HOT photos of Lindsay Lohan! Click here!
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From: Wowie (Mar 17, 2004 20:34 EST)
She looks like a bonafide corporate business woman in that pic. She could definetly fuck her way to the top with a rack like that!
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From: anon. (Apr 04, 2004 07:59 EDT)
sexy smile...hot lips...(i bet her other lips are even hotter)...MAN I WANNA SQUEEZE THOSE BREASTS!
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From: anon. (Apr 04, 2004 08:01 EDT)
she needs to spread her pussy lips the day she turns 18!
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From: blare (Apr 12, 2004 02:15 EDT)
screw 18 she needs to get nude now
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From: WOW (Apr 13, 2004 20:36 EDT)
man i want her to give me a tit fuch. ima fuck that mouth
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From: JackAss (Apr 15, 2004 05:42 EDT)
Why not grow up and go for that man in your life, you got problems. Grow up.
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From: shat me self (Apr 16, 2004 14:11 EDT)
she turn 18 in like 3 months =) july 2
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From: JHONNY_FUCK (Apr 18, 2004 18:27 EDT)
BITCHES, I'M ALREADY GOING OUT WITH HER.
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From: Jackass (Apr 19, 2004 09:39 EDT)
Yea and how about you wake up from your fantasy world, then take a good long look in the mirror.
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From: Knight (Apr 20, 2004 17:54 EDT)
who the fuck are you jackass!
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From: JACKASS SUCKS (Apr 21, 2004 09:27 EDT)
She is some fine meat, Lindsay Lohan if you c this, and need a casual sex partner, email me at [email protected] we can get it on, or if u broke n need some money im always ere with a paycheck for dat fine ass n titties, umm that mouth could take a load, bet she swallows
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From: LoserRepellant (Apr 24, 2004 20:04 EDT)
You guys are suck fuckin losers. What's the matter, you kind find LEGAL girls to fuck? Get a life.
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From: little john (Apr 25, 2004 04:33 EDT)
i wanna play duck duck goose or your it with lindsay
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From: The Realest (Apr 26, 2004 21:12 EDT)
What the fuck is all ur problems man? is this a site to rant and rave bout fucking lindsay lohan? thats some sad shit. whoever made this site needs to get outside more and not jerkoff at the computer.
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From: Boing ! (Apr 26, 2004 21:26 EDT)
I would love to floss with her red pussy hair
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From: jackass (Apr 30, 2004 10:21 EDT)
u guys would fuck a computer screen if it had breast!!! go out and fucking get a life!!
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From: Jackass Fucker (Hellfromabove) (May 01, 2004 22:57 EDT)
Huh... you say that we should all get out and get lives when you're the one that's actually taking the time to read all our fantasy posts about Lindsey "Luscious Tits" Lohan. Anyway, this bitch is really HOTTTTTTTTT!!!! Oh man I'm glad it's still legal for me. I'd fuck this bitch faster than Speedy Gonzalez. They should have had her wear like a fuckin' school girl outfit in the movie too. That shit woulda been hot. Fuck it, they shoulda just made her naked. Thanx. -See Ya!!!
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From: unctarheels (May 02, 2004 01:19 EDT)
From: Boing ! (Apr 26, 2004 21:26 EDT) I would love to floss with her red pussy hair LMAO...so damn funny!! I wonder if Aaron Carter Fucked her????
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From: g17 (May 02, 2004 04:11 EDT)
in full-screen u can c by looking at her tits it hot in there
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From: DAMN (May 02, 2004 09:44 EDT)
Three words...Saturday....Night.....Live!!! Anyone else see it last night? God damn, she was so hot!
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From: snicker (May 02, 2004 16:01 EDT)
yo DAMN, i saw SNL and TIVOed it, after the harry potter scene. MMMMMMMM yeah!
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From: j4ckal (May 03, 2004 14:48 EDT)
you know whats funny is that the haters who hit up this site probobly beat it to these pictures too, fucking hypocrites
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From: ssooooooo horney (May 03, 2004 18:13 EDT)
plese fuck meeeeeeeeeeeeeeeee
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From: SugarPlum (May 03, 2004 20:03 EDT)
I'm a 17 year old girl and i know this girl is Bangin! My Pussy is wet jus lookin at her!
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From: stupid jackasses (May 04, 2004 11:15 EDT)
i want to know what kind of jackass comes here, looks at all the pics, spews his load and then gets all jim bakker on the rest of us. if you really had a life, you probably wouldn't be looking up pics of linday lohan, ya fag
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From: EGADS (May 04, 2004 18:58 EDT)
NOOOOOOOOOOOOO THE PICTURES RAN OUT
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From: hot DAMN (May 05, 2004 00:33 EDT)
I saw her on SNL. My girlfriend didn't like it too much, but I am so fucking hot for Lindsay, I couldn't help myself. She is the Queen of Redheads. I was moaning the Harry Potter skit.
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From: DUDE!!! (May 09, 2004 01:57 EDT)
i would fuck her so fuking hard for one week straight!!!!!!!!!!!!!!!!
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From: Joug Jourdan (May 09, 2004 05:11 EDT)
Shes fat.
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From: gosling (May 10, 2004 18:54 EDT)
jackin off
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From: lindsays bf (May 12, 2004 00:59 EDT)
shes already doing that now
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From: Walter (May 15, 2004 11:11 EDT)
lyndsay is gorgeous. I wonder if she's as beautiful in person.
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From: ..... (May 22, 2004 19:43 EDT)
I found a pic with her nipple sticking out! http://www.robbscelebs.co.uk/noops101/lindsay_lohan006.jpg
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From: merkett (May 27, 2004 06:05 EDT)
oops, gotta clean up
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From: yuber (May 27, 2004 09:10 EDT)
I want to suck her tits till they arent there anymore
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From: peceboy666 (May 27, 2004 21:31 EDT)
man she is fucking georgous
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From: Yummy (May 29, 2004 16:49 EDT)
I hope Lindsay and Hilary Duff each have their careers bomb. cuz in 5 years they could fuck in a porno.
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From: taylorjohnson (Jun 01, 2004 21:41 EDT)
dont you just want to suck her wet juicy vaginia. Just thinking about her naked is amesome.
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From: lindsay lohan (Jun 01, 2004 21:43 EDT)
hey guys i found out about this site and was kinda shocked but anway if you want to see my ass just go to bang bus .com its amesome so enjoy. p.s. dont tell the media.
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From: >me (Jun 03, 2004 09:44 EDT)
Ya to the named .... thx for that website
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From: UEDkop (Jun 04, 2004 09:33 EDT)
hey guys, u get a little piece of lindsay at this site..... http://babes.peter1968.com/exposed/actresses/lindsaylohan01.php Only go if u WANT a piece of her. (oh the CLEAVAGE!)
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From: ANal Ravager (Jun 04, 2004 20:05 EDT)
Man, I would love to cram my dick up her ass. Any one who doesn't think she would be a great bang really need to check if they have some rocks in their sack.
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From: lol (Jun 05, 2004 16:23 EDT)
Lisday your hair color is really ugly I like your hair better when it was red! No it looks like an ugly Blonde color!
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From: Mr.Painter (Jun 07, 2004 12:37 EDT)
I want it inside you bessy. I love sweet tight, fresh, soft, moist, pussy, i could just fill ur cunt up with load.
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From: OoOOoo (Jun 07, 2004 12:38 EDT)
Im jacking off right now!!
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From: person (Jun 07, 2004 19:54 EDT)
damn
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From: JTBastl (Jun 09, 2004 14:29 EDT)
she is so fucking hot right now. i dont care if the tits are fake or not, as long as i can squeeze them-i am GOOD.god shes hot-hotter than hillary duff-YES
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From: [email protected] (Jun 10, 2004 10:51 EDT)
ur really beautiful lindsay
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From: j lo (Jun 11, 2004 00:01 EDT)
yea , no doubt lindsay lohan , you are really hot , i would do anything to get with you , you are the perfect girl , i wish i could go out with you and get to know you , i recorded the mtv music videos when u were the host just so i can look at you because you looked so hot in all those outfits you put on , i love you lindsay lohan
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From: marc anthony (Jun 11, 2004 15:21 EDT)
what the fuck?! Fuck you you lezzo bitch, I want a divorce!
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From: Fez (Jun 14, 2004 16:51 EDT)
nice as boobage
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From: [email protected] (Jun 17, 2004 20:51 EDT)
blah face, huge boobs. Who new guys were so easy to impress. Now that I know what goes on in ur sick little minds when girls with a nice rack show clevage, I doubt any of us will want to wear low cut shirts!! horndogs
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From: HotDOG (Jun 18, 2004 09:53 EDT)
Dear Ginger, When u get older you will want me to stick my footlong in your cunt, and fuck you hard allnight, and thats y you will wear clothes that show ur TITTIES like what lindsey is wearing cause then i think about sticking my cockin inbetween ur tits and letting ur pussy lips rap around my shalong...You know you want me Biatch!!!
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From: HotDOG (Jun 18, 2004 09:56 EDT)
Lindsey i would pin you down a fuck you hard, you couldn't get away and after i started raming my cock deep into you moist pussy you would want it 2. IMA STICK IT IN UR PUSSY!!!!!
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From: money bags (Jun 23, 2004 16:14 EDT)
damn lindsay u fine as hell why dont you open up them legs real quick so i can stick my 20-inch python in that thight wet pussy
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From: lindsay lohan (Jun 23, 2004 16:24 EDT)
fuck all u fagets the only man i want is money bags (above me) i love the way his big 20-inch cock goes in-n-out my pussy his the only man that can satisfy my sexual needs some times i like it soft but not as much as i like it when he straight beats it up. fuck me again money bags pleeeeas.
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From: money bags (Jun 24, 2004 19:17 EDT)
I'm gay now.
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From: Mike (Jun 25, 2004 19:11 EDT)
Lindsay Lohan is the ugliest, orangest celeb out there. Theres nothing to get excited over, she is all makeup and fake bake lotion. Get a life losers
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From: hotttt (Jun 25, 2004 19:31 EDT)
omg i want to fuck her soooo bad!!!! I could make out with her for a week...so sexy lindsay
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From: ch0ke (Jun 27, 2004 01:48 EDT)
Mike she's orange with that fake tan shit without she's hot and if u dont think so then goto www.gayporn.com
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From: money bags (Jun 28, 2004 12:05 EDT)
here lindsay, read this: HOME MOVIES from the 60's, SILENT and grainy: EXT. MANSION -- DAY -- HOME MOVIES A stately mansion. A perfect lawn. A BUTLER carries a birthday cake with sparking sparklers... Past wealthy MEN in crewcuts and thin ties, WOMEN in cat-eye sunglasses. Everyone sings (silent) "Happy Birthday"... CHILDREN follow the cake, in dresses and suits, gathering round NICHOLAS VAN ORTON, 7, guest of honor, who wears a blindfold. MOTHER comes to remove the blindfold and Nicholas ogles the cake, laughs. He reaches for a sparkler. STEP PRINT: Mother intercepts, fussing, fixing his hair... Nicholas' FATHER sits near, smoking, nodding. He's intense, thin, wearing a party hat. He notcies the camera without mugging for it, bends to snuff his cigarette in an ashtray. SPLICE-JUMP TO/STEP PRINT: a Harlequin CLOWN ties balloon animals. Nicholas assists, distracted by the inattentive children who look into the camera and pull hair and stand on their chairs... Men are drinking, storytelling, laughing. A fraternity... The women are elsewhere, doing movie-vamp poses for the camera, blowing cigarette smoke, brightly dressed, eyelids blue and green, lipstick perfect... Servants clear the table. Father holds a piece of untouched cake. A man talks to him, but Father stares off, lost in thought. He's forgotten the party hat on his head... STEP PRINT: Mother puts her arms around Father and makes him face the camera. He leans in, posing dutifully. SPLICE-JUMP TO: a nanny in uniform, ILSA, holds an INFANT (CONRAD) to the camera, places the baby in Nicholas' arms. STEP PRINT: Nicholas is gentle, overwhelmed by cradling his tiny brother. SPLICE-JUMP TO: children play tag. Across the lawn, Father heads to the house. He looks back, walks backwards. STEP PRINT: he gives a small wave, continuing away... Kids chase past. Nicholas and two other kids huddle, arms locked, spinning round and round, till they stumble different directions, falling, laughing, dizzy... Nicholas gets up, wearing a PUPPET on each hand. STEP PRINT: He walks CLOSE and peers in the camera, steps back, happily talking. We can't hear because it's SILENT... DISSOLVE TO: INT. VAN ORTON MANSION, BATHROOM -- MORNING The emotionless face of NICHOLAS VAN ORTON, just today 40, looks upon itself in a mirror. He brings an electric shaver across his chin, shuts it off, wipes his face with a towel. INT. VAN ORTON MANSION, MASTER BEDROOM -- MORNING Nicholas crosses. The bedroom is spacious, devoid of clutter. A weight-machine in a far corner. A big T.V. shows CNN with no sound. At a bedside table, Nicholas picks up a heavy, gold ROLEX, sliding it on, checking the time. 6:32. INT. VAN ORTON MANSION, KITCHEN -- NIGHT Nicholas stands at the kitchen islandm his tie thrown over his shoulder, eating breakfast. ILSA, now elderly, is across the way doing dishes. The only sounds are the tiny clicks of Nicholas' knife and fork against his plate. He's reading a German newspaper. Nicholas jabs the last piece of egg, skewers the last bit of ham and last square of toast. Plate's clean. He sips his last swallow of juice, dabs his mouth with a napkin, picks up his briefcase and heads to a back door. NICHOLAS (without looking) Thank you. ILSA Have a nice day. EXT. VAN ORTON MANSION, BACKYARD -- MORNING Nicholas walks down a garden pathway to a three-car garage. He looks at his Rolex. CUT TO: INT. NICHOLAS' BENTLEY -- MORNING Bentley Continental Coupe. Quiet. Nicholas drives, begins humming, barely audible. A Prince song, "Erotic City." NICHOLAS (sings, to self) ...until the dawn... making love till cherry's gone.. (humming, quiet) ... Erotic City, you and me... Nicholas changes lanes, HONKING the HORN, impassive. We can BARELY HEAR the BEEPING in here. He glances back. He drives, adjusts his mirror. Resumes humming. CUT TO: EXT. VAN ORTON BUILDING -- MORNING Distinctive SAN FRANCISCO skyline on the horizon. Nicholas' building is a brownstone bookended by skyscrapers. Old money dwarfed by new. The Bentley arrives... INT. VAN ORTON BUILDING, UNDERGROUND GARAGE -- MORNING The Bentley moves past a valet station. One VALET follows. The Bentley takes its place. A brass plaque reads: "NICHOLAS VAN ORTON, Van Orton Enterprises." The valet opens the car door for Nicholas. CUT TO: INT. VAN ORTON OFFICE -- MORNING Two objects on Nicholas' desk: phone and laptop computer. He's on the phone, operating the laptop with one hand. Business talk, mile-a-minute. MALE VOICE (v.o.) (from phone) ... might be perched up on majority shares, but you're not the only one who gets hurt if the actuals crash. Forecasts were fucked to begin with. NICHOLAS (into phone) The moment Baer/Grant's P and L report is placed in my hand, I will be speed dialing your number. Empty walls. No distractions. MARIA, the proper executive assistant, stands practically at attention. MALE VOICE (v.o.) Is that a promise? NICHOLAS I'm sorry... I'm unfamiliar with the term. MALE VOICE (v.o.) What if Alan calls me with a sob story about substantiation procedure? NICHOLAS Take evasive action: have your secretary say you're in a meeting. Goodbye, Jack. MALE VOICE (v.o.) Yeah. Nicholas hangs up, shuffling computer windows: stock quotes, pie-charts, graphs, lists. Maria refers to an index card. MARIA Invitations: the Museum Gala. NICHOLAS No. NICHOLAS The Fitzwilliam Botanical Garden Annual Fundraiser. NICHOLAS No. NICHOLAS The Hinchberger wedding. NICHOLAS Let me think... (sits back, eyes closed) Hordes of men in tuxedos. Everyone's droning. Ludwell's trying to break the ice by reciting an off-color limerick... MARIA (impatient) I'll send your regrets. Honestly, why must I even bother? NICHOLAS Because, if you don't know about society, you don't have the satisfaction of avoiding it. A KNOCK and a female ASSISTANT enters. There's a lot more NOISE and ACTIVITY behind her. ASSISTANT Elizabeth on line three. Nicholas taps his fingers on his lips, considering. MARIA Your ex-wife. NICHOLAS I know who she is. (to assistant) Take a message. ASSISTANT Um... Happy Birthday, sir. Nicholas squints. MARIA (icily) Thank you, Maggie. The assistant backs out. Nicholas returns to his computer. NICHOLAS I don't like her. MARIA I wouldn't mention the following, except he was very insistent. It's obviously some sort of prank... NICHOLAS What? MARIA A gentleman left a message requesting a lunch, but I assured him... NICHOLAS What gentleman, Maria? MARIA A Mister... Seymour Butts. Nicholas looks up. He sits back, lost in thought. NICHOLAS (to himself) "Under the Bleachers"... by Seymour Butts. MARIA Pardon me? I'm afraid I don't... NICHOLAS Cancel lunch. Make reservations at Campton Place for me and Mr. Butts. Maria nods, heading out, high heels clicking as she crosses. NICHOLAS And, put the reservation in my name. CUT TO: INT. CAMPTON PLACE RESTAURANT -- DAY Upscale. Quiet. Nicholas is in a booth facing the rear, studying a thick FINANCIAL STATEMENT, making tiny notations. A WAITRESS arrives. WAITRESS Ready to order, sir? NICHOLAS I'm still waiting... Nicholas points out the other plate. The waitress leaves. NICHOLAS Excuse me... She returns. He slides his empty glass toward her. NICHOLAS This was iced tea. He's returned to his report. The waitress takes the glass and leaves, irritated. Nicholas checks his watch. An EXAGGERATED SNEEZE is HEARD and liquid hits the back of his neck -- AH-CHOO!... Nicholas jumps, sickened, turning to face CONRAD, who holds a spray bottle and smiles. CONRAD Hey there, Nickie. NICHOLAS (repulsed) Conrad, what a surprise. Gesundheit. CONRAD Happy Birthday, man. NICHOLAS (nods) "Seymour Butts." I never get tired of that one. CONRAD That's why it's a classic. Come on, man... how 'bout a hug... ? Nicholas is wiping his neck with a napkin as Conrad forces a hug on him. Conrad takes a seat, good-lookingm unkempt, tan, wearing a too-big suit jacket. CONRAD They gave me a free jacket at the door. NICHOLAS They'll be wanting it back. CONRAD Not after I'm done with it. (laughs) Actually, I've been here. In grad-school I bought crystal-meth from the maitre d'. NICHOLAS Which grad-school? Conrad smiles. The brothers take each other in for a moment. Long moment. They're a bit stunned to be reunited. NICHOLAS