO TRY THAT?’ HITMAN TWO ATTEMPTS TO REASON WITH THE MAN, ‘GOOD —

I ACCEPT TRUTH AS IS, THERE’S A HEART LIVING IN HERE,’ POUNDS HIS CHEST WITH HIS GUN, POINTS IT BACK AT HITMAN ONE, ‘AND IT CRIED. AND IT WHATN’T ABOUT NO ROSE’DOVES, NEITHER. IT WAS ABOUT A BOY AND HE HAD A MOM AND HE LIKED TOYS, I LIKE TOYS, YOU LIKE TOYS?’ ASKS HITMAN TWO. ‘YOU’RE DEAD, SO DEAD. FOR WHAT? YOU’RE MESSING WITH THE LEADING CRIME BOSS IN ALL OF GREATER NATIONS, YOU THINK HE’S LETTING YOU OFF THE HOOK THE SORT OF MONEY THIS HIT IS WORTH,’ STATES HITMAN ONE. AND WE’RE LOOKING AT HITMAN TWO WONDERING IF HE’S GOING TO FUCK OFF WITH THE MISSION AND PUT HIS LIFE IN DANGER OVER DE’CABRINI’S LIKELY RETURN TO PICTURE. ALL THE WHILE, OUTSIDE OF THE DINER, NEXT TO THE DUMPSTERS, WE GOT A COUPLE BABES ON A SMOKE BREAK, ‘DE’CABRINI’S IN THERE,’ SAYS WAITRESS ONE. ‘I KNOW RIGHT, YOU THINK THEY’RE GIVING YOU A BIG TIP, OR THEY DO LIKE PLAY HUMBLE, REGULAR TIP, EUGH,’ SAYS WAITRESS TWO. ‘YOU, EUGH. WHATEVER THEY GIVE ME WILL BE FINE,’ REPLIES WAITRESS ONE. WAITRESS TWO, OH YEAH I WAS THE ONLY ONE THINKING IT, SORT’OF GESTURES. ‘I HOPE THEY GIVE ME PHAT TIP!’ SAYS WAITRESS ONE, FLICKS HER CIGARETTE, ‘LET’S GO INSIDE,’ LEADS WAITRESS ONE,

IT’S THE BRONX FOO’ ITS THE BRONX. DON’T MISS THE OBVIOUS. THE BRONX SPEAKS LOUDEST TO WHAT IS OBVIOUS, IT'S THE BRONX. ‘SO I CAN TALK TO YOU?’ WAS A MAN LOOKING AT ANOTHER MAN IN THE EYES. ‘YEAH, I’M WITH YOU,’ THE YOUNG MAN ANSWERS. ‘GOOD, DON’T BE STUPID, AND YOU KNOW WHY WE’RE MAD AT YOU,’ OLDER MAN SPOKE, WALKS AWAY. ‘CUZ YOU LOOK LIKE THE PROBLEM. IT’S DUDES THAT LOOK LIKE YOU TERRORIZING THE CITY, 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, 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. AN ATHLETE HAD RECOGNIZED HIM, ONE OF MANY GUESTS AT THE WINE GATHERING. JOURNALISTS, ROCKSTARS, LIBERTARIANS, PHILANTHROPISTS, 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 SOFTEN THE NEWS. I AM ALLOWED TO GET ALL SORTS OF UNCENSORED, UP AND THROUGH 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,’ PLEADS ABBY. ‘YOU’RE RIGHT, IT’S 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 207 PASSENGERS, 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; THE PILOT GETS RID OF BOTH SARAH AND MAN OF THE YEAR, TWO YEARS IN A ROW. ‘BOTH OF YOU OFF THIS PLANE,’ GOES THE PILOT.

MADE FOR A GREAT SCENE, THE PILOT REFUSES, ‘NO, CATCH THE NEXT FLIGHT, OR THESE GUYS ARE GOING TO NEED TO FIND A NEW PILOT. I’M NOT FLYING THIS PLANE WITH YOU TWO HERE, FUCKING CRAZY. YOU’RE MAN OF THE YEAR, TWO YEARS IN A ROW, AND YOU’RE SARAH — LOTS OF MOHNAYY, GO! GET OUTTA HERE, WE’RE NOT FLYING THIS PLANE UNTIL YOU TWO GET OUTTA HERE, LOOK, YOU’RE FREAKING EVERYONE OUT,’ SAYS THE PILOT. THERE, YA’ HAPPY? SPOILER ALERT, THE COUPLE HAVE THEIR NIGHT WITH SOME SOUND FOR AMBIENCE AND THAT’S THE SCENE,

#2,655 , index and mentions; Sia, Cheap Thrills, 2016 Tarantino, Jackie Brown, 1997

CeLlular PhonE DAta #43 written by, Fredy Romero