You look good. CONRAD So do you. And to think I was worried... NICHOLAS About me? CONRAD How long's it been? Since mom died... four years? How are you? NICHOLAS Never better. CONRAD Elizabeth? NICHOLAS Divorced. Remarried to some pediatrician or gynecologist, or pediatric gynaecologist, in Sausalito. CONRAD Too bad, I liked her. So, you're all alone in the House of Pain? NICHOLAS I redecorated. What about you? CONRAD Nowhere in particular. Don't you keep track of my whereabouts anymore? NICHOLAS Connie... what brings you here? Is everything alright? CONRAD Yeah. NICHOLAS You need anything? CONRAD No. NICHOLAS Really? CONRAD I don't need anything from you. I was laying on a beach somewhere in Spain, naked, and, it hit me -- Nickie's birthday. So, here I am, four layovers, twenty-seven hours flying and one donkey ride later. Not necessarily in that order. Conrad drops an envelope on the table. CONRAD For you. NICHOLAS You shouldn't have. Nicholas opens it, takes out a sappy, Hallmark B-day card. A BUSINESS CARD falls out. Nicholas picks it up... CONRAD What do you get for the man who has just slightly more than everything? The card: "Consumer Recreation Services." With a PHONE NUMBER and ADDRESS below. CONRAD Call that number. NICHOLAS "Consumer Recrreation Services." What, do they make golf clubs? CONRAD Trust me. Call that number. NICHOLAS Why? CONRAD They make your life fun. Their only guarantee is you will not be bored. NICHOLAS Fun? CONRAD You've heard of it. You've seen other people having it. They're an entertainment service, but more than that. NICHOLAS This isn't an escort service? CONRAD It's a profound life experience. NICHOLAS Like a stroke? CONRAD Call them. Trust me. The waitress shows up with Nicholas' iced tea, spills some. Nicholas blots it up with a napkin. WAITRESS Sorry. Let me get you another napkin. NICHOLAS I'll be fine... if we could just... She moves off as Nicholas raises a finger to order, ignored. CONRAD Tell me you'll call. NICHOLAS Okay. CONRAD Will you? NICHOLAS I said I would... CONRAD But, will you? NICHOLAS Are you still on mediction? CONRAD (taken aback) Why would you say that? The waitress arrives. WAITRESS Ready to order, gentlemen? NICHOLAS (ignores, to Conrad) I didn't mean it like it sounded... CONRAD I'm not on anything anymore. I'm not even seeing a shrink. I'm happy. (notices waitress, turning to her) Do you mind... ?! The waitress gives him a look, leaves. CONRAD (to Nicholas) I thought you'd like this. Best thing I ever did. If you don't want to do it, DON'T... NICHOLAS I'll call them, okay? CONRAD It doesn't matter... NICHOLAS I'm going to call. CONRAD Do it for YOU. NICHOLAS Okay, okay... okay? (pause, studies card) I just... you know I hate surprises. CONRAD I know... Conrad CLINKS his fork against a glass, motioning... Behind Nicholas, WAITERS, WAITRESSES and BUS-BOYS, lying in wait, now come to SING "HAPPY BIRTHDAY." Conrad stands, loving it. Nicholas forces a fake smile. CUT TO: EXT. NICHOLAS' NEIGHBORHOOD -- NIGHT The Bentley cruises hilly streets, ESTATES on all sides. INT. NICHOLAS' BENTLEY -- NIGHT Nicholas is on his CELLULAR PHONE. CLASSICAL MUSIC PLAYS. FEMALE VOICE (v.o.) (from cellular) ... seen the profitability report. No one's happy with the numbers. NICHOLAS (into cellular) Imagine how much MORE unhappy I am. FEMALE VOICE (v.o.) You'll deal with Alan? NICHOLAS Correct. FEMALE VOICE (v.o.) Okay, Nicholas. Sleep well. NICHOLAS I plan to. He increases VOLUME on the CLASSICAL MUSIC, makes a turn. He looks out his window, watching the street roll past... FLASHBACK/GRAINY HOME MOVIES -- 1960'S -- DAY SILENT, HOME MOVIE-ISH IMAGES as before: YOUNG NICHOLAS, 10, peers out from a LIMOUSINE, watching his neighborhood pass... PERIOD FASHIONS, PERIOD CARS and HOUSES... BACK TO SCENE, IN THE BENTLEY Nicholas faces front. The Bentley comes to the formidable FRONT GATE of the mansion. The gate begins to slide open. Nicholas stares ahead, expressionless. FLASHBACK/GRAINY HOME MOVIES -- 1960'S -- DAY The LIMOUSINE pulls up the ungated driveway. Young Nicholas emerges, carrying books, waving goodbye to the CHAUFFEUR. Young Nicholas runs past rose bushes, heading to the house, but slows, looking up... High up, Nicholas' FATHER, in a robe, stands on a balcony railing, looking to hte sky. He's weary, lowers his gaze... Young Nicholas is puzzled, gives a tentative wave. Father just stares, eyes dead, expression blank. BACK TO SCENE, IN THE BENTLEY Nicholas looks down, puts the car in gear and drives... THRU THE WINDSHIELD: the Bentley's headlights sweep the stately Van Orton house. CUT TO: EXT. VAN ORTON MANSION, BACKYARD -- NIGHT Nicholas exits the garage, walks up the garden path. Ahead, Ilsa's leaving through the kitchen door of the house, heading across the yard to the GUEST HOUSE. ILSA Dinner's in the oven. NICHOLAS Thank you. Goodnight. At the rear door, Nicholas stops himself. NICHOLAS Oh, I saw Conrad today. Ilsa stops, looking back. They're far from each other. ILSA You did? How is he? NICHOLAS Okay. I think he's into some sort of new personal improvement cult. ILSA (nods, at a loss) Well... send my love, if you see him again. Nicholas nods. Ilsa leaves. CUT TO: INT. VAN ORTON MANSION, KITCHEN -- NIGHT Nicholas uses mitts to remove a dinner plate from the oven, sets it on a waiting tray: huge cheeseburger and hand-cut french fries, perfectly presented. Nicholas picks up a CUPCAKE with a B-day candle in it. CUT TO: INT. VAN ORTON MANSION, DEN -- NIGHT Nose-bleed-high ceilings. Cavernous fireplace. THREE TVs in the ENTERTAINMENT WALL, the largest showing CNN. Nicholas is seated in a chair facing his meal, pouring a glass of champagne. He toasts to no one, takes a sip. The PHONE RINGS. Nicholas looks to it, hesitates. He hits SPEAKERPHONE. NICHOLAS (to speakerphone) Elizabeth. ELIZABETH (v.o.) (from speakerphone) Happy Birthday, Nick. NICHOLAS (looks at watch) Eleven forty. You almost didn't make it this year. Nicholas uses a REMOTE to MUTE BERNARD SHAW on the TV. ELIZABETH (v.o.) Did you have a great birthday? NICHOLAS Does Rose Kennedy have a black dress? You know my parties. I went not once, but twice through the spanking-machine. ELIZABETH (v.o.) I can only imagine. How are you? NICHOLAS Connie asked me the same thing today. ELIZABETH (v.o.) Connie, really? I always liked him. NICHOLAS Anyway... ELIZABETH (v.o.) I just thought this... might be difficult for you. NICHOLAS Just another birthday. ELIZABETH (v.o.) I meant because of your father. NICHOLAS That's right. He was forty, wasn't he? Hadn't thought about it, to tell you the truth, thanks for the reminder. ELIZABETH (v.o.) Why do I call you... ? NICHOLAS I honestly don't know. Listen, give my best to Doctor Mel and Rachel.... ELIZABETH (v.o.) Sue has a little brother on the way. We just did the ultrasound. NICHOLAS No kidding? An official nuclear family. You must be pleased. ELIZABETH (v.o.) We are. We couldn't be happier. Nicholas smiles thinly, bored, waiting for more. NICHOLAS Well, so... thanks for calling. I've got some work here... ELIZABETH (v.o.) I should let you go. NICHOLAS Take care of yourself. ELIZABETH (v.o.) You too, Nicholas. I mean that, I really do. NICHOLAS Um-hm. Good luck. Bye. He PUSHES OFF the PHONE in the middle of her "goodbye." He uses the t.v. remote to give BERNARD SHAW back his VOICE. Nicholas eats, watching the news. He takes out the business card Conrad gave him, looks at it, puts it on the table. The card: "Consumer Recreation Services." Nicholas sits back, chewing. He stares at the ceiling. FLASHBACK/GRAINY HOME MOVIES -- 1960'S -- DAY SILENT IMAGES: Nicholas' FATHER stands on the high balcony, as before. He looks skyward one last time, then LAUNCHES INTO SPACE... falling in EXTREME SLOW MOTION... A head-first dive... CUT TO: INT. OFFICE BUILDING, 10TH FLOOR -- DAY "DING," elevator doors open. Nicholas and TWO EXECUTIVES are talking. As PEOPLE get on, the two executives get off. EXECUTIVE 1 We're getting off here. Nicholas follows. He and the executives huddle nearby. NICHOLAS (voice low) So, we understand each other? EXECUTIVE 2 We do. NICHOLAS Make it work on paper, and you can count on my full support. EXECUTIVE 1 Right-o. We'll talk. Soon. They shake. The executives walk away. Nicholas returns to elevator, pushes the button, waiting. He turns, noticing... A massive WALL OF TRANSLUCENT GLASS marks the office of "C.R.S." Modern. Activity beyond it. Nicholas finds this disconcerting. He takes out his wallet, digging up the C.R.S. business card, studying it... looking again to the glass facade to double check. He looks at his Rolex. ON THE OTHER SIDE OF THE GLASS DOORS Nicholas enters. A female RECEPTIONIST speaks into a HEADSET/PHONE. EMPLOYEES mill about. UTILITY MEN sort crawlspace wiring. NICHOLAS (to receptionist, shows "C.R.S." card) Is this Consumer Recreation Services... ? The reecptionist takes the card. In the b.g., JIM FEINGOLD pays a DELIVERY GUY for CHINESE FOOD. RECEPTIONIST (into PHONE) You shouldn't feel this reflects negatively upon yourself. (to Nicholas) Just a moment. (back into phone) We hope we haven't caused you any inconvenience. Thank you for considering C.R.S. She studies the card, hangs up and motions to Feingold, a bald, amiable engineer-type who passes with his food bag. RECEPTIONIST Mister Feingold... could you assist this gentleman? Feingold spins on his heels, looking, walking over with his hand out. Nicholas shakes. FEINGOLD Jim Feingold, V.P., E.D.A. Engineering and Data Analysis. NICHOLAS I'm not quite sure how this works. My brother... FEINGOLD Oh, here we go... Feingold takes the card the receptionist offers, examines it, turns it over: finds FOUR NUMBERS on the back. FEINGOLD (of the numbers) Excellent. Let's get started. Nicholas picks up his briefcase to follow Feingold. INT. C.R.S. OFFICES -- DAY Big operation. Feingold leads past partitioned cubicles that seem to go on forever. C.R.S. WORKERS abound. TELEPHONE CO. WORKMEN operate on the phones. FEINGOLD Sorry about about all the hullabaloo. We're still moving. Stick with me... I've got an office around here somewhere. Feingold reaches open BOXES, begins collecting pages from each, loading up on all sorts of forms. he holds out his leaking, greasy food bag to Nicholas. FEINGOLD Mind holding this... ? Nicholas reluctantly takes it, keeping it at arms length. INT. FEINGOLD'S OFFICE -- DAY Feingold types at his computer. Nicholas stands, looking through the pile of forms on a clipboard. FEINGOLD (TYPES in keyboard) V-A-N... O-R-T-O-N... (studies screen) A gift from Conrad Van Orton. Interesting... NICHOLAS What is? Feingold picks up his Chinese food, eats using chop-sticks. The BOX features a grinning CARTOON PANDA mascot, FEINGOLD (still studying screen) Your brother was a client with our London branch. We do a sort of informal scoring. His numbers were outstanding. (holds up box) Sure you're not hungry at all... ? Tung Hoy, best in Chinatown... NICHOLAS No, thank you. FEINGOLD (eating, mouth full) You need to fill out those forms. Application, psych-tests: M.M.P.I. and T.A.T. For the financial questionnaire, don't answer anything you don't feel like. We'll run a T.R.W.... Nicholas looks through the densely written forms. NICHOLAS (reading FORM) "I sometimes hurt small animals. True or False?" "I feel guilty when I masturbate..." Nocholas looks up, skeptical. Feingold shrugs, embarrassed. FEINGOLD I don't write the questions. I just review them. NICHOLAS What's all this for? FEINGOLD We want a sense of your overall capabilities, limitations, turn-ons, turn-offs... NICHOLAS No, I mean, what is it FOR? What are you selling? FEINGOLD Oh... it's a game. NICHOLAS A game? FEINGOLD Tailored specifically to each participant. Think of it as a great vacation, except you don't go to it, it comes to you. NICHOLAS What kind of vacation? FEINGOLD It's different every time. NICHOLAS (patience waning) Humor me with specifics. FEINGOLD We provide whatever's lacking. NICHOLAS And if nothing's lacking? FEINGOLD May I make two suggestions... ? NICHOLAS Do you really expect me to participate without knowing a single thing? FEINGOLD First, admit to yourself that it sounds intriguing. Second, you don't have to decide today. Take the silly tests, fill out the forms. One day, the game begins. You either love it or hate it. Decide then. We're like an experimental Book-of-the-Month- Club; drop out at any time with no further obligation. (smiles) That was my sales pitch. Nicholas thumbs thru the forms one last time... NICHOLAS How long will these take? FEINGOLD An hour for those... maybe another for the physical. NICHOLAS Physical? FEINGOLD Cursory examination. Turn-your-head- and-cough sort of thing. You'll be out of here in no time. Feingold takes out a ballpoint pen, clicks it and offers it to Nicholas. Nicholas takes it. On the pen, in tiny letters: the C.R.S. LOGO. CUT TO: TESTING MONTAGE -- VARIOUS C.R.S. OFFICES -- DAY - Nicholas fills out an APPLICATION of endless questions. - A #2 pencil fills in circles on a long M.M.P.I. form. CLOSE ON: "I often feel someone is following me. True/False." "I hate vegetables. True/False." "Vegetables hate me. True/False." - WHITE ROOM. A stone-faced PSYCHOLOGIST holds up CARDS. Nicholas gives his unenthusiastic interpretation into a TAPE RECORDER, checks his Rolex. One CARD shows a large ant in an apron feeding a TV dinner to a human child. That card is replaced by another of a man slipping head over heels on a banana peel. - Nicholas wears HEADPHONES, facing a TECHNICIAN, raising a finger on his left fist or right fist for each low BEEP. Nicholas sighs, can't believe he's doing this. INT. C.R.S. OFFICES, EXAM ROOM -- MONTAGE CONTINUES Electronic MONITORS and PRINTERS record Nicholas' EEG and EKG. He's on an exam table, wearing a paper gown, covered in SENSORS and WIRES, talking on a C.R.S. telephone. NICHOLAS (into phone) ... cancel. Push Cooper back to Wednesday afternoon. A TECHNICIAN studies readouts. A NURSE takes BLOOD PRESSURE. MARIA (v.o.) (from phone) Mister Sutherland called about Baer/Grant Publishing. NICHOLAS (into phone) Tomorrow. Hold on... (to NURSE) How much longer? NURSE Almost done. NICHOLAS I heard that two hours ago. The nurse smiles, pumping up the blood-pressure cuff. Nicholas returns to the phone. - DARK ROOM. Images FLASH on a screen: SHAPES, CURSE WORDS, PICTURES of U.S. PRESIDENTS, INSECTS... In flickering light, Nicholas, still in his gown, watches with THREE BUTTONS before him, pushing one from time to time. Frustrated, he looks around. He stands and turns... Directly into the projector's bright BEAM OF LIGHT. NICHOLAS Hello... ? Anyone there? (squints, holds up hand) Hello?! CUT TO: INT. C.R.S. OFFICES, EXAM ROOM -- DAY Nicholas dresses, alone, pulling up his pants. He notices above: a MIRRORED DOME in the corner, obviously a camera. Nicholas pulls on his jacket as Feingold arrives. FEINGOLD Sorry to keep you waiting. NICHOLAS Don't worry. It's been terrific spending the entire day with your "crack team". FEINGOLD It's all down to this... Feingold holds out a CLIPBOARD with PAPERWORK in it. Nicholas takes it, studies it, wary. FEINGOLD An insurance company requirement. It states that you are aware "the game" exists and that you are a willing participant in said game, so on and so forth. Nicholas flips a page and Feingold leans over, pointing. FEINGOLD (of the paperwork) One guarantee. Payment's entirely at your brother's discretion and, as a gift, dependent on your satisfaction. NICHOLAS (still reading) You mean, I don't like it, he doesn't pay? FEINGOLD It's never happened. We've never had an unsatisfied customer. NICHOLAS You mean, dissatisfied. FEINGOLD (glances at form) That's right -- you're a left-brain word fetishist. Nicholas uses the C.R.S. pen to sign. Feingold turns pages. FEINGOLD Initials... initials, and... (another page) Sign here. Nicholas is about to sign when Feingold grabs his wrist... FEINGOLD In blood. (laughs) Just kidding. Nicholas signs. Feingold tears out a few PINK TINTED COPIES and hands them to Nicholas, kind of in a hurry now. FEINGOLD Your copies, thank you. Keep the pen. We'll let you know. Feingold exits, gives a thumbs-up and a WINK, shuts the door. Nicholas is a bit bewildered. He continues dressing. NICHOLAS (muttering to self) ... grown man just winked at me. INT. ATHLETIC CLUB, RACQUETBALL COURT -- NIGHT WHAM! -- a blue racquetball BALL SLAMS a wall... THRU A WINDOW: Nicholas plays, alone, sawtting violently at the ball. We HEAR a PHONE CONVERSATION in VOICE OVER: CONRAD (v.o.) What about Monday or Tuesday? NICHOLAS (v.o.) Bad for me. CONRAD (v.o.) How 'bout tonight? NICHOLAS (v.o.) Unfortunately I'm working all evening. Wednesday's the only possibility right now... CONRAD (v.o.) Okay. NICHOLAS (v.o.) Dinner? CONRAD (v.o.) Fine. I get to pick the restaurant. NICHOLAS (v.o.) By the way, I went to C.R.S... CONRAD (v.o.) Really? What'd you think? NICHOLAS (v.o.) They seemed disorganized. Nicholas finishes playing, exits. The ball keeps bouncing. CONRAD (v.o.) Well, the office is new. When I did it in London, they'd been around awhile. You gonna do this? NICHOLAS (v.o.) Haven't decided yet. CUT TO: INT. ATHLETIC CLUB, LOCKER ROOM -- NIGHT Carpeted floors and mahogany lockers. Nicholas sits at his locker, wet, in a monogrammed robe, toweling his hair. VOICES can be HEARD O.S.: BUSINESSMAN 1 and BUSINESSMAN 2. BUSINESSMAN 1 (o.s.) ... getting in on the ground floor of the next Disneyland. BUSINESSMAN 2 (o.s.) C.R.S. will not go public. They're family owned. BUSINESSMAN 1 (o.s.) Stranger things have happened. BUSINESSMAN 2 (o.s.) No, they haven't, actually. Nicholas leans to look around a locker. Businessman 1 and 2 dress, two fat-cats. Nicholas leans back, still listening. BUSINESSMAN 1 (o.s.) They just opened here. BUSINESSMAN 2 (o.s.) The game in San Francisco? You see, they're doing fine without any of us. INT. ATHLETIC CLUB, LOUNGE/BAR -- NIGHT Nicholas enters, looking around, spotting Businessman 1 and 2 across the room. He gets the BARTENDER'S attention, motioning to the businessmen. NICHOLAS New members? BARTENDER I believe so, sir. NICHOLAS This round's on me. Nicholas moves casually toward the men... INT. ATHLETIC CLUB, BAR/LOUNGE -- TIME CUT LATER. Another round arrives at the table where Nicholas and Businessman 1 and 2 chat. The businessmen smoke cigars. BUSINESSMAN 1 ... last time I played Pebble, I swore I'd never pick up a club again. NICHOLAS Speaking of games... I couldn't help but overhear you talking about C.R.S. Businessman 1 and 2 share a furtive glance. Nicholas discretely waves cigar smoke out of his face. NICHOLAS I only mention it because I took the test this afternoon, down on Montgomery Street. BUSINESSMAN 2 Did you? Kudos. BUSINESSMAN 1 So, yours hasn't started? NICHOLAS Not yet. I was hoping you could tell me... uh... (almost embarrassed) What is it? Businessman 1 and 2 smile. Shared enlightenment. BUSINESSMAN 1 (to Businessman 2, knowingly) Ahh, what is it? BUSINESSMAN 2 The eternal question. BUSINESSMAN 1 (to Nicholas) I envy you. I wish I could go back and do it for the first time all over again... He raises his glass. They toast. BUSINESSMAN 1 Here's to... new experiences. (gulps drink) If you'll excuse me, I've got to be going. 'Night, Jon... Nicholas. He leaves. Nicholas focuses on Businessman 2. NICHOLAS Did you play recently? BUSINESSMAN 2 Hm? No, about a year ago. I was working out of Los Angeles. NICHOLAS (nodding) I've heard good things about their London branch. (leans in) You have to admit, it sounds like some fantasy, role-playing nonsense. BUSINESSMAN 2 You want to know what it is? What it's all about? (off Nicholas' nod) John. Chapter nine. Verse twenty-five. NICHOLAS I, uh... haven't been to Sunday school in years... BUSINESSMAN 2 "Whereas once I was blind, now I can see." (rises) Night, Nick. Best of luck. Businessman 2 puffs his cigar, walks away. Nicholas watches him go, then pauses, puzzled, mouthing the words to himself. CUT TO: INT. LAW FIRM, CONFERENCE ROOM -- DAY A table of unhappy LAWYERS. Nicholas goes thru a thick CONTRACT with a red pen, CIRCLING, CROSSING-OUT and SCRAWLING QUESTION MARKS ON paragraphs that displease him. SUTHERLAND, trust personified, in his late 50's, stands behind Nicholas, imperturbable. NICHOLAS (still scrawling) As far as I'm concerned... (reading, x-ing out) ... if the Baer/Grant meeting does not take place tommorow, it might as well never take place at all. Nicholas slides the contract to the center of the table. SUTHERLAND When Mr. Van Orton boards his plane in the morrow, he will have every contract, side agreement and addendum, the complete closing package, flawlessly revised. INSTANT UPROAR as the contract is grabbed up. All the lawyers talk at once, fearful, arguing, protesting. SUTHERLAND Ladies and gentlemen... (as they quiet) This is why you're paid twice what you deserve. So you will miss another opera you would've fallen asleep during anyway... During this, Nicholas' CELLULAR PHONE is HEARD RINGING. Nicholas takes it out, irritated. SUTHERLAND The meeting has been moved forward. It affords you the opportunity to show our client how well you will rise to his exhilarating challenge. QUIET COMMOTION resumes as Nicholas takes his cellular phone to a corner, answering impatiently: NICHOLAS (into cellular) Yes? WOMAN'S VOICE (v.o.) (from cellular) Nicholas van Orton? NICHOLAS Yes, who is this? WOMAN'S VOICE (v.o.) This is Cynthia calling from C.R.S... NICHOLAS How did you get this number? WOMAN'S VOICE (v.o.) We've finished processing your application... NICHOLAS I'm in a meeting... WOMAN'S VOICE (v.o.) ... I'm afraid your application was rejected. NICHOLAS (pause) Pardon me? WOMAN'S VOICE (v.o.) You shouldn't feel this reflects negatively upon yourself. We hope we haven't caused you any inconvenience... NICHOLAS This is absurd... WOMAN'S VOICE (v.o.) Thank you for thinking of C.R.S. CLICK -- she's hung up. Nicholas folds the phone and pockets it, his mind suddenly far away from the meeting behind him. Sutherland steps close, concerned, quiet... SUTHERLAND Anything wrong... ? NICHOLAS Nothing. Nothing at all. CUT TO: EXT. FINANCIAL DISTRICT STREETS -- NIGHT Nicholas guides the Bentley down streets lined with skyscrapers, staring ahead. A previous PHONE CONVERSATION is HEARD in V.O., a PHONE RINGING... RINGING... RINGING... SWITCHBOARD OPERATOR (v.o.) Would you like voice-mail? NICHOLAS (v.o.) I suppose. SWITCHBOARD OPERATOR (v.o.) I'll connect you. Thank you for calling the Four Seasons. EXT. NICHOLAS' NEIGHBORHOOD -- NIGHT The Bentley heads towards home. The V.O. PHONE CONVERSATION CONTINUES uninterrupted, CLICKING, then... CONRAD'S VOICE (v.o.) (voice-mail recording) This is Conrad. Leave a message. NICHOLAS (v.o.) (waits till after BEEP) Connie, it's Nicholas. Give me a ring when you get a chance... INT. BENTLEY -- NIGHT The Bentley reaches the VAN ORTON GATES, which open slow. V.O. CONVERSATION CONTINUES: NICHOLAS (v.o.) About your birthday gift. Things are tight right now. I'm just not sure whether it'll fit my schedule. Anyway, see you at dinner tomorrow. The PHONE is HEARD DISCONNECTING. EXT. VAN ORTON MANSION -- NIGHT The Bentley's headlights sweep the front of the Van Orton house. There's something there, on the ground... INSIDE THE BENTLEY Nicholas stops the car, peering ahead, worried... THRU THE WINDSHIELD: A BODY lies face down on the edge of the driveway. FLASHBACK/GRAINY HOME MOVIES -- 1960'S -- DAY The BODY of Nicholas' FATHER, sprawled face-down, in nearly the same place, head twisted, mouth bloody. BACK TO SCENE Nicholas gets slowly out of the Bentley, reluctant. NICHOLAS Hello! What are you doing there? (no reaction) Wonderful... Nichoals CLAPS his hands. The body doesn't stir. Nicholas look all directions, then approaches. NICHOLAS Are you okay? Nicholas nudges the body with his foot. He crouches, confused, turning the limp body. It's a grotesque HARLEQUIN, not unlike the clown from Nicholas' seventh birthday, with a shiny face of painted wood. Nicholas looks around for an explanation. CUT TO: INT. VAN ORTON MANSION, FOYER -- NIGHT The front door opens. Nicholas enters with the Harlequin, depositing it on a hallway BENCH. A half-inch of RED RIBBON sticks out from the Harlequin's lips. Nicholas tugs the ribbon... pulling out a GOLD KEY tied to the other end. Three letters embossed on the key: "C.R.S." CUT TO: INT. VAN ORTON MANSION, DEN -- NIGHT Nicholas sits with his evening's meal, examining the key. CNN on TV. He looks across the room to the couch where the Harlequin is slumped staring back. BERNARD SHAW (v.o.) (from television) ... according to Nicholas Van Orton, millions of Americans will be affected by this legislation. Nicholas hears this vaguely in the back of his mind, looks to the TV. BERNARD SHAW has moves on to the next story. Nicholas goes to the Harlequin, opening its hinged mouth, attempting to look inside. He gets a knife from his tray, uses it to probe the Harlequin's mouth, jabbing, prying. BERNARD SHAW (v.o.) ... number of criminals behind bars growing by record numbers, with Van Orton pointing the finger at stiff, anti-crime regulations... Nicholas looks up. He heard that. He walks toward the TV. Bernard Shaw is reporting, nothing strange. Nicholas waits. Nothing. He walks away... BERNARD SHAW (v.o.) ... largest portion of population incarcerated. These figures were given at a press conference called toady by Mr. Nicholas Van Orton. Nicholas turns, disbelieving. Bernard Shaw apparently looks out FROM THE TELELVISION, perturbed... BERNARD SHAW (v.o.) You going to spend the rest of the evening prying at that clown's mouth? NICHOLAS (dumbfounded) I... I don't... BERNARD SHAW (v.o.) It's frustrating for me if you don't even pretend to pay attention. NICHOLAS What is this... ? BERNARD SHAW (v.o.) This is your game, Nicholas, and welcome to it. I'm here to let you in on a few ground rules... Bernard Shaw's FACE RIPPLES and GLITCHES occasionally, revealing its true, computer-generated nature. BERNARD SHAW (v.o.) You've received the first key and others will follow. You never know where you'll find them, or when or how you'll need to use them, so keep your eyes open. NICHOLAS (waves his hand) How do you... ? You can see me? BERNARD SHAW (v.o.) I see you, I hear you. Why don't we save the questions till... NICHOLAS How does this work? BERNARD SHAW (v.o.) There's a tiny camera looking at you right now. NICHOLAS That's impossible. BERNARD SHAW (v.o.) You're right. Impossible. You're having a conversation with your television. Nicholas touches the TV, feeling the seams. BERNARD SHAW (v.o.) It's miniaturized. Nicholas begins poking his butter knife between slots of the television's speaker, stabbing, poking... BERNARD SHAW (v.o.) Do you know how dangerous that is? Nicholas pries at the plastic speaker cover. It's not easy, but he's determined, cracking the plastic... ILSA (o.s.) Mister Van Orton... ? The speaker cover breaks off with a SNAP! and Nicholas spins, holding the broken piece. NICHOLAS Yes... Ilsa, what is it? ON T.V., Bernard Shaw grabs up pages, resumes... BERNARD SHAW (v.o.) ... and in other news, auto workers vowed to remain on picket lines... Ilsa's in the doorway, wondering. ILSA Is everything alright? NICHOLAS Fine. ILSA I've finished for the evening. Will you be needing anything else? NICHOLAS No, thank you. Goodnight. ILSA Goodnight then. She leaves. Nicholas throws the piece of television away. Bernard Shaw stops reading now that the coast is clear. BERNARD SHAW (v.o.) Who was that? NICHOLAS Never mind who that was. BERNARD SHAW (v.o.) You're uncomfortable. You want to know how a camera got into your home, don't you? NICHOLAS Yes, I do. ON TELEVISION: Bernard Shaw is REPLACED by a FISH-EYED IMAGE of NICHOLAS' DEN. It shows Nicholas from behind. The P.O.V. is not from the TV. Nicholas crosses the room, keeps his eye on the TV as a guide... BERNARD SHAW (v.o.) (from t.v., o.s.) ... cold... cold... warmer... warmer... ON TELEVISION: Nicholas gets bigger as he gets closer to... The Harlequin. Nicholas leans, looks at the clown's eyes... ON TELEVISION: Nicholas' face is huge, distorted. Nicholas pries one of the Harlequin's glass eyes with his knife, pulling it out and examining it. ON TELEVISION: The Harlequin's P.O.V. turns to STATIC. Bernard Shaw returns with a PHONE NUMBER SUPERIMPOSED. BERNARD SHAW (v.o.) Write this number down. It's a 24-hour Consumer Recreation Services hotline, for emergencies only. BERNARD SHAW (v.o.) But, don't call asking what the object of the game is; figuring that out is the object of the game. Nicholas feels his pockets, finds the C.R.S. pen. He comes up with a VALET PARKING TICKET to scrawl the number on. BERNARD SHAW (v.o.) Good luck and congratulations on choosing C.R.S. We now return you to your regularly scheduled program... STATIC and SNOW, then CNN's Bernard Shaw is back for real, newscasting. Nicholas reads the number he wrote. CUT TO: EXT. VAN ORTON MANSION -- NIGHT Nicholas crouches at a coaxial CABLE LINE at the side of the house. He fingers a BOX with a miniature LOOP and RABBIT EAR ANTENNA that's been spliced into the line. He starts to unscrew it... then thinks twice. He leaves it. INT. VAN ORTON MANSION, KITCHEN -- NIGHT Nicholas enters thru the back door. He pauses, looking out at the night. He closes the door and locks it. He PUNCHES the ALARM CODE into a KEYPAD. Nicholas takes his Bentley key chain from its hook, takes out the gold, "C.R.S." key... adding it to the keychain. CUT TO: INT. SAN FRANCISCO INTERNATIONAL AIRPORT -- DAY Nicholas enters the vast, busy terminal, briefcase in hand. He walks with purpose, but is extra-aware of the world around him. He notices... A MAN and WOMAN engaged in a SIGN LANGUAGE conversation. A MAN reading a newspaper peers from behind the pages. A JANITOR opens a door with a big KEY CHAIN full of keys. A MAN on a payphone seems to be staring at Nicholas... Nicholas turns his head to keep an eye on the man, practically bumping into a grimy HOMELESS BUM... HOMELESS BUM Help me out there? Used to be an affluent fella, till some folks did this to me... Nicholas moves away, leaving the homeless man behind. HOMELESS BUM Don't ignore me. I got screwed. INT. AIRPORT, RED CARPET LOUNGE -- DAY Quiet MUSIC. Rich people's lounge. Nicholas sits with a cup of coffee, considering magazines on a coffee table. Two seats down, a BUSINESSMAN coughs and rises, leaving his newspaper on the empty seat between Nicholas and himself. Nicholas glances down, curious when he sees... A smiling-clown-face INFANT'S RATTLE on the seat beside, sticking out from under the paper. Nicholas catches only a glimpse of the exiting businessman. Nicholas looks around, picks up the rattle. He rattles it, studies it, rattles it in his ear. He tries to see thru it by holding it up to the light. He doesn't notice the MOTHER who enters with a baby, watching him. MOTHER Excuse me... Nicholas looks up, realizes, awkward, offering the rattle. She takes it and exits. There's a BESPECTACLED MAN watching Nicholas. Nicholas notices, tries to ignore. But, bespectacled man is really staring. NICHOLAS (sits forward, fed up) May I help you... ? Nicholas' tone has turned other heads. Bespectacled man seems embarrassed, shy, taps his chest. NICHOLAS What... ? What is it? Bespectacled man taps his chest again, points at Nicholas. Nicholas looks down. Inside his suit jacket -- a huge blue INK STAIN across his shirt. Nicholas stands, aghast, taking out the offending pen. It's the "C.R.S." pen, dripping ink. INT. AIRPORT, BATHROOM -- DAY Running water. Nicholas tries to clean his shirt, blotting it ineffectually with wet paper towels. he looks in the mirror, crestfallen. The stain's worse. DEEP VOICE (o.s.) Hey, buddy... you still out there? Nicholas looks around. He's alone, except for a MAN in a TOILET STALL. All we see are the man's brown shoes. DEEP VOICE (o.s.) (from toilet stall) I'm in a little bit of trouble... The man's hairy hand motions from below the stall. Nicholas backs away, nervous, grabs his briefcase. DEEP VOICE (o.s.) I need paper. There's none in here. Come on, help a guy out... Nicholas considers, then hurries to exit. DEEP VOICE (o.s.) Hello?! Anybody? Hello? INT. AIRPORT, METAL DETECTORS -- DAY Nicholas' briefcase rides into the x-ray machine. Nicholas drops his keys, cellular phone and Rolex in a tray. He passes thru the metal detector. A SECURITY GUARD brings the tray to him. SECURITY GUARD Nice watch. Nicholas smiles tolerantly, collects his belongings. He waits at the x-ray conveyor belt, which is stopped. A FEMALE GUARD studies the x-ray monitor. NICHOLAS Is there a problem? The female guard looks up, turns the conveyor belt back on. Nicholas' briefcase arrives. Nicholas moves on, aggravated. Ahead, Sutherland rises from a seat along the concourse hallway, walking to meet him. NICHOLAS I wasn't expecting you. SUTHERLAND Wanted to wish you luck. Not that you'll need it. Sutherland offers the contract, points to Nicholas' shirt. SUTHERLAND Attractive... NICHOLAS (paging thru contract) Don't ask. SUTHERLAND I checked it personally. Nicholas nods, props his briefcase up on a window ledge, opens it and drops the contract in. CUT TO: EXT. SEATTLE AIRPORT, RUNWAY -- DAY Nicholas' jet touches down. EXT. SEATTLE AIRPORT, LOADING ZONE -- DAY Nicholas follows a CHAUFFEUR. The chauffeur opens a LIMO door. Several pressed SHIRTS hang waiting. EXT. BAER/GRANT BUILDING -- DAY In the shadow of the Baer/Grant Publishing offices, the limousine idles. Downtown Seattle. INT. BAER/GRANT PUBLISHING, ALAN BAER'S OFFICE -- DAY Meet ALAN BAER, elderly CEO, blue-blooded, pissed. ALAN BAER All these years... the first time ever you step foot in these offices, it's to ask me to step down? Nicholas stands by CHILDREN'S TEXT BOOK mock-ups. "Math- Magic." "Wonder-Words." They're "Little Baer Books." NICHOLAS You promised you'd meet projections, Alan. A dollar sixty per share you said. So, I don't think this is so surprising a visit. ALAN BAER Projections were far too optimistic. NICHOLAS Admittedly... ALAN BAER Our E.P.S. was one fifty last quarter. We're up eight cents per share. NICHOLAS But, the expectation was ten. And, in this case, expectation is everything. ALAN BAER Will you really hold me to it over pennies? NICHOLAS My stock's falling. Isn't yours? Those pennies are costing me millions. ALAN BAER The stock will turn. NICHOLAS It probably will. In fact, I'd go so far as to say it almost certainly will, in time. Why should I settle for that? ALAN BAER Because it's fair. Give me next quarter. If you still feel this way, vote your shares... NICHOLAS You're talking tomorrow. Today is what counts. ALAN BAER You intractable son-of-a-bitch. If your father could see you now... NICHOLAS What? ALAN BAER Your father was a friend. Goddamn it... I watched you grow up. How do you end up treating me like this? This swings Nicholas into a new mode: acutely-focused anger. NICHOLAS It is so very inappropriate for you to mention my father. Or, did you think this, between us, was friendship? Just because you went fishing with my father, I should sit on my hands while you throw my money away? ALAN BAER Now, look... NICHOLAS (holds up his hand) I'll be done in a minute. You misspoke before. You're not "stepping down." I'm taking you out at the knees. The whole point is to prove that you're not deciding anything anymore. I'm firing you. Action's taken. Confidence restored. Stock goes up. I sell my shares. ALAN BAER There is no Baer/Grant Publishing without Alan Baer. NICHOLAS Remember Daniel Grant? Do they say, "without Daniel Grant, there is no Baer/Grant Publishing?" He's gone sailing, Alan. He's out there enjoying his golden years, probably wondering where you are. At Alan's desk, Nicholas clears a space for his briefcase. NICHOLAS You made a promise. You failed. The severance I'm offering is more than equitable. Valid tonight only. (looks at watch) For one hour. Nicholas takes a pen from a holder, lays it on the blotter. NICHOLAS I'll step outside, so you'll have the privacy you need to read and sign it. He tries to unlatch his briefcase clasp. It's stuck. ALAN BAER I could fight you on this. NICHOLAS You could. But, if I leave without your signature, this agreement begins to disintegrate; benefits shrink, options narrow, compensations shrivel. Nicholas works on the briefcase the whole time, distraction growing as it becomes a true struggle. NICHOLAS So... it is in your best interest... to sign presently. Nicholas sits, pulling the latch, trying to see what's jammed. It refuses to open. Nicholas stares at it, frustrated, then... an odd realization... He takes his keys out, finds the C.R.S. KEY, tries it... It doesn't fit. It was never meant for this lock. Alan Baer watches, wondering. Forgetting himself, Nicholas grabs up the briefcase, pulling, grunting, desperate, striking it with his palm. Nicholas straightens, immediately composed. NICHOLAS Well... as luck would have it, you've just gotten a reprieve, I'm sure you'll come around to my way of thinking. (picks up briefcase) I have a plane to catch. My attorneys will contact you. Nicholas exits. Alan Baer doesn't know quite what to think. CUT TO: EXT. SEATTLE AIRPORT TERMINAL -- DAY On the sidewalk, Nicholas bashes his briefcase over and over again against a fire hydrant. EXT. SAN FRANCISCO AIRPORT, RUNWAY -- SUNSET Nicholas' jet touches down. INT. CAMPTON PLACE RESTAURANT -- NIGHT Nicholas sits staring. His battered briefcase is near. He checks his watch, impatient, flags down a WAITER... NICHOLAS Is there a message up front from a Conrad Van Orton? The waiter goes. Nicholas drums his fingers. He slides out of the booth, rising. when a WAITRESS knocks into him with a tray. Wine spills. Glasses crash. WAITRESS Oh, excuse me... Nicholas looks down at his wine-stained front. The waitress is CHRISTINE, same waitress as the other night. She tries to clean him up with a napkin. CHRISTINE I'm so sorry. NICHOLAS Please, don't do that... Nicholas snatches the napkin from her, wiping his suit. CHRISTINE I apologize, sir, I'm having a bad day... NICHOLAS A bad month. You did the exact same thing to me last week. Christine's taken aback. NICHOLAS Don't help me, just get more napkins. And soda water. CHRISTINE (gets more napkins) It was an accident. NICHOLAS Terrific. I now have a hundred dollar dry cleaning bill. CHRISTINE I said I was sorry... Nicholas turns his back on her, throwing wet napkins, picking up clean ones, still patting at the stain. CHRISTINE (stews) Asshole. Nicholas turns, angry. The MAITRE D' arrives, shocked. MAITRE D' Christine! Mister Van Orton is a valued customer... CHRISTINE Then, you kiss his ass. She's leaving, but the maitre d' pulls her aside. MAITRE D' You don't talk to me like that. CHRISTINE (quiet, evenly) I apologized, I offered to help. MAITRE D' Clean out your locker. CHRISTINE Fine, Dennis. Soon as I get my money for this week. MAITRE D' I'll be right with you. Christine heads to the back. The maitre d' motions for BUS BOYS to clean, smoothly guiding Nicholas to a new table... MAITRE D' I'm terribly sorry, Mr. Van Orton. If you're not too uncomfortable, will this table suit you for a complimentary meal... ? NICHOLAS Yes. Fine. MAITRE D' I'll fetch your waiter. Nicholas sits, keeps wiping his shirt as the maitre d' hurries away. After a moment, a uniformed WAITER moves past, leaves a CHECK... WAITER Check, sir. Nicholas picks up the check, indignant. NICHOLAS Excuse me... But, the waiter is long gone. Nicholas shakes his head, then the check catches his eye... "DON'T LET HER GET AWAY" scrawled across it. Nicholas turns to look. The waiter who brought the check crosses the room, goes out the front door. Nicholas rises, following... EXT. CAMPTON PLACE RESTAURANT -- NIGHT Nicholas comes out the front, sees: the waiter has crossed the street, still moving... The waiter gets in a CAR as the car pulls quickly away. Nicholas is baffled, looks at the check, heads back inside. EXT. ALLEY, BEHIND RESTAURANT -- NIGHT Christine exits the kitchen door, purse over her shoulder. CHRISTINE (back to doorway) Yeah... ? Well, fuck you and your vichyssoise, prick. She heads down this dark alley. After a moment, Nicholas follows, hurrying to catch up, briefcase in hand. NICHOLAS Pardon me... Miss... ? CHRISTINE Oh, no... you. Christine picks up the pace. NICHOLAS I'm not sure how this works. Do you have something for me... ? I got this note... CHRISTINE What are you babbling about, psycho? NICHOLAS I want to know what's going on. Are you part of this? CHRISTINE What's going on? I'm going on my second job this month, and now I'm going on unemployment. She keeps walking. Nicholas stops, ponders. He follows. They're nearing the end of the alley. NICHOLAS Excuse me, I need to explain... CHRISTINE Don't explain. Fuck off. Goodbye. Nicholas steps in a deep, splattering pot-hole, stumbles, pants soaked, stopping, fed up. NICHOLAS Son of a bitch! Christine rounds the corner, heading down the street. Nicholas reaches the sidewalk, watches her go. NICHOLAS (shouts after) I'm trying to... ask you... (giving up) I'm apologizing... He heads back the way he came. A strangled CRY is HEARD. Nearby, a HEAVY MAN falls to his knees, then falls face forward to the concrete. Nicholas looks around, alone... NICHOLAS (to Heavy Man) Are... are you okay?! DOWN THE SIDEWALK, Christine slows, looks back... Nicholas bends, trying to see the man's face, seems afraid to actually touch him. NICHOLAS Jesus... this can't be... Nicholas looks up to see Christine running back. CHRISTINE What's with him? NICHOLAS I don't know... he fell. Christine kneels, turns Heavy Man on his side and feels for a pulse. Heavy Man convulses. CHRISTINE Do you know what to do? NICHOLAS I don't think he's breathing. Christine clears Heavy Man's airway, pulling saliva and mucus from his mouth with two fingers. NICHOLAS Oh, God... ! CHRISTINE Don't just stand there, get help! NICHOLAS (taking out his CELLULAR) This can't be real... CHRISTINE He's pissing his pants. Is that real enough for you? Call 911! NICHOLAS Alright... okay... CHRISTINE He's turning blue! Nicholas is starting to believe, dialing, circling as Christine gives C.P.R. He listens to his phone -- STATIC. NICHOLAS Damn... He backpedals in the street, cellular to his ear, trying to catch a signal, tilst his head. STATIC. A HORN BLARES -- a CAR barely misses Nicholas, DRIVER cursing. Nicholas anxiously punches buttons. He spots a SQUAD CAR and runs toward it... NICHOLAS Police! SAME STREET -- TIME CUT... SIREN BLASTING, an AMBULANCE is parked. PARAMEDICS pull a stretcher, helped by TWO COPS, hurrying to the prone Heavy Man. A crowd is gathered. Nicholas and Christine watch the paramedics work. COP ONE hands Nicholas a clipboard, everything hurried, overlapped: COP ONE You have to fill these out. NICHOLAS I don't know this man. Christine takes the clipboard. CHRISTINE (to cop, of clipboard) What do you need... ? Paramedics hoist heavy Man on a stretcher and take him to the ambulance. Cop Two goes to help them lift. NICHOLAS (to Christine) I can't get involved in this. Christine moves to climb into the ambulance. COP TWO (to Nicholas) We'll have to detain you. COP ONE Report's got to be filled out. Ride with your wife. We'll meet at the hospital. PARAMEDIC (shouting to cop) We're moving! Cop One leads Nicholas to the ambulance. NICHOLAS She's not my wife. COP ONE It's a few blocks. Help me out, huh, pal? Nicholas reluctantly gets in. EXT. CITY STREETS -- NIGHT Busy streets. The ambulance rockets on... INT. AMBULANCE -- NIGHT SIREN WAILING. Paramedic works. Christine fills out forms. Nicholas tries to see where they're going, frustrated. NICHOLAS This is nuts. CHRISTINE (without looking up) What is your problem? NICHOLAS (digging in his pocket) Ten minutes ago, I'm looking forward to a quiet dinner. I get a note... Nicholas slaps his CHECK on top of Christine's paperwork. NICHOLAS Suddenly I'm in an ambulance. Why am I in an ambulance?! He looks out the window. Christine studies the check: "DON'T LET HER GET AWAY," finds it odd, looks to Nicholas. NICHOLAS (wincing, to paramedic of Heavy Man) He's breathing, isn't he? Is the siren entirely necessary? INT. UNDERGROUND PARKING ENTRANCE -- NIGHT "Emergency Vehicles Only." The ambulance races down a RAMP, moving across this big underground garage, doing a u-turn... Backs up toward a busy EMERGENCY ROOM ENTRANCE. MEDICAL PERSONNEL everywhere. Other ambulances. INJURED PEOPLE. Our paramedics get out and unload Heavy Man. Nicholas and Christine get out, disoriented. Heavy Man's rushed inside via automatic doors. Christine hands off the clipboard to Nicholas, following the stretcher... CHRISTINE Let's talk to whoever can get this over with... NICHOLAS (reading clipboard) Hold on... (of the clipboard) They want your driver's license number. Christine returns to look, and suddenly ALL THE LIGHTS GO OUT. Nicholas and Christine look up. In the surrounding darkness, we HEAR EVERYONE FLEEING... FOOTSTEPS SCATTER... then, SILENCE. NICHOLAS You've got to be kidding. CHRISTINE What... is... happening... ? The only light is a BULB inside the ambulance. NICHOLAS (disgust) I was trying to tell you... it's a game. CHRISTINE A game? NICHOLAS (tosses clipboard) It's run by a company... they play elaborate pranks. Things like this. I'm really only now finding out myself. CHRISTINE What are you talking about? NICHOLAS The lights went out, one hundred people all ran away... CHRISTINE You mean, the guy who turned blue and wet himself... ? NICHOLAS I'm sorry, about this... CHRISTINE You should be. Christine climbs into the ambulance, searching. CHRISTINE There's got to be a flashlight. NICHOLAS (quietly) I don't understand why they're getting you involved. IN THE AMBULANCE, she finds all drawers and cabinets EMPTY. CHRISTINE This is so fucked. You don't fuck with people like this. I thought that guy was gonna die. I gave him mouth to mouth! She digs in her purse, finds a book of restaurant MATCHES. She lights a match, climbing out. CHRISTINE See you around. NICHOLAS Where are you going? CHRISTINE Home. NICHOLAS How do you know that's the way? She just keeps walking. A distant "DING" is HEARD. Far away, an ELEVATOR OPENS with a light inside. Christine stops. Christine changes direction, heading for the elevator. Nicholas hurries to follow. The match burns out. A moment, then Christine strikes another, lighting the way, barely. As they squeeze between parked cars, Christine searches... CHRISTINE Where'd you all go? Motherfucking frat boys. You better hide. (to Nicholas) Is your life so pathetic that this is something you're willing to pay for? NICHOLAS It was a gift... from my brother. CHRISTINE How thoughtful. The gift of inconvenience. NIcholas stumbles. A beer BOTTLE is HEAR SKITTERING away. INT. ELEVATOR -- NIGHT They reach the elevator. Nicholas pushes a button. NICHOLAS Ground floor. He and Christine step back and wait, looking up. And wait... and wait, looking unhappily to each other. Nicholas pushes all the buttons. Nothing happens. Christine opens the EMERGENCY PHONE door: NO PHONE. Nicholas touches his finger to a KEY HOLE below the buttons. He takes out keys, finds the C.R.S. KEY, tries it... it fits. He turns it. DOORS CLOSE and the ELEVATOR MOVES. Nicholas is pleased, sees Christine wondering. NICHOLAS (of the key) Long story. (off her stare) I found this key in the mouth of a wooden Harlequin. CHRISTINE Never mind. The ELEVATOR LURCHES, DROPS, then HALTS. LIGHTS OUT, replaced by RED EMERGENCY LIGHT. A MOTOR is HEARD DYING. CHRISTINE I don't like that. (pushing buttons) We're stuck. Nicholas takes out his phone, puts it to his ear. STATIC. NICHOLAS (pockets phone) No signal. Christine pounds on the buttons and doors, frustrated. She tries to pry the doors open. Can't. CHRISTINE What's the going rate for the "trapped-in-elevator-adventure" these days? Nicholas hits BUTTONS hard. Christine studies the ceiling, moving under the square seam of the TRAP DOOR, pointing. NICHOLAS Don't even think about it. CHRISTINE Why not? NICHOLAS Read what it says: "Warning, do not attempt to open. If elevator stops, use emergency... " CHRISTINE If there was one. NICHOLAS "... wait for help." Wait for help. I'm not opening a door that specifically warns me not to. CHRISTINE Are you suggesting we wait till someone finds us? Nicholas considers this, looks around. INT. ELEVATOR SHAFT -- NIGHT The trap door CREAKS open. Nicholas looks up from the elevator, standing on hand rails. He gets down. IN THE ELEVATOR NICHOLAS I'll give you a boost. CHRISTINE You first. NICHOLAS This isn't an attempt to be gallant. If I don't lift you, how are you going to get there? CHRISTINE You pull me up. NICHOLAS It's much easier this way. Come on, step up... CHRISTINE No. NICHOLAS Please... CHRISTINE I'm not wearing underwear. Okay? There, I said it. Satisfied. NICHOLAS (looks at her skirt) Oh. FIne. Nicholas starts climbing... IN THE ELEVATOR SHAFT Nicholas comes up, batting cobwebs, tentative. He grips a handful of grease, disgusted. He climbs thru, catching his jacket on a jutting screw, FABRIC RIPPPPPPPPING... CHRISTINE (o.s.) Oops. Nicholas stands in the shaft, pissed. He looks for a place to wipe his hand, wipes it on his jacket, looking up. NICHOLAS There's a ladder here. IN THE ELEVATOR CHRISTINE My hero. Let's go. Nicholas offers his grease covered hand from above. NICHOLAS I don't think so. Nicholas withdraws that hand, offers the clean one. CUT TO: INT. BUILDING LOBBY -- NIGHT Elevator doors shift, forced from inside. Nicholas climbs out, then pulls Christine out behind him. They're head-to-toe filthy, clothing ruined. NICHOLAS Damn. My briefcase. He looks back down the shaft. CHRISTINE I'll wait. NICHOLAS (resigned sigh) It's not like anyone could actually open it. They walk, looking at the vast lobby and sky-lit ATRIUM. NICHOLAS This is C.R.S. CHRISTINE What's C.R.S.? NICHOLAS Consumer Recreation Services. It's their building. They... A BEEP is HEARD. Nicholas looks above... Sees a MOTION SENSOR with a green light blinking. NICHOLAS Oh... An ALARM SOUNDS; a loud RINGING BELL. Nicholas backs away. NICHOLAS Don't panic. When security gets here, we simply explain what happened... CHRISTINE They'll love that. NICHOLAS Yes... well... FOOTFALLS. Nicholas turns to see Christine running away. CHRISTINE (over her shoulder) Explain for both of us! Nicholas looks around, unsure. He follows... EXT. ALLEYWAY, BEHIND C.R.S. BUILDING -- NIGHT Christine bursts thru "EMERGENCY EXIT" doors. Nicholas arrives. He grips her arm and they walk, out of breath. NICHOLAS Walk, slowly. Don't draw attention. Out for a stroll... TIRES SCREECH. A SPOTLIGHT HITS them from behind. ANGRY VOICE (o.s.) You! Stay where you are! It's a SECURITY CAR on the other side of a fence. CHRISTINE Run! They run, down the alley. ANGRY VOICE Stop! EXT. NARROW ALLEYWAY -- NIGHT SIRENS HEARD. Christine and Nicholas sprint round a corner, all out... thru puddles, glancing back. Ahead, a SECURITY CAR skids, starting for them. Christine and Nicholas double back. She takes the lead. Christine spots something, makes a chouse, moving into a very NARROW ALLEY space. NICHOLAS Where are you going? (looks in, worried) You can't fit there. She's making fine progress regardless. NICHOLAS I can't! Nicholas sees the SECURITY CAR bearing down. He must turn sideways to fit in the narrow alley, shuffling after. BEHIND, the car stops and SECURITY GUARD gets out, club in hand. In the car, a GERMAN SHEPHERD barks. Security Guard tries to fit down the space, but can't. His belly's too big, his utility belt catching. He runs back to the car, opens the door... The German Shepherd shoots down the alley, a projectile... DOWN THE TIGHT ALLEYWAY Christine comes out into OPEN AREA, running on, looking up. Ruined buildings on all sides, CHAIN LINK FENCES everywhere. Nicholas arrives, pissed, trying to catch up... NICHOLAS You deserted me. CHRISTINE You're a grown man. I'm not responsible for you. NICHOLAS You're the one who started running. CHRISTINE Me? You're the one who... ! (sees something) Shit! Christine runs faster. Nicholas looks back... The German Shepherd's on its way... Nicholas faces front, runs, arms pumping, terrified... The German Shepherd's closing, growling... Christine and Nicholas reach the CHAIN LINK FENCE ahead... NICHOLAS Climb! Christine makes the leap first, scrambling up the fence. Nicholas climbs beside her, pulling himself up... The German Shepherd leaps... bites Nicholas' leg... Nicholas YELLS -- PANTS RIPPING. The dog falls with a mouthful of cloth. Christine and Nicholas reach the top of the fence, clinging, balanced on their elbows, looking back. The German Shepherd barks and leaps. Christine and Nicholas start over the fence, beginning their climb down the other side... ON THE OPPOSITE SIDE: three OTHER DOGS run from the shadows, Pit-Bulls and a Doberman, jumping and biting... Nicholas and Christine scramble back to the top. All the dogs hop up and down, snapping. They gnash at each other and bark at each other, frenzied. Nicholas and Christine have no choice but to hang, stranded. CHRISTINE Now what? Nicholas looks up, daunted. He spots something... There's a place where the fence runs under a FIRE ESCAPE. NICHOLAS Follow me... Nicholas gets a toe-hold, shifts his elbows, grunting, beginning the herky lateral climb toward the fire escape. Christine follows his example. Slow going. DOGS BARKING NON-STOP, nipping at their heels. CHRISTINE Shut up, you stupid, fucking dogs!! BARKING AND BARKING AND BARKING. CHRISTINE What are they guarding around here? Each other? Nicholas slips, keeps grip, but loses a SHOE... The dogs catch the shoe in their jaws, fighting for it. Nicholas watches the shoe get torn to pieces, keeps moving. NICHOLAS There goes a thousand dollars. CHRISTINE Your shoes cost a thousand dollars? NICHOLAS That one did. CHRISTINE (to herself) ... two hundred dollars a toe. Nicholas reaches the fire escape, balancing precariously to reach it. He climbs gracelessly up... He helps Christine after him, bringing her on board. They lean against the rail, exhausted. Nicholas looks to the multi-leveled ladders above. NICHOLAS Let me guess. Me first? He climbs. Christine looks down at the dogs, stupefied, looks up at Nicholas on the CREAKING rusty fire escape. CHRISTINE (to herself) This is getting out of hand. As she starts up. CUT TO: EXT. GARBAGE ALLEY -- NIGHT ABANDONED BUILDING. Boarded-over windows are kicked open from inside. Nicholas and Christine look out. They climb out onto ANOTHER FIRE ESCAPE, two stories up above a trash filled, dumpster crowded alley. CHRISTINE Never did catch your name. NICHOLAS Nicholas. Nicholas Van Orton. CHRISTINE Nicholas Van Orton? What are you, a czar? Nicholas moves to the catch of the fire escape ladder, unhooks it. The LADDER DROPS to bridge the gap to the ground, KEEPS GOING, sliding free and disconnecting -- falls flat to the ground below with a LOUD, ECHOING CLATTER. CHRISTINE (pause) That's classic. NICHOLAS (staring down, misery) Why... ? Christine crosses to the far edge of the railing, points. CHRISTINE We hang down here and drop. The garbage'll break our fall. NICHOLAS I think not. Christine climbs over the fire escape railing... CHRISTINE Afraid you're going to ruin your one-legged suit? She lowers herself down, hanging off, legs dangling... NICHOLAS Be careful... A metal DOOR is THROWN OPEN below. TWO THAI BUS-BOYS come out, dumping garbage, smoking cigarettes, laughing. Above, Christine looks up at Nicholas, mortified. She nods urgently for him to help her back up. Nicholas climbs the rail, beside her, trying to get a grip, none too effective. Below, one bus-boy looks up, shouting. The other bus-boy looks. They back away, SPEAKING RAPID THAI, pointing. CHRISTINE What are they... ? (realizing) Hey! Christine lets go with one hand, trying to pull her skirt shut. Nicholas loses hold, drops her... Christine lands hard in garbage. NICHOLAS Are you okay... ?! Nicholas drops, alarmed... lands in broken plastic bags of wet garbage, slipping as he moves to Christine. Bus-boys are helping her up. CHRISTINE I'm okay... I'm okay, thank you... Bus-boys keep questioning in Thai. Nicholas and Christine brush off. Nicholas takes off his spewed jacket, shakes it in disgust, straightens his tie. They stop... At the doorway, all the COOKS, BUS-BOYS, WAITERS and DISH-WASHERS stare at Nicholas and Christine in wonder. Nicholas and Christine stare back. Nicholas looks to Christine, brushing rotten lettuce off her shoulder, nods to the restaurant workers, clears his throat. NICHOLAS Table for two, please. He offers his arm to Christine, she takes it, they head in. CUT TO: EXT. CITY STREETS -- NIGHT ONE CONTINUOUS LONG SHOT: Nicholas and Christine walk, taking their time, eating out of take-out boxes. CHRISTINE Where are we going? NICHOLAS (points at skyline) That tall, bright building. Near there. They walk a long time in silence. A POLICE CAR moves from behind. POLICEMAN shines a flashlight up and down Nicholas. POLICEMAN Everything okay, miss? CHRISTINE Yeah. How are you? The police car keeps pace, then drives on. CUT TO: INT. NICHOLAS' OFFICE -- NIGHT Nicholas enters, turning on lights, which dim to a warm glow. Christine takes in the impressive office. Nicholas crosses to a wall, opens a hidden closet, chooses a shirt. NICHOLAS There's a shower, if you'd like. Christine leans to peek in the bathroom. CHRISTINE A shower in your office? You an athlete or something? Nicholas puts on a new shirt. Christine circles the desk, runs her fingers down his phone. CHRISTINE What exactly do you do? NICHOLAS Investment banking. Moving money from place to place. Christine has wandered to the closed blinds, opening them to reveal a breathtaking view of the city. CHRISTINE Nice. NICHOLAS Hm? (looks) Oh, yes. Nicholas takes out a SWEATSHIRT and offers it. NICHOLAS A fresh shirt... CHRISTINE (takes shirt, crossing) If this was my office, I wouldn't keep that closed. NICHOLAS I don't spend much time looking out the window. (goes to desk) I'll call you a taxi. Christine faces away, throws off her filthy shirt... Nicholas, on the phone, looks to Christine's shapely back and RED BRA. He averts his eyes, embarrassed... NICHOLAS Oh! Uh... Christine puts on the PENN STATE sweatshirt, straightens it. CHRISTINE Thanks. Nicholas nods, phone to his ear. CUT TO: EXT. VAN ORTON BUILDING -- NIGHT TWO CABS. Nicholas opens the door of the first for Christine. She faces him, close. NICHOLAS I know the owner of Campton Place. I could talk to him in the morning. CHRISTINE Don't. It was a shitty job anyway. I overreacted. Christine sits, keeps her legs out the door of the cab. Nicholas stands waiting for her to pull her legs in. NICHOLAS Goodnight. CHRISTINE I don't think I've ever spent this much time with someone who didn't even ask my name. NICHOLAS The maitre d' called you Christine. CHRISTINE (remembering) Right. Call me Christy. NICHOLAS Goodnight, Christy. It was nice meeting you. CHRISTINE Give me an address so I can send your shirt back. NICHOLAS Keep it. She looks up at Nicholas, sits inside. He shuts the door and steps back. Christine rolls her window down. CHRISTINE I have a confession to make. Someone gave me six-hundred dollars to spill drinks on you, as a practical joke. NICHOLAS Seriously? What did they say? CHRISTINE They said five hundred. I said six. They said the man in the gray flannel suit. I think I said, you mean the attractive guy in the gray flannel suit? Christine smiles, rolls up the window. The taxi leaves. Nicholas watches it go. A twinge of regret. EXT. CAMPTON PLACE RESTAURANT -- LATER NIGHT Nicholas' cab pulls up at the closed restaurant, behind the Bentley. A restaurant VALET sweeps the sidewalk, waves to greet as Nicholas gets out of the cab. CUT TO: INT. VAN ORTON MANSION, MASTER BEDROOM -- NIGHT Nicholas comes from the bathroom, just showered. He looks at CNN on TV. He walks to change channels: infommercials, B+W movies, cartoons. BUGS BUNNY. Nicholas leaves Bugs Bunny on, steps back, watching. He sits on the bed. CUT TO: INT. VAN ORTON MANSION, MASTER BEDROOM -- DAY Nicholas sleeps. Cordless PHONE RINGING. He stirs, awakens, face creased, hair mussed. NICHOLAS (in phone, voice cracks) Hel... hello? MARIA (v.o.) (from phone) Mr. Van Orton, it's Maria. I... I wasn't sure I should call... NICHOLAS (in phone) What time is it? Nicholas studies his CLOCK RADIO: 11:05. He picks it up and examines it, suspicious. MARIA (v.o.) (from phone) Eleven o'clock. I took the liberty of rescheduling your nine a.m. with Allison and Dietrich. Are you... not not feeling well? NICHOLAS I'll be in in an hour. I left my briefcase at fifteen-thirty-three Montgomery. Check with their lost and found. MARIA (v.o.) Alan Baer's in town, at the Ritz-Carlton. NICHOLAS Really? MARIA (v.o.) He's requesting dinner tonight. NICHOLAS We'll let him know. MARIA (v.o.) Also, the Claremont Hotel called to say they have your American Express card at the front desk. You left it last night? Nicholas is confused. He crosses with the phone, finds and studies his wallet. He fingers an empty plastic pocket. MARIA (v.o.) Should I send someone... ? NICHOLAS No. Give me their number. MARIA (v.o.) Eight, four, three, three-thousand. NICHOLAS See you in awhile. Goodbye. Nicholas hangs up, dials. HOTEL MANAGER (v.o.) (from phone) Claremont Resort and Spa. NICHOLAS (into phone) This is Nicholas Van Orton. I'm told my American Express card... HOTEL MANAGER (v.o.) (from phone) Yes, Mister Van Orton. Everything's in order. The concierge has arranged for the wine and flowers in the room. NICHOLAS Has he? HOTEL MANAGER (v.o.) And, a young woman phoned just now to say she's on route but running a little late. NICHOLAS (pause) Did this young woman leave her name? HOTEL MANAGER (v.o.) I'm sure I don't know. NICHOLAS Thank you. Nichola hangs up, interest piqued. CUT TO: EXT. BAY BRIDGE -- DAY Nicholas drives the Bentley. PREVIOUS CONVERSATION: SWITCHBOARD OPERATOR (v.o.) There's no answer. Would you like his voice mail? NICHOLAS (v.o.) Tell him his brother called, and to call back soon as he can. SWITCHBOARD OPERATOR (v.o.) Yes, sir. CELLULAR DISCONNECT. Nicholas looks in his rearview mirror. THRU MIRROR: a grimy BLACK SEDAN follows... keeps distance. EXT. CLAREMONT HOTEL -- DAY Grand hotel. Nicholas lelaves his car with the valet. INT. CLAREMONT HOTEL, LOBBY -- DAY At the GLASS DOORS, Nicholas pushes thru. A THIN MAN in a plain suit isn't looking, BUMPS Nicholas. THIN MAN Sorry. My fault. Thin Man exits. Nicholas crosses the opulent lobby to the desk. The grinning HOTEL MANAGER spots him coming. HOTEL MANAGER Ah, Mr. Van Orton. Here you go... NICHOLAS Have we met? He hands over Nicholas' AMEX CARD, which Nicholas studies. HOTEL MANAGER I believe so. If you would jsut sign here... The manager offers a CHARGE SLIP and pen. Nicholas looks at the manager, the slip, then signs. The manager hits a BELL. A BELLHOP arrives. HOTEL MANAGER Show Mr. Van Orton to his room. NICHOLAS The key? HOTEL MANAGER Hm? NICHOLAS Is there a room key? HOTEL MANAGER Didn't I give you two? NICHOLAS No, you didn't... Nicholas shakes his head and pats his pockets, stops, feeling one pocket... reachse in and takes out a GOLD KEY on a hotel key chain. Nicholas looks to the GLASS DOORS. NICHOLAS Cute. INT. CLAREMONT HOTEL, HALL -- DAY Long hallway. Nicholas follows the Bellhop. They arrive at the door to ROOM 277. NICHOLAS I'll take it from here. He tips the Bellhop, who leaves, uses the key, entering... INT. CLAREMONT HOTEL, ROOM 277 -- DAY Nicholas shuts the door. There's a room-service cart with wine chilling. Nicholas moves down this short hall... NICHOLAS Hello... ? His jaw drops. The room is TRASHED. Curtains shredded, furniture overturned, television imploded, mirror spiderweb-smashed, walls full of holes. Nicholas moves forward, having spotted... His battered BRIEFCASE on the ruined mattress. The latch is undone. Nicholas opens it. Inside: MANY PHOTOGRAPHS of blurry SEX acts. Bodies in motion. Limbs. Breasts. A NAKED WOMAN tied to the bed. One PHOTO shows two women entwined with a NAKED MAN who appear to be NICHOLAS. It's a so-so cut-and-paste job. A LOUD KNOCKING at the door startles Nicholas. He closes the briefcase, freaked. He hurries to the door as POUNDING is HEARD again, puts his eye to the peephole. THRU THE PEEPHOLE: a MAIN gets out her keys. MAID (thru door) Time to make up the room. Nicholas fumbles with the SECURITY CHAIN, slides it in place as the door opens -- stopped. Nicholas keeps hidden. NICHOLAS Could you come back later? MAID Yes, sir. Sorry. THRU THE PEEPHOLE: the maid moves away. Nicholas crosses to retrieve his briefcase, and is crossing back when he stops in his tracks upon seeing... On a dresser, a MIRROR covered in COCAINE lines and residue. IN THE BATHROOM Nicholas turns on the faucet, washing the cocaine down the sink, hands shaking. The mirror edge cuts his thumb and he gives a cry, drops the mirror, which SHATTERS on the floor. Nicholas sucks his thumb, puts it under the faucet. He finds a hand cloth and wraps it round his thumb. There are big blood droplets on the sink and floor. Nicholas grabs wads of tissues from a box on the back of the toilet, using them to blot up the blood, throwing tissues in the toilet and flushing. Nicholas keeps wiping blood. The toilet burps, OVERFLOWING. WATER SPILLS OUT... Nicholas backs away, panicked, exiting... INT. CLAREMONT HOTEL, HALL -- DAY Nicholas looks out from Room 277. He sees a MAID CART, HEARS an O.S. VACUUM CLEANER. He run-walks down the hall, hugging his briefcase. He pushes thru a STAIRWELL DOOR. EXT. CLAREMONT HOTEL -- DAY Nicholas takes his Bentley back from the valet, pulling out fast to the street. Further back, the grimy BLACK SEDAN moves from the curb. INT. NICHOLAS' BENTLEY -- DAY Nicholas' mind races. He wipes sweat off his face. He glances in his rearview... THRU MIRROR: the black sedan, following again. Resolve comes to Nicholas, and anger. He speeds up. EXT. BERKELEY STREETS -- DAY The Bentley weaves thru traffic, taking a corner sharp. Nicholas spins the wheel, heading... DOWN AN ALLEYWAY Nicholas brakes hard, gets out of the Bentley and heads for the mouth of the alley... As the black sedan follows, blocked, stopping. Nicholas comes to pull open the car door, confronting the rumpled, PLUMP GUY behind the wheel. PLUMP GUY What the fuck... ?! NICHOLAS Why are you following me? PLUMP GUY I don't know what you're talking about. I'm just driving... He falters as he follows Nicholas' angry gaze to the seat beside him where a FILE is open to a PHOTO of NICHOLAS. PLUMP GUY (fumbling to close file) Look... what I'm doing is none of your business... NICHOLAS Is Alan Baer "the Game?" Is that what this is? PLUMP GUY (defiant pause) Friend... why don't you back off. He leans as he talks... inside his jacket, he wears a gun. Nicholas reaches across and pulls the gun, hefting it. PLUMP GUY Hey... ! NICHOLAS (of the gun) Nice touch. Does the game use real bullets... ? Nicholas points the gun at the sedan's rear tire, FIRES! The gun is SHOCKINGLY LOUS -- BURSTS the TIRE! Nicholas looks to the smoking weapon, blanching. Plump Guy leaps to the other seat, scrambling out the passenger door, submissive... PLUMP GUY Okay, I'm a private investigator. Somebody hired me to keep tabs on you... Nicholas lifts the gun, unsure, pointing it awkwardly... NICHOLAS Who... who hired you? Plump Guy bolts, running away down the alleyway. Nicholas aims the gun after him, but catches himself, lowers it. He runs the other direction, back to the Bentley... Nicholas gets in the car, drops the gun on the seat, drives. INSIDE THE BENTLEY Nicholas returns to the street, glancing back. He looks at the gun. He opens the glove compartment, throws the gun in. He takes out his CELLULAR PHONE, dialing... MARIA (o.s.) (from cellular) Mister Van Orton's office... NICHOLAS (into cellular) Maria. Have Sutherland meet me at the Ritz-Carlton. I'm on my way there now. MARIA (o.s.) May I tell him... ? But, Nicholas is already pushing DISCONNECT. CUT TO: INT. RITZ CARLTON HOTEL, LOBBY -- DAY Nicholas enters with briefcase. Sutherland rises to follow. SUTHERLAND What's happened... NICHOLAS Follow me. INT. RITZ-CARLTON, ALAN BAER'S SUITE -- DAY A HOTEL EMPLOYEE rolls a room service cart out. Nicholas pushes past with Sutherland in tow. Alan Baer, his handsome WIFE and lovely DAUGHTER are seated at a table where a WAITER lays out a splendid meal. ALAN BAER Nicholas... this is unexpected. Nicholas takes out the SEX PHOTOS, throws them on the table. NICHOLAS Do you actually believe that because you publish children's books, anyone's going to care about my reputation? Wife and daughter are frightened. Alan Baer covers the photos with his napkin. NICHOLAS You could print pictures of me wearing nipple rings and butt-fucking Captain Kangaroo... all anyone would wonder was whether the stock was up, or down. Sutherland's nervousness grows by the second. DAUGHTER Daddy... ? ALAN BAER It's alright, dear. Mr. Van Orton... SUTHERLAND Nicholas... NICHOLAS (still to Alan Baer) That you've involved Conrad... is unforgivable. I am now your enemy. ALAN BAER Are you finished? NICHOLAS No. This is my lawyer, Samuel Sutherland. I thought you two should meet. ALAN BAER We met, this morning. I signed the termination contract for Baer/Grace. I accepted your settlement, Nicholas. you were right. I'm going sailing. Nicholas opens his mouth, but no words come. He looks to Sutherland. Sutherland nods to confirm. ALAN BAER You're welcome to join our luncheon. Maybe we can straighten this our. (motioning to...) My wife, Mary Carol, and my daughter-in-law, Kaliegh. Wife and daughter give mumbled greetings, having no desire to meet Nicholas. Nicholas just stands stymied. NICHOLAS It seems I've... please, disregard my apparently misguided remarks. Nicholas heads for the door, hurrying out. Alan, wife, daughter, the waiter and Sutherland exchange looks. SUTHERLAND Well... Sutherland walks to retrieve the sex photos. SUTHERLAND Enjoy your lunch. Sutherland smiles, exiting. CUT TO: INT. NICHOLAS' OFFICE -- DAY Nicholas sits at his desk, opens his briefcase, checking the contents. Soon, Sutherland arrives, shutting the door. He watches Nicholas, deciding. SUTHERLAND How concerned should I be? NICHOLAS It was a misunderstanding. Sutherland puts the SEX PHOTOS on the desk. NICHOLAS Someone's playing hardball. It's complicated. Can I ask a favor? SUTHERLAND You know you can. NICHOLAS Find out about a company called C.R.S. Consumer Recreation Services. SUTHERLAND Sounds like they make tennis rackets. What do we know? NICHOLAS Just what I told you. SUTHERLAND Nothing else? Nicholas remembers. He opens up a file drawer in his desk. NICHOLAS They gave me their waiver. On their... wait... Nicholas hands over a file, returning to his briefcase. He finds an ENVELOPE with a SMILELY-FACE on it. He opens it. He takes out a silver-plated METAL CRANK. Like a handle. SUTHERLAND What is this? Nicholas looks up. Sutherland's looking in the file, quizzically, hands it back... Nicholas studies PINK-TINTED PAGES; the pages Feingold gave him, once dense with words, now completely blank except for NICHOLAS' SIGNATURE and INITIALS several places. NICHOLAS (of the pages) Christ... I can't believe it... invisible ink? SUTHERLAND You're joking. NICHOLAS It's what they do. It's like... being toyed with by a bunch of... (picks up SEX PHOTOS) Depraved children. Nicholas examines each photo. Sutherland goes to leave. SUTHERLAND Very well. If you tell me not to worry, I shan't. NICHOLAS Sam... (as Sutherland stops) Thank you. Sutherland exits. Nicholas keeps examining the pictures. He sits forward, finding something... IN A PHOTO: the out-of-focus back of a NAKED WOMAN wearing only a RED BRA. NICHOLAS (INTO PHONE-INTERCOM) Maria. The other night... last night, there was a woman here named Christine. I called a taxi, from that company we use... MARIA (v.o.) (FROM PHONE-INTERCOM) Elite? NICHOLAS What? MARIA (v.o.) Elite Taxi Company? NICHOLAS Look into it. Find out which car answered and where they took her. Nicholas sits back. He picks up the METAL CRANK, twists it in his hands, frowning, pockets it. CUT TO: EXT. VAN ORTON MANSION, GARAGE -- NIGHT The rapid SOUND of a PHONE OFF THE HOOK is HEARD OVER: BEEP BEEP BEEP BEEP... The Bentley pulls in. Headlights out. IN THE CAR, Nicholas takes the gun from the glove compartment and puts it in his briefcase. INT. VAN ORTON MANSION, KITCHEN -- NIGHT Dark. The PHONE OFF THE HOOK is LOUDER, grating: BEEP BEEP BEEP BEEP BEEP... Nicholas comes in the back door, peering into the weak moonlight. NICHOLAS Ilsa? Nicholas replaces the phone on its cradle. QUIET. He reaches for a light switch, ZAP! -- BLUE SPARKS leap to his fingers. Nicholas YELPS and shakes his hand out. The switch has been RIPPED OUT, leaving exposed wiring. Nicholas goes to his briefcase, getting the gun and moving forward, wary, calling out... NICHOLAS Ilsa!? INT. VAN ORTON MANSION, DEN -- NIGHT In the blackness, Nicholas comes to stand at the doorway, levels the gun at someone across the room... NICHOLAS I've got a gun! There's a roaring fire in the giant fireplace and a FIGURE in a chair. Nicholas eases forward... It's the HARLEQUIN in the chair, with a GLOSSY B+W PHOTO between its teeth. Nicholas pulls out the picture... A POLICE PHOTO of NICHOLAS' FATHER, his body sprawled. It's stamped "PROPERTY SFPD" in red. There's a NOTE papere-clipped behind: "Like my father before me, I choose eternal sleep." At the bottom, a RED SIGNATURE ARROW affixed, "Please Sign Here." Suddenly, ALL LIGHTS SURGE TO LIFE, icy and ghoulish -- each and every bulb replaced by BLACK LIGHT... Nicholas pivots slowly, taking in the horror... The wrecked den is covered in FLUORESCENT SPRAY-PAINT GRAFFITI: "WELCOME HOME" "FUCK YOU" "NICHOLAS VAN COCKSUCKER" "SUCK IT" "C.R.S. RULES" "HAVING FUN, RICH BOY?" Everywhere. Across windows, paintings and curtains. The ceiling is covered in "MOMMA'S BOY" and OBSCENITIES. Scaffolding's been left behind. Used SPRAY CANS on the splattered Oriental rug. A PAINT/AIR COMPRESSOR. NICHOLAS ... fuckers... INT. VAN ORTON MANSION, MASTER BEDROOM -- NIGHT A glowing ANARCHY SYMBOL sprayed across the door which is throw open by Nicholas as he enters. It's all BLACK LIT here too. GRAFFITIED and DESTROYED. "HELTER SKELTER: in jolting letters. Nicholas backs out... INT. VAN ORTON MANSION, VARIOUS ROOMS -- NIGHT FOLLOW: Nicholas down the hall and around corners, BLACK LIGHTS above, walls covered in CURSES and MULTI-COLORED SQUIGGLES. Like a bad trip thru the Bat-Cave... DOWN STAIRS Past OTHER ROOMS likewise awash in vibrant slurs... THRU THE KITCHEN Now also revealed as ruined. Nicholas goes out the door... EXT. VAN ORTON MANSION, BACKYARD -- NIGHT Nicholas runs to the GUEST HOUSE. INT. VAN ORTON GUEST HOUSE, FOYER -- NIGHT BANGING on the FRONT DOOR. Ilsa comes to look thru the peephole, opens the door to a breathless Nicholas. ILSA Mr. Van Orton... ? NICHOLAS Ilsa... you're alright? ILSA Yes. What do you mean? What's wrong? NICHOLAS Did the alarm go off? The house... they... you didn't see... ? ILSA I don't know what you're talking about. What's happened? NICHOLAS There's been a break in. Lock this door and stay here. Don't move a muscle. Nicholas runs back toward the house. ILSA Be careful! EXT. VAN ORTON MANSION, BACKYARD -- NIGHT Crossing the lawn, Nicholas pulls out his cellular phone, dialing as he runs, takes out his gun. 911 OPERATOR (v.o.) (from cellular) Nine-one-one, emergency... NICHOLAS (into cellular) I need the police. There's been a break-in at my home... 911 OPERATOR (v.o.) (from cellular) Okay, sir. Stay on the line and give me your address... INT. VAN ORTON MANSION, KITCHEN -- NIGHT Nicholas enters, still on the phone, locking the door, beginning to punch the security code into the ALARM KEYPAD. NICHOLAS (into cellular) Twenty-two Moore Street. At the corner of Moore and Buchanan. 911 OPERATOR (v.o.) Now, sir, you said it was a break-in... NICHOLAS Yes... 911 OPERATOR (v.o.) Are you sure they're gone... ? As Nicholas finishes the security code, the KEYPAD BEEPS, and Nicholas straightens, worried. 911 OPERATOR (v.o.) ... are you sure there's not still someone somewhere in the house? NICHOLAS I... don't think so. And with the DYING HUMMMMMMMM of POWER FAILING, all the BLACK LIGHTS GO OUT. Nicholas raises his gun... NICHOLAS Oh God... Pointing it into the dark kitchen, hand trembling. 911 OPERATOR (v.o.) Hello? Are you still there? Behind, a DARK FIGURE outside rises against the kitchen door window, POUNDING FRANTICALLY! Nicholas leaps and spins, CRYING OUT in terror, dropoping the gun... The gun bounces across the linoleum. It's CONRAD at the kitchen door, haggard and scared, his pale face pressed against the glass, pointing frantically. CONRAD Meet me out front! Conrad ducks away, moving on. CUT TO: EXT. CITY STREETS -- NIGHT The Bentley takes a corner fast, heading downhill, moving from residential to mostly urban... INSIDE THE BENTLEY Nicholas drives. Conrad looks back over his shoulder, a man on the run, dark circles under his eyes. NICHOLAS Tell me where we're going. CONRAD Just drive, man. (slumps low) It's fucking nuts! NICHOLAS What's this all about, Connie? CONRAD Shhhhhhh. Wait... wait... Conrad flips the sunshade, looks behind it, feels the fabric of the roof and the seam of the door. He grips the interior LIGHT, breaks it open, pulling the bulb and wires. NICHOLAS What are you doing? CONRAD They're methodical. They're nothing if they're not that. NICHOLAS Who? CONRAD C.R.S. Who do you think? Jesus H., thank your lucky charms. To think what I almost got you into. NICHOLAS (miserable) Yeah, almost... CONRAD You dodged a bullet. NICHOLAS How do you mean, exactly? CONRAD They fuck you and they fuck you and they fuck you. And then, just when you think it's done, that's when the real fucking begins. NICHOLAS Slow down, take a breath... CONRAD It doesn't stop, Nick. I paid the bill, I gave 'em their money, but it all started again. They won't leave me alone... NICHOLAS What have they been doing to you? CONRAD Everything. I'm a goddamn human-pinata... NICHOLAS Calm down. Why would they keep playing after you paid? CONRAD You think I know? I paid them more to make it stop. BOOM! -- the wheel jerks in Nicholas' hand, TIRES SCREAM... CONRAD What the hell... !? ON THE STREET A TIRE'S BLOWN OUT. Riding the rim, the car jerks over... INSIDE THE BENTLEY Nicholas stops at the curb. Conrad's turned in his seat. CONRAD It's them. They did this. NICHOLAS It's a flat tire. That's all. CONRAD How do you know? NICHOLAS We're going to figure this out. Get a grip on yourself. CONRAD Okay... okay. Conrad faces forward. Nicholas gets out to look at the wheel, using his cellular, then returns to the open window. NICHOLAS The phone's dead. CONRAD Really? NICHOLAS Do you know how to change a tire? CONRAD No. Do you? (off Nicholas' frown) Can't be too hard, can it? I don't think we should be here out in the open like this. Nicholas rubs his temples, looks all around, frustrated. NICHOLAS Check the glove box... might be another battery there. Conrad OPENS the glove compartment: KEYS SPILL OUT. At least fifty, silver and gold, all stamped "C.R.S." Conrad's breath catches in his throat. He looks to Nicholas, afraid. Nicholas leans closer... NICHOLAS How did those... ? CONRAD You're part of it... NICHOLAS What? Connie... Conrad climbs out, pointing across the roof of the car... CONRAD No! You're one of them. Of course, it makes perfect sense! NICHOLAS No, it doesn't! Those keys were put there. I didn't even know... CONRAD You're behind this, aren't you? You and your sick friends. Well, make it stop! NICHOLAS Listen to yourself. Why would I do anything like what you're describing? CONRAD Because you hate me. Because you had to be here, when mom died. Because you had to do it alone. (near tears) Well, don't you think if I'd known... I'd've been here too. I'd have been here... NICHOLAS Stop this. It's not true... CONRAD I'm sorry, Christ, I'm sorry! How many more times do I have to say I'm sorry before you forgive me... ? NICHOLAS Stop it! Conrad bolts away, full tilt, into a nearby PARK and PUBLIC GARDENS. Nicholas gives chase, calling after. AHEAD, Conrad runs headlong, disappearing thru thick bushes. Nicholas follows, downhill, falls and slides, gets up. At the bottom, he shoves thru vegetation... On the other side, Nicholas looks all directions, gulping air. Conrad's nowhere to be seen. Nicholas stops. NICHOLAS (shouting) Connie! Far off, there's a concrete path winding thru the park past a BANK OF PAYPHONES. ONE PAYPHONE starts RINGING. Nicholas starts back the way he came. Behind, ALL THE PAYPHONES start RINGING. Nicholas halts. He runs to the phones, answers one. NICHOLAS (into phone) You sons-of-bitches... MAN'S VOICE (v.o.) (from phone) Flippy? Is Flippy there? Flippy? Nichols slams the phone down, picks up another... RECORDING (v.o.) (from phone) If you'd like to make a call, please hang up and... PHONE STOP RINGING. Nicholas hangs up, digging out his wallet. Rifling thru it, he comes up with the VALET TICKET with the C.R.S. EMERGRENCY 800-NUMBER on it. He dials... Puts the phone to his ear. BUSY SIGNAL. He slaps the headset-tongue, redialing, waiting... RECORDING (v.o.) (from phone) We're sorry. The number you have dialed has been disconnected or is no longer in service... He throws the receiver, tears the valet ticket in half and tosses it, then steps back -- KICKS the phone. EXT. CITY STREET -- NIGHT Nicholas returns to his car, looks down at the flat tire. At the rear, Nicholas opens the trunk. He reaches in and takes out the car's JACK. He looks at it like an alien thing, turns it over, tosses it into the street. He closes the trunk, REMOTE's the ALARM, walking away. There's a TAXI heading this way. Nicholas hails it... INSIDE THE TAXI Nicholas gets in. GLASS separates him from the CAB DRIVER NICHOLAS Twenty-two Moore Street. The driver nods and hits the gas. EXT. CITY STREETS, FURTHER ON -- NIGHT The taxi roars down the street. INSIDE THE TAXI Nicholas has his head back, eyes closed, loosening his tie. He looks out the window, narrow his eyes. NICHOLAS (pointing) Um... you want to turn here... (TAXI KEEPS GOING) Excuse me, you missed the turn. The driver says nothing. Nicholas knocks on the glass. NICHOLAS Did you hear me? You're... Nicholas stops, noticing the DRIVER I.D. on the other side of the partition. "California Regal Sedans." C.R.S. NICHOLAS No... no, no, no. Stop the car! The taxi HALTS at a LIGHT. Nicholas tries the DOOR HANDLE. Doesn't work. He tries the WINDOW HANDLE -- it COMES OFF. ON THE STREET The cab PEELS OUT as the light turns green. INSIDE THE TAXI Nicholas tries the other door, panicky. Same results -- locked in. The taxi makes a SCREEEEECHING TURN... ON THE STREET The taxi speeds up... heading for a WHARF AREA and PIERS. INSIDE THE TAXI Nicholas presses against the partition, urgent, calm... NICHOLAS Listen. I am a very wealthy man. Whatever they're paying you, I'll double it! The taxi driver simply opens his door and leaps out... THRU THE WINDOW: the driver ROLLS, a perfectly executed stunt fall. Nicholas can't believe. He grabs frantically for his seatbelt, SNAPS it around him, looks up... Opens his mouth to SCREAM... ON THE WHARF The taxi goes FLYING off a deserted pier... airborne... SPLASHES DOWN! in the San Francisco Bay. INSIDE THE TAXI Nicholas is jerked forward, breath slammed out of him. ON THE SURFACE OF THE WATER The taxi goes under in an eruption of bubbles. UNDERWATER THRU THE TAXI WINDOW: Nicholas pulls off his seatbelt, extricates himself and starts kicking the window. Dashboard lights grow eerie as they submerge. INSIDE THE TAXI Nicholas stops kicking, trying to calm. He looks to the front: water's gushing in through two-inches of open window. The taxi's less that half full. NICHOLAS (to himself) It's a game... it's a game... He tries the DOOR HANDLE again, yanking, to no avail. He realizes something, searches his pockets... UNDERWATER The taxi sinks, headlights dimming in murkier depths. INSIDE THE TAXI Nicholas finds the METAL CRANK. He takes a deep breath... SUBMERGING. He puts the crank in the WINDOW HANDLE HOLE, turns the crank. The WINDOW LOWERS, water flooding in... UNDERWATER Nicholas swims out the window, heading upwards... EXT. SAN FRANCISCO BAY -- NIGHT Nicholas bursts to the surface, sucking air. He treads water, catching his breath. GIRL'S VOICE (o.s.) Hey, mister... are you alright? Nicholas turns. There's a CABIN CRUISER docked nearby. A beautiful GIRL in a yellow raincoat throws a life preserver. Nicholas swims to it. EXT. CABIN CRUISER -- NIGHT Nicholas climbs the rear ladder with the girl's help. He stays on his knees, teeth chattering. The boat's luxurious. GIRL You could get hepatitis from that water. She helps Nicholas up, keeps a grip on him. NICHOLAS I need the police. GIRL Let's get you dried off first. I might have some clothes below. INT. CABIN CRUISER, BATHROOM -- NIGHT The shower and mirrors are fogged. Nicholas' wet clothing sits in the sink. He's wearing a short-sleeved shirt, pulling on trousers. IN THE ADJOINING BEDROOM QUIET MUSIC. Nicholas comes from the bathroom, feeling the waistband of the pants, checking out the cuffs. NICHOLAS You know, these fit... perfectly. GIRL They were my husband's. My late husband... may he rest in peace. Nicholas looks to the girl. She rises from the bed and slides the raincoat off, wearing only a BIKINI. A Playmate. Nicholas just sort of sags. The girl undoes her top, which falls. She steps forward. GIRL I've been so lonely. NICHOLAS I can't tell you how not interested I am. GIRL Don't be nervous. They said you'd be nervous. NICHOLAS Don't take another step. The girl covers her breasts, confused. Nicholas gathers his clothing from the sink, heading for the stairs. GIRL Isn't this what you like? They told me you had a thing for boats. NICHOLAS First they try to kill me, now you? (to girl) Put your damn clothes back on. Nicholas scrambles upstairs... EXT. CABIN CRUISER -- NIGHT Nicholas leaps off onto the wharf. The girl, pulling on her raincoat, crosses to the boat's rail, waving a BOX. Thru the box's window: a gold GLASS CUTTER nestled in velvet. GIRL Don't you want your thing? I was supposed to give you this thing. Nicholas just keeps walking. CUT TO: EXT. C.R.S. BUILDING -- DAY TWO POLICE CARS, marked and unmarked, pull to the curb. From the plainclothes car, MALE DETECTIVE and FEMALE DETECTIVE get out. Nicholas and Sutherland get out. INT. C.R.S. BUILDING, LOBBY -- DAY Nicholas, Sutherland, Male and Female Detective cross the busy lobby with TWO UNIFORMED OFFICER'S behind. INT. C.R.S. BUILDING, OFFICES -- DAY Nicholas enters, followed by the others. He stops short... REVEAL: this huge room, once filled with cubicles far as the eye could see, is now entirely EMPTY. Trash. Dust. Fixtures jutting from the floor. CUT TO: INT. NICHOLAS' OFFICE -- DAY Nicholas stands with hands in pockets, staring at the floor. Sutherland's here. Female and Male Detective stand together. She's checking notes. FEMALE DETECTIVE Management for the building says that space hasn't been officially rented yet. The county recorder has no listing for "Consumer Recreation Services" or any derivation thereof. No sign of the boat or the girl. We're checking escort services, but it's unlikely. Divers are looking for the taxi, and soon as they find it they'll pull the plates and V.I.N. MALE DETECTIVE Have you gotten in touch with your brother? NICHOLAS He hasn't called back. SUTHERLAND What about the house? MALE DETECTIVE The graffiti was painted in an oil-based marine marking solution. Illegal in the states. Not impossible to trace, but it'll take time. FEMALE DETECTIVE The photos, gun, the clown, the ambulance, cable box, everything else... it's all pending. (shuts notebook) Breaking and entering we have, solid. Malicious mischief, vandalism, harassment. But, that's about all. SUTHERLAND Illegal surveillance, reckless endangerment... NICHOLAS Attempted murder. MALE DETECTIVE Except... you said you hired these people. SUTHERLAND That's irrelevant. MALE DETECTIVE It's our job to let you know what we have. We haven't got motive. FEMALE DETECTIVE (to Nicholas) You are who you are, so we know you're not making it up. But, we've never dealt with anything quite like this. Be appropriately cautious. (pause) Unless you think they're done with you. CUT TO: INT. VAN ORTON MANSION, KITCHEN -ń NIGHT Ilsa sets down a plate: sandwich with crust cut off, potato chips and carrot sticks. Nicholas eats, pondering. NICHOLAS What was my father like? Ilsa's at the fridge, near where drop-cloths, paint cans and other repair preparations are piled. ILSA What makes you ask? NICHOLAS I'm not sure. Ilsa comes to set down a glass, fills it with milk. ILSA All the time I've known you, you've never once asked about him. NICHOLAS He came to my mind recently, that's all. Ilsa moves to put food back into the refrigerator. ILSA Your mother thought he was a good man. He worked very hard. What I remember most was his manner was so... slight. It was easy to spend time in a room, and not realize he'd been there the whole time. NICHOLAS Was he morose, or...? I mean... ILSA No. What happened... no one expected it. NICHOLAS Sometimes I wonder how much of him there is in me. ILSA Not much, I think. NICHOLAS I'm just like him. ILSA You're not like him at all. I don't know exactly what's going on around here lately, but don't make me start worrying about you. NICHOLAS Did you worry about him? ILSA Nobody worried about your father. Nicholas stares at his milk. PHONE RINGS. He answers... NICHOLAS (into phone) Hello. MARIA (v.o.) (from phone) It's Maria. I found the address you wanted from Elite Taxi. NICHOLAS (picks up pen and paper) Go ahead... CUT TO: EXT. SUBURBAN NEIGHBORHOOD -- NIGHT Rows of lower-middle-class homes. Nicholas parks. A WHITE VAN sits near, a wrench-wielding WORKMAN painted on the side. "Cable Repair Specialists." Nicholas crosses the lawn of a WHITE HOUSE, to the porch. He rings the doorbell and waits. Finally, an older man in a bathrobe answers, CHRISTINE'S DAD, puffy-eyed.
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From: wtf (Jun 28, 2004 13:31 EDT)
wtf?
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From: boomboom (Jul 22, 2004 09:30 EDT)
hi2u
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From: [email protected] (Jul 22, 2004 10:40 EDT)
my email is [email protected] so we can get those nice tits wet. r u a virgin
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From: G.E.T. A. L.I.F.E. (Jul 23, 2004 21:02 EDT)
u guys seriously need 2 grow up! nun of u r her boyf...and u really shouldn't talk about her that way, its really offensive, not just 2 her, but 2 all girls! i am a girl, so really stop it!
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From: pissed off (Jul 26, 2004 12:33 EDT)
fucken losers why don't you just keep your sick comments to yourself
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From: Dear Lindsey (Jul 26, 2004 17:01 EDT)
I am quite interested romantically in a guy friend of mine but he looks at me only as a friend or even like his sister. It is so frustrating. How do I get him to see me for the woman and potential partner that I am? Kathleen B.
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From: Lindsey Lohan (Jul 26, 2004 17:01 EDT)
You must reduce the amount of time that you spend around him when he is seeking a best friend, advice or “little sister.” If you keep playing this role, you will get type cast. He will always look at you in this way, no matter the situation. When you are around him, look good. Don’t be around quite so often. Give him a chance to miss your presence in his life. If there is no challenge left for him, he will seek out a new one. Leave some mystery. When he needs a shoulder to cry on, or wants to talk about other women he is interested in, be scarce. At this point, you have become a sister, mother or therapist, not a potential companion. Few men have passion for their sisters, mothers or therapists and with good reason. If you allow this to happen on a regular basis, you will NEVER date him romantically. If he feels that he can “always have you” he will never want you. It is as simple as that. Think of it this way, it is just like living by the ocean. Those who do, tend to take the ocean for granted (and lose sight that it is there) while those who rarely get the chance to see it, are often deeply moved and feel horrible when they have to leave. Be careful of how much time you spend around him when he is with his friends. Men act quite differently around women when their “home boys” are around, as they never want to appear “whooped.” Remember, don’t tell him everything about you, leave some mystery. It keeps men thinking. When there is no challenge left, they will look for a new one. It is our nature. Finally, when you are around him, look good. I am not saying look like you are ready to enter a beauty contest, but leave no doubt in his mind that you are a desirable woman. L.L
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From: rach (Jul 29, 2004 21:11 EDT)
Yeah im sure that was really lindSAY.... come the fuck on if it really was , you know how to spell YOUR OWN DAMN NAME dumbass
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From: hey rach, here's a present you bitch (Aug 01, 2004 13:01 EDT)
= HOME MOVIES from the 60's, SILENT and grainy: EXT. MANSION -- DAY -- HOME MOVIES A stately mansion. A perfect lawn. A BUTLER carries a birthday cake with sparking sparklers... Past wealthy MEN in crewcuts and thin ties, WOMEN in cat-eye sunglasses. Everyone sings (silent) "Happy Birthday"... CHILDREN follow the cake, in dresses and suits, gathering round NICHOLAS VAN ORTON, 7, guest of honor, who wears a blindfold. MOTHER comes to remove the blindfold and Nicholas ogles the cake, laughs. He reaches for a sparkler. STEP PRINT: Mother intercepts, fussing, fixing his hair... Nicholas' FATHER sits near, smoking, nodding. He's intense, thin, wearing a party hat. He notcies the camera without mugging for it, bends to snuff his cigarette in an ashtray. SPLICE-JUMP TO/STEP PRINT: a Harlequin CLOWN ties balloon animals. Nicholas assists, distracted by the inattentive children who look into the camera and pull hair and stand on their chairs... Men are drinking, storytelling, laughing. A fraternity... The women are elsewhere, doing movie-vamp poses for the camera, blowing cigarette smoke, brightly dressed, eyelids blue and green, lipstick perfect... Servants clear the table. Father holds a piece of untouched cake. A man talks to him, but Father stares off, lost in thought. He's forgotten the party hat on his head... STEP PRINT: Mother puts her arms around Father and makes him face the camera. He leans in, posing dutifully. SPLICE-JUMP TO: a nanny in uniform, ILSA, holds an INFANT (CONRAD) to the camera, places the baby in Nicholas' arms. STEP PRINT: Nicholas is gentle, overwhelmed by cradling his tiny brother. SPLICE-JUMP TO: children play tag. Across the lawn, Father heads to the house. He looks back, walks backwards. STEP PRINT: he gives a small wave, continuing away... Kids chase past. Nicholas and two other kids huddle, arms locked, spinning round and round, till they stumble different directions, falling, laughing, dizzy... Nicholas gets up, wearing a PUPPET on each hand. STEP PRINT: He walks CLOSE and peers in the camera, steps back, happily talking. We can't hear because it's SILENT... DISSOLVE TO: INT. VAN ORTON MANSION, BATHROOM -- MORNING The emotionless face of NICHOLAS VAN ORTON, just today 40, looks upon itself in a mirror. He brings an electric shaver across his chin, shuts it off, wipes his face with a towel. INT. VAN ORTON MANSION, MASTER BEDROOM -- MORNING Nicholas crosses. The bedroom is spacious, devoid of clutter. A weight-machine in a far corner. A big T.V. shows CNN with no sound. At a bedside table, Nicholas picks up a heavy, gold ROLEX, sliding it on, checking the time. 6:32. INT. VAN ORTON MANSION, KITCHEN -- NIGHT Nicholas stands at the kitchen islandm his tie thrown over his shoulder, eating breakfast. ILSA, now elderly, is across the way doing dishes. The only sounds are the tiny clicks of Nicholas' knife and fork against his plate. He's reading a German newspaper. Nicholas jabs the last piece of egg, skewers the last bit of ham and last square of toast. Plate's clean. He sips his last swallow of juice, dabs his mouth with a napkin, picks up his briefcase and heads to a back door. NICHOLAS (without looking) Thank you. ILSA Have a nice day. EXT. VAN ORTON MANSION, BACKYARD -- MORNING Nicholas walks down a garden pathway to a three-car garage. He looks at his Rolex. CUT TO: INT. NICHOLAS' BENTLEY -- MORNING Bentley Continental Coupe. Quiet. Nicholas drives, begins humming, barely audible. A Prince song, "Erotic City." NICHOLAS (sings, to self) ...until the dawn... making love till cherry's gone.. (humming, quiet) ... Erotic City, you and me... Nicholas changes lanes, HONKING the HORN, impassive. We can BARELY HEAR the BEEPING in here. He glances back. He drives, adjusts his mirror. Resumes humming. CUT TO: EXT. VAN ORTON BUILDING -- MORNING Distinctive SAN FRANCISCO skyline on the horizon. Nicholas' building is a brownstone bookended by skyscrapers. Old money dwarfed by new. The Bentley arrives... INT. VAN ORTON BUILDING, UNDERGROUND GARAGE -- MORNING The Bentley moves past a valet station. One VALET follows. The Bentley takes its place. A brass plaque reads: "NICHOLAS VAN ORTON, Van Orton Enterprises." The valet opens the car door for Nicholas. CUT TO: INT. VAN ORTON OFFICE -- MORNING Two objects on Nicholas' desk: phone and laptop computer. He's on the phone, operating the laptop with one hand. Business talk, mile-a-minute. MALE VOICE (v.o.) (from phone) ... might be perched up on majority shares, but you're not the only one who gets hurt if the actuals crash. Forecasts were fucked to begin with. NICHOLAS (into phone) The moment Baer/Grant's P and L report is placed in my hand, I will be speed dialing your number. Empty walls. No distractions. MARIA, the proper executive assistant, stands practically at attention. MALE VOICE (v.o.) Is that a promise? NICHOLAS I'm sorry... I'm unfamiliar with the term. MALE VOICE (v.o.) What if Alan calls me with a sob story about substantiation procedure? NICHOLAS Take evasive action: have your secretary say you're in a meeting. Goodbye, Jack. MALE VOICE (v.o.) Yeah. Nicholas hangs up, shuffling computer windows: stock quotes, pie-charts, graphs, lists. Maria refers to an index card. MARIA Invitations: the Museum Gala. NICHOLAS No. NICHOLAS The Fitzwilliam Botanical Garden Annual Fundraiser. NICHOLAS No. NICHOLAS The Hinchberger wedding. NICHOLAS Let me think... (sits back, eyes closed) Hordes of men in tuxedos. Everyone's droning. Ludwell's trying to break the ice by reciting an off-color limerick... MARIA (impatient) I'll send your regrets. Honestly, why must I even bother? NICHOLAS Because, if you don't know about society, you don't have the satisfaction of avoiding it. A KNOCK and a female ASSISTANT enters. There's a lot more NOISE and ACTIVITY behind her. ASSISTANT Elizabeth on line three. Nicholas taps his fingers on his lips, considering. MARIA Your ex-wife. NICHOLAS I know who she is. (to assistant) Take a message. ASSISTANT Um... Happy Birthday, sir. Nicholas squints. MARIA (icily) Thank you, Maggie. The assistant backs out. Nicholas returns to his computer. NICHOLAS I don't like her. MARIA I wouldn't mention the following, except he was very insistent. It's obviously some sort of prank... NICHOLAS What? MARIA A gentleman left a message requesting a lunch, but I assured him... NICHOLAS What gentleman, Maria? MARIA A Mister... Seymour Butts. Nicholas looks up. He sits back, lost in thought. NICHOLAS (to himself) "Under the Bleachers"... by Seymour Butts. MARIA Pardon me? I'm afraid I don't... NICHOLAS Cancel lunch. Make reservations at Campton Place for me and Mr. Butts. Maria nods, heading out, high heels clicking as she crosses. NICHOLAS And, put the reservation in my name. CUT TO: INT. CAMPTON PLACE RESTAURANT -- DAY Upscale. Quiet. Nicholas is in a booth facing the rear, studying a thick FINANCIAL STATEMENT, making tiny notations. A WAITRESS arrives. WAITRESS Ready to order, sir? NICHOLAS I'm still waiting... Nicholas points out the other plate. The waitress leaves. NICHOLAS Excuse me... She returns. He slides his empty glass toward her. NICHOLAS This was iced tea. He's returned to his report. The waitress takes the glass and leaves, irritated. Nicholas checks his watch. An EXAGGERATED SNEEZE is HEARD and liquid hits the back of his neck -- AH-CHOO!... Nicholas jumps, sickened, turning to face CONRAD, who holds a spray bottle and smiles. CONRAD Hey there, Nickie. NICHOLAS (repulsed) Conrad, what a surprise. Gesundheit. CONRAD Happy Birthday, man. NICHOLAS (nods) "Seymour Butts." I never get tired of that one. CONRAD That's why it's a classic. Come on, man... how 'bout a hug... ? Nicholas is wiping his neck with a napkin as Conrad forces a hug on him. Conrad takes a seat, good-lookingm unkempt, tan, wearing a too-big suit jacket. CONRAD They gave me a free jacket at the door. NICHOLAS They'll be wanting it back. CONRAD Not after I'm done with it. (laughs) Actually, I've been here. In grad-school I bought crystal-meth from the maitre d'. NICHOLAS Which grad-school? Conrad smiles. The brothers take each other in for a moment. Long moment. They're a bit stunned to be reunited. NICHOLAS You look good. CONRAD So do you. And to think I was worried... NICHOLAS About me? CONRAD How long's it been? Since mom died... four years? How are you? NICHOLAS Never better. CONRAD Elizabeth? NICHOLAS Divorced. Remarried to some pediatrician or gynecologist, or pediatric gynaecologist, in Sausalito. CONRAD Too bad, I liked her. So, you're all alone in the House of Pain? NICHOLAS I redecorated. What about you? CONRAD Nowhere in particular. Don't you keep track of my whereabouts anymore? NICHOLAS Connie... what brings you here? Is everything alright? CONRAD Yeah. NICHOLAS You need anything? CONRAD No. NICHOLAS Really? CONRAD I don't need anything from you. I was laying on a beach somewhere in Spain, naked, and, it hit me -- Nickie's birthday. So, here I am, four layovers, twenty-seven hours flying and one donkey ride later. Not necessarily in that order. Conrad drops an envelope on the table. CONRAD For you. NICHOLAS You shouldn't have. Nicholas opens it, takes out a sappy, Hallmark B-day card. A BUSINESS CARD falls out. Nicholas picks it up... CONRAD What do you get for the man who has just slightly more than everything? The card: "Consumer Recreation Services." With a PHONE NUMBER and ADDRESS below. CONRAD Call that number. NICHOLAS "Consumer Recrreation Services." What, do they make golf clubs? CONRAD Trust me. Call that number. NICHOLAS Why? CONRAD They make your life fun. Their only guarantee is you will not be bored. NICHOLAS Fun? CONRAD You've heard of it. You've seen other people having it. They're an entertainment service, but more than that. NICHOLAS This isn't an escort service? CONRAD It's a profound life experience. NICHOLAS Like a stroke? CONRAD Call them. Trust me. The waitress shows up with Nicholas' iced tea, spills some. Nicholas blots it up with a napkin. WAITRESS Sorry. Let me get you another napkin. NICHOLAS I'll be fine... if we could just... She moves off as Nicholas raises a finger to order, ignored. CONRAD Tell me you'll call. NICHOLAS Okay. CONRAD Will you? NICHOLAS I said I would... CONRAD But, will you? NICHOLAS Are you still on mediction? CONRAD (taken aback) Why would you say that? The waitress arrives. WAITRESS Ready to order, gentlemen? NICHOLAS (ignores, to Conrad) I didn't mean it like it sounded... CONRAD I'm not on anything anymore. I'm not even seeing a shrink. I'm happy. (notices waitress, turning to her) Do you mind... ?! The waitress gives him a look, leaves. CONRAD (to Nicholas) I thought you'd like this. Best thing I ever did. If you don't want to do it, DON'T... NICHOLAS I'll call them, okay? CONRAD It doesn't matter... NICHOLAS I'm going to call. CONRAD Do it for YOU. NICHOLAS Okay, okay... okay? (pause, studies card) I just... you know I hate surprises. CONRAD I know... Conrad CLINKS his fork against a glass, motioning... Behind Nicholas, WAITERS, WAITRESSES and BUS-BOYS, lying in wait, now come to SING "HAPPY BIRTHDAY." Conrad stands, loving it. Nicholas forces a fake smile. CUT TO: EXT. NICHOLAS' NEIGHBORHOOD -- NIGHT The Bentley cruises hilly streets, ESTATES on all sides. INT. NICHOLAS' BENTLEY -- NIGHT Nicholas is on his CELLULAR PHONE. CLASSICAL MUSIC PLAYS. FEMALE VOICE (v.o.) (from cellular) ... seen the profitability report. No one's happy with the numbers. NICHOLAS (into cellular) Imagine how much MORE unhappy I am. FEMALE VOICE (v.o.) You'll deal with Alan? NICHOLAS Correct. FEMALE VOICE (v.o.) Okay, Nicholas. Sleep well. NICHOLAS I plan to. He increases VOLUME on the CLASSICAL MUSIC, makes a turn. He looks out his window, watching the street roll past... FLASHBACK/GRAINY HOME MOVIES -- 1960'S -- DAY SILENT, HOME MOVIE-ISH IMAGES as before: YOUNG NICHOLAS, 10, peers out from a LIMOUSINE, watching his neighborhood pass... PERIOD FASHIONS, PERIOD CARS and HOUSES... BACK TO SCENE, IN THE BENTLEY Nicholas faces front. The Bentley comes to the formidable FRONT GATE of the mansion. The gate begins to slide open. Nicholas stares ahead, expressionless. FLASHBACK/GRAINY HOME MOVIES -- 1960'S -- DAY The LIMOUSINE pulls up the ungated driveway. Young Nicholas emerges, carrying books, waving goodbye to the CHAUFFEUR. Young Nicholas runs past rose bushes, heading to the house, but slows, looking up... High up, Nicholas' FATHER, in a robe, stands on a balcony railing, looking to hte sky. He's weary, lowers his gaze... Young Nicholas is puzzled, gives a tentative wave. Father just stares, eyes dead, expression blank. BACK TO SCENE, IN THE BENTLEY Nicholas looks down, puts the car in gear and drives... THRU THE WINDSHIELD: the Bentley's headlights sweep the stately Van Orton house. CUT TO: EXT. VAN ORTON MANSION, BACKYARD -- NIGHT Nicholas exits the garage, walks up the garden path. Ahead, Ilsa's leaving through the kitchen door of the house, heading across the yard to the GUEST HOUSE. ILSA Dinner's in the oven. NICHOLAS Thank you. Goodnight. At the rear door, Nicholas stops himself. NICHOLAS Oh, I saw Conrad today. Ilsa stops, looking back. They're far from each other. ILSA You did? How is he? NICHOLAS Okay. I think he's into some sort of new personal improvement cult. ILSA (nods, at a loss) Well... send my love, if you see him again. Nicholas nods. Ilsa leaves. CUT TO: INT. VAN ORTON MANSION, KITCHEN -- NIGHT Nicholas uses mitts to remove a dinner plate from the oven, sets it on a waiting tray: huge cheeseburger and hand-cut french fries, perfectly presented. Nicholas picks up a CUPCAKE with a B-day candle in it. CUT TO: INT. VAN ORTON MANSION, DEN -- NIGHT Nose-bleed-high ceilings. Cavernous fireplace. THREE TVs in the ENTERTAINMENT WALL, the largest showing CNN. Nicholas is seated in a chair facing his meal, pouring a glass of champagne. He toasts to no one, takes a sip. The PHONE RINGS. Nicholas looks to it, hesitates. He hits SPEAKERPHONE. NICHOLAS (to speakerphone) Elizabeth. ELIZABETH (v.o.) (from speakerphone) Happy Birthday, Nick. NICHOLAS (looks at watch) Eleven forty. You almost didn't make it this year. Nicholas uses a REMOTE to MUTE BERNARD SHAW on the TV. ELIZABETH (v.o.) Did you have a great birthday? NICHOLAS Does Rose Kennedy have a black dress? You know my parties. I went not once, but twice through the spanking-machine. ELIZABETH (v.o.) I can only imagine. How are you? NICHOLAS Connie asked me the same thing today. ELIZABETH (v.o.) Connie, really? I always liked him. NICHOLAS Anyway... ELIZABETH (v.o.) I just thought this... might be difficult for you. NICHOLAS Just another birthday. ELIZABETH (v.o.) I meant because of your father. NICHOLAS That's right. He was forty, wasn't he? Hadn't thought about it, to tell you the truth, thanks for the reminder. ELIZABETH (v.o.) Why do I call you... ? NICHOLAS I honestly don't know. Listen, give my best to Doctor Mel and Rachel.... ELIZABETH (v.o.) Sue has a little brother on the way. We just did the ultrasound. NICHOLAS No kidding? An official nuclear family. You must be pleased. ELIZABETH (v.o.) We are. We couldn't be happier. Nicholas smiles thinly, bored, waiting for more. NICHOLAS Well, so... thanks for calling. I've got some work here... ELIZABETH (v.o.) I should let you go. NICHOLAS Take care of yourself. ELIZABETH (v.o.) You too, Nicholas. I mean that, I really do. NICHOLAS Um-hm. Good luck. Bye. He PUSHES OFF the PHONE in the middle of her "goodbye." He uses the t.v. remote to give BERNARD SHAW back his VOICE. Nicholas eats, watching the news. He takes out the business card Conrad gave him, looks at it, puts it on the table. The card: "Consumer Recreation Services." Nicholas sits back, chewing. He stares at the ceiling. FLASHBACK/GRAINY HOME MOVIES -- 1960'S -- DAY SILENT IMAGES: Nicholas' FATHER stands on the high balcony, as before. He looks skyward one last time, then LAUNCHES INTO SPACE... falling in EXTREME SLOW MOTION... A head-first dive... CUT TO: INT. OFFICE BUILDING, 10TH FLOOR -- DAY "DING," elevator doors open. Nicholas and TWO EXECUTIVES are talking. As PEOPLE get on, the two executives get off. EXECUTIVE 1 We're getting off here. Nicholas follows. He and the executives huddle nearby. NICHOLAS (voice low) So, we understand each other? EXECUTIVE 2 We do. NICHOLAS Make it work on paper, and you can count on my full support. EXECUTIVE 1 Right-o. We'll talk. Soon. They shake. The executives walk away. Nicholas returns to elevator, pushes the button, waiting. He turns, noticing... A massive WALL OF TRANSLUCENT GLASS marks the office of "C.R.S." Modern. Activity beyond it. Nicholas finds this disconcerting. He takes out his wallet, digging up the C.R.S. business card, studying it... looking again to the glass facade to double check. He looks at his Rolex. ON THE OTHER SIDE OF THE GLASS DOORS Nicholas enters. A female RECEPTIONIST speaks into a HEADSET/PHONE. EMPLOYEES mill about. UTILITY MEN sort crawlspace wiring. NICHOLAS (to receptionist, shows "C.R.S." card) Is this Consumer Recreation Services... ? The reecptionist takes the card. In the b.g., JIM FEINGOLD pays a DELIVERY GUY for CHINESE FOOD. RECEPTIONIST (into PHONE) You shouldn't feel this reflects negatively upon yourself. (to Nicholas) Just a moment. (back into phone) We hope we haven't caused you any inconvenience. Thank you for considering C.R.S. She studies the card, hangs up and motions to Feingold, a bald, amiable engineer-type who passes with his food bag. RECEPTIONIST Mister Feingold... could you assist this gentleman? Feingold spins on his heels, looking, walking over with his hand out. Nicholas shakes. FEINGOLD Jim Feingold, V.P., E.D.A. Engineering and Data Analysis. NICHOLAS I'm not quite sure how this works. My brother... FEINGOLD Oh, here we go... Feingold takes the card the receptionist offers, examines it, turns it over: finds FOUR NUMBERS on the back. FEINGOLD (of the numbers) Excellent. Let's get started. Nicholas picks up his briefcase to follow Feingold. INT. C.R.S. OFFICES -- DAY Big operation. Feingold leads past partitioned cubicles that seem to go on forever. C.R.S. WORKERS abound. TELEPHONE CO. WORKMEN operate on the phones. FEINGOLD Sorry about about all the hullabaloo. We're still moving. Stick with me... I've got an office around here somewhere. Feingold reaches open BOXES, begins collecting pages from each, loading up on all sorts of forms. he holds out his leaking, greasy food bag to Nicholas. FEINGOLD Mind holding this... ? Nicholas reluctantly takes it, keeping it at arms length. INT. FEINGOLD'S OFFICE -- DAY Feingold types at his computer. Nicholas stands, looking through the pile of forms on a clipboard. FEINGOLD (TYPES in keyboard) V-A-N... O-R-T-O-N... (studies screen) A gift from Conrad Van Orton. Interesting... NICHOLAS What is? Feingold picks up his Chinese food, eats using chop-sticks. The BOX features a grinning CARTOON PANDA mascot, FEINGOLD (still studying screen) Your brother was a client with our London branch. We do a sort of informal scoring. His numbers were outstanding. (holds up box) Sure you're not hungry at all... ? Tung Hoy, best in Chinatown... NICHOLAS No, thank you. FEINGOLD (eating, mouth full) You need to fill out those forms. Application, psych-tests: M.M.P.I. and T.A.T. For the financial questionnaire, don't answer anything you don't feel like. We'll run a T.R.W.... Nicholas looks through the densely written forms. NICHOLAS (reading FORM) "I sometimes hurt small animals. True or False?" "I feel guilty when I masturbate..." Nocholas looks up, skeptical. Feingold shrugs, embarrassed. FEINGOLD I don't write the questions. I just review them. NICHOLAS What's all this for? FEINGOLD We want a sense of your overall capabilities, limitations, turn-ons, turn-offs... NICHOLAS No, I mean, what is it FOR? What are you selling? FEINGOLD Oh... it's a game. NICHOLAS A game? FEINGOLD Tailored specifically to each participant. Think of it as a great vacation, except you don't go to it, it comes to you. NICHOLAS What kind of vacation? FEINGOLD It's different every time. NICHOLAS (patience waning) Humor me with specifics. FEINGOLD We provide whatever's lacking. NICHOLAS And if nothing's lacking? FEINGOLD May I make two suggestions... ? NICHOLAS Do you really expect me to participate without knowing a single thing? FEINGOLD First, admit to yourself that it sounds intriguing. Second, you don't have to decide today. Take the silly tests, fill out the forms. One day, the game begins. You either love it or hate it. Decide then. We're like an experimental Book-of-the-Month- Club; drop out at any time with no further obligation. (smiles) That was my sales pitch. Nicholas thumbs thru the forms one last time... NICHOLAS How long will these take? FEINGOLD An hour for those... maybe another for the physical. NICHOLAS Physical? FEINGOLD Cursory examination. Turn-your-head- and-cough sort of thing. You'll be out of here in no time. Feingold takes out a ballpoint pen, clicks it and offers it to Nicholas. Nicholas takes it. On the pen, in tiny letters: the C.R.S. LOGO. CUT TO: TESTING MONTAGE -- VARIOUS C.R.S. OFFICES -- DAY - Nicholas fills out an APPLICATION of endless questions. - A #2 pencil fills in circles on a long M.M.P.I. form. CLOSE ON: "I often feel someone is following me. True/False." "I hate vegetables. True/False." "Vegetables hate me. True/False." - WHITE ROOM. A stone-faced PSYCHOLOGIST holds up CARDS. Nicholas gives his unenthusiastic interpretation into a TAPE RECORDER, checks his Rolex. One CARD shows a large ant in an apron feeding a TV dinner to a human child. That card is replaced by another of a man slipping head over heels on a banana peel. - Nicholas wears HEADPHONES, facing a TECHNICIAN, raising a finger on his left fist or right fist for each low BEEP. Nicholas sighs, can't believe he's doing this. INT. C.R.S. OFFICES, EXAM ROOM -- MONTAGE CONTINUES Electronic MONITORS and PRINTERS record Nicholas' EEG and EKG. He's on an exam table, wearing a paper gown, covered in SENSORS and WIRES, talking on a C.R.S. telephone. NICHOLAS (into phone) ... cancel. Push Cooper back to Wednesday afternoon. A TECHNICIAN studies readouts. A NURSE takes BLOOD PRESSURE. MARIA (v.o.) (from phone) Mister Sutherland called about Baer/Grant Publishing. NICHOLAS (into phone) Tomorrow. Hold on... (to NURSE) How much longer? NURSE Almost done. NICHOLAS I heard that two hours ago. The nurse smiles, pumping up the blood-pressure cuff. Nicholas returns to the phone. - DARK ROOM. Images FLASH on a screen: SHAPES, CURSE WORDS, PICTURES of U.S. PRESIDENTS, INSECTS... In flickering light, Nicholas, still in his gown, watches with THREE BUTTONS before him, pushing one from time to time. Frustrated, he looks around. He stands and turns... Directly into the projector's bright BEAM OF LIGHT. NICHOLAS Hello... ? Anyone there? (squints, holds up hand) Hello?! CUT TO: INT. C.R.S. OFFICES, EXAM ROOM -- DAY Nicholas dresses, alone, pulling up his pants. He notices above: a MIRRORED DOME in the corner, obviously a camera. Nicholas pulls on his jacket as Feingold arrives. FEINGOLD Sorry to keep you waiting. NICHOLAS Don't worry. It's been terrific spending the entire day with your "crack team". FEINGOLD It's all down to this... Feingold holds out a CLIPBOARD with PAPERWORK in it. Nicholas takes it, studies it, wary. FEINGOLD An insurance company requirement. It states that you are aware "the game" exists and that you are a willing participant in said game, so on and so forth. Nicholas flips a page and Feingold leans over, pointing. FEINGOLD (of the paperwork) One guarantee. Payment's entirely at your brother's discretion and, as a gift, dependent on your satisfaction. NICHOLAS (still reading) You mean, I don't like it, he doesn't pay? FEINGOLD It's never happened. We've never had an unsatisfied customer. NICHOLAS You mean, dissatisfied. FEINGOLD (glances at form) That's right -- you're a left-brain word fetishist. Nicholas uses the C.R.S. pen to sign. Feingold turns pages. FEINGOLD Initials... initials, and... (another page) Sign here. Nicholas is about to sign when Feingold grabs his wrist... FEINGOLD In blood. (laughs) Just kidding. Nicholas signs. Feingold tears out a few PINK TINTED COPIES and hands them to Nicholas, kind of in a hurry now. FEINGOLD Your copies, thank you. Keep the pen. We'll let you know. Feingold exits, gives a thumbs-up and a WINK, shuts the door. Nicholas is a bit bewildered. He continues dressing. NICHOLAS (muttering to self) ... grown man just winked at me. INT. ATHLETIC CLUB, RACQUETBALL COURT -- NIGHT WHAM! -- a blue racquetball BALL SLAMS a wall... THRU A WINDOW: Nicholas plays, alone, sawtting violently at the ball. We HEAR a PHONE CONVERSATION in VOICE OVER: CONRAD (v.o.) What about Monday or Tuesday? NICHOLAS (v.o.) Bad for me. CONRAD (v.o.) How 'bout tonight? NICHOLAS (v.o.) Unfortunately I'm working all evening. Wednesday's the only possibility right now... CONRAD (v.o.) Okay. NICHOLAS (v.o.) Dinner? CONRAD (v.o.) Fine. I get to pick the restaurant. NICHOLAS (v.o.) By the way, I went to C.R.S... CONRAD (v.o.) Really? What'd you think? NICHOLAS (v.o.) They seemed disorganized. Nicholas finishes playing, exits. The ball keeps bouncing. CONRAD (v.o.) Well, the office is new. When I did it in London, they'd been around awhile. You gonna do this? NICHOLAS (v.o.) Haven't decided yet. CUT TO: INT. ATHLETIC CLUB, LOCKER ROOM -- NIGHT Carpeted floors and mahogany lockers. Nicholas sits at his locker, wet, in a monogrammed robe, toweling his hair. VOICES can be HEARD O.S.: BUSINESSMAN 1 and BUSINESSMAN 2. BUSINESSMAN 1 (o.s.) ... getting in on the ground floor of the next Disneyland. BUSINESSMAN 2 (o.s.) C.R.S. will not go public. They're family owned. BUSINESSMAN 1 (o.s.) Stranger things have happened. BUSINESSMAN 2 (o.s.) No, they haven't, actually. Nicholas leans to look around a locker. Businessman 1 and 2 dress, two fat-cats. Nicholas leans back, still listening. BUSINESSMAN 1 (o.s.) They just opened here. BUSINESSMAN 2 (o.s.) The game in San Francisco? You see, they're doing fine without any of us. INT. ATHLETIC CLUB, LOUNGE/BAR -- NIGHT Nicholas enters, looking around, spotting Businessman 1 and 2 across the room. He gets the BARTENDER'S attention, motioning to the businessmen. NICHOLAS New members? BARTENDER I believe so, sir. NICHOLAS This round's on me. Nicholas moves casually toward the men... INT. ATHLETIC CLUB, BAR/LOUNGE -- TIME CUT LATER. Another round arrives at the table where Nicholas and Businessman 1 and 2 chat. The businessmen smoke cigars. BUSINESSMAN 1 ... last time I played Pebble, I swore I'd never pick up a club again. NICHOLAS Speaking of games... I couldn't help but overhear you talking about C.R.S. Businessman 1 and 2 share a furtive glance. Nicholas discretely waves cigar smoke out of his face. NICHOLAS I only mention it because I took the test this afternoon, down on Montgomery Street. BUSINESSMAN 2 Did you? Kudos. BUSINESSMAN 1 So, yours hasn't started? NICHOLAS Not yet. I was hoping you could tell me... uh... (almost embarrassed) What is it? Businessman 1 and 2 smile. Shared enlightenment. BUSINESSMAN 1 (to Businessman 2, knowingly) Ahh, what is it? BUSINESSMAN 2 The eternal question. BUSINESSMAN 1 (to Nicholas) I envy you. I wish I could go back and do it for the first time all over again... He raises his glass. They toast. BUSINESSMAN 1 Here's to... new experiences. (gulps drink) If you'll excuse me, I've got to be going. 'Night, Jon... Nicholas. He leaves. Nicholas focuses on Businessman 2. NICHOLAS Did you play recently? BUSINESSMAN 2 Hm? No, about a year ago. I was working out of Los Angeles. NICHOLAS (nodding) I've heard good things about their London branch. (leans in) You have to admit, it sounds like some fantasy, role-playing nonsense. BUSINESSMAN 2 You want to know what it is? What it's all about? (off Nicholas' nod) John. Chapter nine. Verse twenty-five. NICHOLAS I, uh... haven't been to Sunday school in years... BUSINESSMAN 2 "Whereas once I was blind, now I can see." (rises) Night, Nick. Best of luck. Businessman 2 puffs his cigar, walks away. Nicholas watches him go, then pauses, puzzled, mouthing the words to himself. CUT TO: INT. LAW FIRM, CONFERENCE ROOM -- DAY A table of unhappy LAWYERS. Nicholas goes thru a thick CONTRACT with a red pen, CIRCLING, CROSSING-OUT and SCRAWLING QUESTION MARKS ON paragraphs that displease him. SUTHERLAND, trust personified, in his late 50's, stands behind Nicholas, imperturbable. NICHOLAS (still scrawling) As far as I'm concerned... (reading, x-ing out) ... if the Baer/Grant meeting does not take place tommorow, it might as well never take place at all. Nicholas slides the contract to the center of the table. SUTHERLAND When Mr. Van Orton boards his plane in the morrow, he will have every contract, side agreement and addendum, the complete closing package, flawlessly revised. INSTANT UPROAR as the contract is grabbed up. All the lawyers talk at once, fearful, arguing, protesting. SUTHERLAND Ladies and gentlemen... (as they quiet) This is why you're paid twice what you deserve. So you will miss another opera you would've fallen asleep during anyway... During this, Nicholas' CELLULAR PHONE is HEARD RINGING. Nicholas takes it out, irritated. SUTHERLAND The meeting has been moved forward. It affords you the opportunity to show our client how well you will rise to his exhilarating challenge. QUIET COMMOTION resumes as Nicholas takes his cellular phone to a corner, answering impatiently: NICHOLAS (into cellular) Yes? WOMAN'S VOICE (v.o.) (from cellular) Nicholas van Orton? NICHOLAS Yes, who is this? WOMAN'S VOICE (v.o.) This is Cynthia calling from C.R.S... NICHOLAS How did you get this number? WOMAN'S VOICE (v.o.) We've finished processing your application... NICHOLAS I'm in a meeting... WOMAN'S VOICE (v.o.) ... I'm afraid your application was rejected. NICHOLAS (pause) Pardon me? WOMAN'S VOICE (v.o.) You shouldn't feel this reflects negatively upon yourself. We hope we haven't caused you any inconvenience... NICHOLAS This is absurd... WOMAN'S VOICE (v.o.) Thank you for thinking of C.R.S. CLICK -- she's hung up. Nicholas folds the phone and pockets it, his mind suddenly far away from the meeting behind him. Sutherland steps close, concerned, quiet... SUTHERLAND Anything wrong... ? NICHOLAS Nothing. Nothing at all. CUT TO: EXT. FINANCIAL DISTRICT STREETS -- NIGHT Nicholas guides the Bentley down streets lined with skyscrapers, staring ahead. A previous PHONE CONVERSATION is HEARD in V.O., a PHONE RINGING... RINGING... RINGING... SWITCHBOARD OPERATOR (v.o.) Would you like voice-mail? NICHOLAS (v.o.) I suppose. SWITCHBOARD OPERATOR (v.o.) I'll connect you. Thank you for calling the Four Seasons. EXT. NICHOLAS' NEIGHBORHOOD -- NIGHT The Bentley heads towards home. The V.O. PHONE CONVERSATION CONTINUES uninterrupted, CLICKING, then... CONRAD'S VOICE (v.o.) (voice-mail recording) This is Conrad. Leave a message. NICHOLAS (v.o.) (waits till after BEEP) Connie, it's Nicholas. Give me a ring when you get a chance... INT. BENTLEY -- NIGHT The Bentley reaches the VAN ORTON GATES, which open slow. V.O. CONVERSATION CONTINUES: NICHOLAS (v.o.) About your birthday gift. Things are tight right now. I'm just not sure whether it'll fit my schedule. Anyway, see you at dinner tomorrow. The PHONE is HEARD DISCONNECTING. EXT. VAN ORTON MANSION -- NIGHT The Bentley's headlights sweep the front of the Van Orton house. There's something there, on the ground... INSIDE THE BENTLEY Nicholas stops the car, peering ahead, worried... THRU THE WINDSHIELD: A BODY lies face down on the edge of the driveway. FLASHBACK/GRAINY HOME MOVIES -- 1960'S -- DAY The BODY of Nicholas' FATHER, sprawled face-down, in nearly the same place, head twisted, mouth bloody. BACK TO SCENE Nicholas gets slowly out of the Bentley, reluctant. NICHOLAS Hello! What are you doing there? (no reaction) Wonderful... Nichoals CLAPS his hands. The body doesn't stir. Nicholas look all directions, then approaches. NICHOLAS Are you okay? Nicholas nudges the body with his foot. He crouches, confused, turning the limp body. It's a grotesque HARLEQUIN, not unlike the clown from Nicholas' seventh birthday, with a shiny face of painted wood. Nicholas looks around for an explanation. CUT TO: INT. VAN ORTON MANSION, FOYER -- NIGHT The front door opens. Nicholas enters with the Harlequin, depositing it on a hallway BENCH. A half-inch of RED RIBBON sticks out from the Harlequin's lips. Nicholas tugs the ribbon... pulling out a GOLD KEY tied to the other end. Three letters embossed on the key: "C.R.S." CUT TO: INT. VAN ORTON MANSION, DEN -- NIGHT Nicholas sits with his evening's meal, examining the key. CNN on TV. He looks across the room to the couch where the Harlequin is slumped staring back. BERNARD SHAW (v.o.) (from television) ... according to Nicholas Van Orton, millions of Americans will be affected by this legislation. Nicholas hears this vaguely in the back of his mind, looks to the TV. BERNARD SHAW has moves on to the next story. Nicholas goes to the Harlequin, opening its hinged mouth, attempting to look inside. He gets a knife from his tray, uses it to probe the Harlequin's mouth, jabbing, prying. BERNARD SHAW (v.o.) ... number of criminals behind bars growing by record numbers, with Van Orton pointing the finger at stiff, anti-crime regulations... Nicholas looks up. He heard that. He walks toward the TV. Bernard Shaw is reporting, nothing strange. Nicholas waits. Nothing. He walks away... BERNARD SHAW (v.o.) ... largest portion of population incarcerated. These figures were given at a press conference called toady by Mr. Nicholas Van Orton. Nicholas turns, disbelieving. Bernard Shaw apparently looks out FROM THE TELELVISION, perturbed... BERNARD SHAW (v.o.) You going to spend the rest of the evening prying at that clown's mouth? NICHOLAS (dumbfounded) I... I don't... BERNARD SHAW (v.o.) It's frustrating for me if you don't even pretend to pay attention. NICHOLAS What is this... ? BERNARD SHAW (v.o.) This is your game, Nicholas, and welcome to it. I'm here to let you in on a few ground rules... Bernard Shaw's FACE RIPPLES and GLITCHES occasionally, revealing its true, computer-generated nature. BERNARD SHAW (v.o.) You've received the first key and others will follow. You never know where you'll find them, or when or how you'll need to use them, so keep your eyes open. NICHOLAS (waves his hand) How do you... ? You can see me? BERNARD SHAW (v.o.) I see you, I hear you. Why don't we save the questions till... NICHOLAS How does this work? BERNARD SHAW (v.o.) There's a tiny camera looking at you right now. NICHOLAS That's impossible. BERNARD SHAW (v.o.) You're right. Impossible. You're having a conversation with your television. Nicholas touches the TV, feeling the seams. BERNARD SHAW (v.o.) It's miniaturized. Nicholas begins poking his butter knife between slots of the television's speaker, stabbing, poking... BERNARD SHAW (v.o.) Do you know how dangerous that is? Nicholas pries at the plastic speaker cover. It's not easy, but he's determined, cracking the plastic... ILSA (o.s.) Mister Van Orton... ? The speaker cover breaks off with a SNAP! and Nicholas spins, holding the broken piece. NICHOLAS Yes... Ilsa, what is it? ON T.V., Bernard Shaw grabs up pages, resumes... BERNARD SHAW (v.o.) ... and in other news, auto workers vowed to remain on picket lines... Ilsa's in the doorway, wondering. ILSA Is everything alright? NICHOLAS Fine. ILSA I've finished for the evening. Will you be needing anything else? NICHOLAS No, thank you. Goodnight. ILSA Goodnight then. She leaves. Nicholas throws the piece of television away. Bernard Shaw stops reading now that the coast is clear. BERNARD SHAW (v.o.) Who was that? NICHOLAS Never mind who that was. BERNARD SHAW (v.o.) You're uncomfortable. You want to know how a camera got into your home, don't you? NICHOLAS Yes, I do. ON TELEVISION: Bernard Shaw is REPLACED by a FISH-EYED IMAGE of NICHOLAS' DEN. It shows Nicholas from behind. The P.O.V. is not from the TV. Nicholas crosses the room, keeps his eye on the TV as a guide... BERNARD SHAW (v.o.) (from t.v., o.s.) ... cold... cold... warmer... warmer... ON TELEVISION: Nicholas gets bigger as he gets closer to... The Harlequin. Nicholas leans, looks at the clown's eyes... ON TELEVISION: Nicholas' face is huge, distorted. Nicholas pries one of the Harlequin's glass eyes with his knife, pulling it out and examining it. ON TELEVISION: The Harlequin's P.O.V. turns to STATIC. Bernard Shaw returns with a PHONE NUMBER SUPERIMPOSED. BERNARD SHAW (v.o.) Write this number down. It's a 24-hour Consumer Recreation Services hotline, for emergencies only. BERNARD SHAW (v.o.) But, don't call asking what the object of the game is; figuring that out is the object of the game. Nicholas feels his pockets, finds the C.R.S. pen. He comes up with a VALET PARKING TICKET to scrawl the number on. BERNARD SHAW (v.o.) Good luck and congratulations on choosing C.R.S. We now return you to your regularly scheduled program... STATIC and SNOW, then CNN's Bernard Shaw is back for real, newscasting. Nicholas reads the number he wrote. CUT TO: EXT. VAN ORTON MANSION -- NIGHT Nicholas crouches at a coaxial CABLE LINE at the side of the house. He fingers a BOX with a miniature LOOP and RABBIT EAR ANTENNA that's been spliced into the line. He starts to unscrew it... then thinks twice. He leaves it. INT. VAN ORTON MANSION, KITCHEN -- NIGHT Nicholas enters thru the back door. He pauses, looking out at the night. He closes the door and locks it. He PUNCHES the ALARM CODE into a KEYPAD. Nicholas takes his Bentley key chain from its hook, takes out the gold, "C.R.S." key... adding it to the keychain. CUT TO: INT. SAN FRANCISCO INTERNATIONAL AIRPORT -- DAY Nicholas enters the vast, busy terminal, briefcase in hand. He walks with purpose, but is extra-aware of the world around him. He notices... A MAN and WOMAN engaged in a SIGN LANGUAGE conversation. A MAN reading a newspaper peers from behind the pages. A JANITOR opens a door with a big KEY CHAIN full of keys. A MAN on a payphone seems to be staring at Nicholas... Nicholas turns his head to keep an eye on the man, practically bumping into a grimy HOMELESS BUM... HOMELESS BUM Help me out there? Used to be an affluent fella, till some folks did this to me... Nicholas moves away, leaving the homeless man behind. HOMELESS BUM Don't ignore me. I got screwed. INT. AIRPORT, RED CARPET LOUNGE -- DAY Quiet MUSIC. Rich people's lounge. Nicholas sits with a cup of coffee, considering magazines on a coffee table. Two seats down, a BUSINESSMAN coughs and rises, leaving his newspaper on the empty seat between Nicholas and himself. Nicholas glances down, curious when he sees... A smiling-clown-face INFANT'S RATTLE on the seat beside, sticking out from under the paper. Nicholas catches only a glimpse of the exiting businessman. Nicholas looks around, picks up the rattle. He rattles it, studies it, rattles it in his ear. He tries to see thru it by holding it up to the light. He doesn't notice the MOTHER who enters with a baby, watching him. MOTHER Excuse me... Nicholas looks up, realizes, awkward, offering the rattle. She takes it and exits. There's a BESPECTACLED MAN watching Nicholas. Nicholas notices, tries to ignore. But, bespectacled man is really staring. NICHOLAS (sits forward, fed up) May I help you... ? Nicholas' tone has turned other heads. Bespectacled man seems embarrassed, shy, taps his chest. NICHOLAS What... ? What is it? Bespectacled man taps his chest again, points at Nicholas. Nicholas looks down. Inside his suit jacket -- a huge blue INK STAIN across his shirt. Nicholas stands, aghast, taking out the offending pen. It's the "C.R.S." pen, dripping ink. INT. AIRPORT, BATHROOM -- DAY Running water. Nicholas tries to clean his shirt, blotting it ineffectually with wet paper towels. he looks in the mirror, crestfallen. The stain's worse. DEEP VOICE (o.s.) Hey, buddy... you still out there? Nicholas looks around. He's alone, except for a MAN in a TOILET STALL. All we see are the man's brown shoes. DEEP VOICE (o.s.) (from toilet stall) I'm in a little bit of trouble... The man's hairy hand motions from below the stall. Nicholas backs away, nervous, grabs his briefcase. DEEP VOICE (o.s.) I need paper. There's none in here. Come on, help a guy out... Nicholas considers, then hurries to exit. DEEP VOICE (o.s.) Hello?! Anybody? Hello? INT. AIRPORT, METAL DETECTORS -- DAY Nicholas' briefcase rides into the x-ray machine. Nicholas drops his keys, cellular phone and Rolex in a tray. He passes thru the metal detector. A SECURITY GUARD brings the tray to him. SECURITY GUARD Nice watch. Nicholas smiles tolerantly, collects his belongings. He waits at the x-ray conveyor belt, which is stopped. A FEMALE GUARD studies the x-ray monitor. NICHOLAS Is there a problem? The female guard looks up, turns the conveyor belt back on. Nicholas' briefcase arrives. Nicholas moves on, aggravated. Ahead, Sutherland rises from a seat along the concourse hallway, walking to meet him. NICHOLAS I wasn't expecting you. SUTHERLAND Wanted to wish you luck. Not that you'll need it. Sutherland offers the contract, points to Nicholas' shirt. SUTHERLAND Attractive... NICHOLAS (paging thru contract) Don't ask. SUTHERLAND I checked it personally. Nicholas nods, props his briefcase up on a window ledge, opens it and drops the contract in. CUT TO: EXT. SEATTLE AIRPORT, RUNWAY -- DAY Nicholas' jet touches down. EXT. SEATTLE AIRPORT, LOADING ZONE -- DAY Nicholas follows a CHAUFFEUR. The chauffeur opens a LIMO door. Several pressed SHIRTS hang waiting. EXT. BAER/GRANT BUILDING -- DAY In the shadow of the Baer/Grant Publishing offices, the limousine idles. Downtown Seattle. INT. BAER/GRANT PUBLISHING, ALAN BAER'S OFFICE -- DAY Meet ALAN BAER, elderly CEO, blue-blooded, pissed. ALAN BAER All these years... the first time ever you step foot in these offices, it's to ask me to step down? Nicholas stands by CHILDREN'S TEXT BOOK mock-ups. "Math- Magic." "Wonder-Words." They're "Little Baer Books." NICHOLAS You promised you'd meet projections, Alan. A dollar sixty per share you said. So, I don't think this is so surprising a visit. ALAN BAER Projections were far too optimistic. NICHOLAS Admittedly... ALAN BAER Our E.P.S. was one fifty last quarter. We're up eight cents per share. NICHOLAS But, the expectation was ten. And, in this case, expectation is everything. ALAN BAER Will you really hold me to it over pennies? NICHOLAS My stock's falling. Isn't yours? Those pennies are costing me millions. ALAN BAER The stock will turn. NICHOLAS It probably will. In fact, I'd go so far as to say it almost certainly will, in time. Why should I settle for that? ALAN BAER Because it's fair. Give me next quarter. If you still feel this way, vote your shares... NICHOLAS You're talking tomorrow. Today is what counts. ALAN BAER You intractable son-of-a-bitch. If your father could see you now... NICHOLAS What? ALAN BAER Your father was a friend. Goddamn it... I watched you grow up. How do you end up treating me like this? This swings Nicholas into a new mode: acutely-focused anger. NICHOLAS It is so very inappropriate for you to mention my father. Or, did you think this, between us, was friendship? Just because you went fishing with my father, I should sit on my hands while you throw my money away? ALAN BAER Now, look... NICHOLAS (holds up his hand) I'll be done in a minute. You misspoke before. You're not "stepping down." I'm taking you out at the knees. The whole point is to prove that you're not deciding anything anymore. I'm firing you. Action's taken. Confidence restored. Stock goes up. I sell my shares. ALAN BAER There is no Baer/Grant Publishing without Alan Baer. NICHOLAS Remember Daniel Grant? Do they say, "without Daniel Grant, there is no Baer/Grant Publishing?" He's gone sailing, Alan. He's out there enjoying his golden years, probably wondering where you are. At Alan's desk, Nicholas clears a space for his briefcase. NICHOLAS You made a promise. You failed. The severance I'm offering is more than equitable. Valid tonight only. (looks at watch) For one hour. Nicholas takes a pen from a holder, lays it on the blotter. NICHOLAS I'll step outside, so you'll have the privacy you need to read and sign it. He tries to unlatch his briefcase clasp. It's stuck. ALAN BAER I could fight you on this. NICHOLAS You could. But, if I leave without your signature, this agreement begins to disintegrate; benefits shrink, options narrow, compensations shrivel. Nicholas works on the briefcase the whole time, distraction growing as it becomes a true struggle. NICHOLAS So... it is in your best interest... to sign presently. Nicholas sits, pulling the latch, trying to see what's jammed. It refuses to open. Nicholas stares at it, frustrated, then... an odd realization... He takes his keys out, finds the C.R.S. KEY, tries it... It doesn't fit. It was never meant for this lock. Alan Baer watches, wondering. Forgetting himself, Nicholas grabs up the briefcase, pulling, grunting, desperate, striking it with his palm. Nicholas straightens, immediately composed. NICHOLAS Well... as luck would have it, you've just gotten a reprieve, I'm sure you'll come around to my way of thinking. (picks up briefcase) I have a plane to catch. My attorneys will contact you. Nicholas exits. Alan Baer doesn't know quite what to think. CUT TO: EXT. SEATTLE AIRPORT TERMINAL -- DAY On the sidewalk, Nicholas bashes his briefcase over and over again against a fire hydrant. EXT. SAN FRANCISCO AIRPORT, RUNWAY -- SUNSET Nicholas' jet touches down. INT. CAMPTON PLACE RESTAURANT -- NIGHT Nicholas sits staring. His battered briefcase is near. He checks his watch, impatient, flags down a WAITER... NICHOLAS Is there a message up front from a Conrad Van Orton? The waiter goes. Nicholas drums his fingers. He slides out of the booth, rising. when a WAITRESS knocks into him with a tray. Wine spills. Glasses crash. WAITRESS Oh, excuse me... Nicholas looks down at his wine-stained front. The waitress is CHRISTINE, same waitress as the other night. She tries to clean him up with a napkin. CHRISTINE I'm so sorry. NICHOLAS Please, don't do that... Nicholas snatches the napkin from her, wiping his suit. CHRISTINE I apologize, sir, I'm having a bad day... NICHOLAS A bad month. You did the exact same thing to me last week. Christine's taken aback. NICHOLAS Don't help me, just get more napkins. And soda water. CHRISTINE (gets more napkins) It was an accident. NICHOLAS Terrific. I now have a hundred dollar dry cleaning bill. CHRISTINE I said I was sorry... Nicholas turns his back on her, throwing wet napkins, picking up clean ones, still patting at the stain. CHRISTINE (stews) Asshole. Nicholas turns, angry. The MAITRE D' arrives, shocked. MAITRE D' Christine! Mister Van Orton is a valued customer... CHRISTINE Then, you kiss his ass. She's leaving, but the maitre d' pulls her aside. MAITRE D' You don't talk to me like that. CHRISTINE (quiet, evenly) I apologized, I offered to help. MAITRE D' Clean out your locker. CHRISTINE Fine, Dennis. Soon as I get my money for this week. MAITRE D' I'll be right with you. Christine heads to the back. The maitre d' motions for BUS BOYS to clean, smoothly guiding Nicholas to a new table... MAITRE D' I'm terribly sorry, Mr. Van Orton. If you're not too uncomfortable, will this table suit you for a complimentary meal... ? NICHOLAS Yes. Fine. MAITRE D' I'll fetch your waiter. Nicholas sits, keeps wiping his shirt as the maitre d' hurries away. After a moment, a uniformed WAITER moves past, leaves a CHECK... WAITER Check, sir. Nicholas picks up the check, indignant. NICHOLAS Excuse me... But, the waiter is long gone. Nicholas shakes his head, then the check catches his eye... "DON'T LET HER GET AWAY" scrawled across it. Nicholas turns to look. The waiter who brought the check crosses the room, goes out the front door. Nicholas rises, following... EXT. CAMPTON PLACE RESTAURANT -- NIGHT Nicholas comes out the front, sees: the waiter has crossed the street, still moving... The waiter gets in a CAR as the car pulls quickly away. Nicholas is baffled, looks at the check, heads back inside. EXT. ALLEY, BEHIND RESTAURANT -- NIGHT Christine exits the kitchen door, purse over her shoulder. CHRISTINE (back to doorway) Yeah... ? Well, fuck you and your vichyssoise, prick. She heads down this dark alley. After a moment, Nicholas follows, hurrying to catch up, briefcase in hand. NICHOLAS Pardon me... Miss... ? CHRISTINE Oh, no... you. Christine picks up the pace. NICHOLAS I'm not sure how this works. Do you have something for me... ? I got this note... CHRISTINE What are you babbling about, psycho? NICHOLAS I want to know what's going on. Are you part of this? CHRISTINE What's going on? I'm going on my second job this month, and now I'm going on unemployment. She keeps walking. Nicholas stops, ponders. He follows. They're nearing the end of the alley. NICHOLAS Excuse me, I need to explain... CHRISTINE Don't explain. Fuck off. Goodbye. Nicholas steps in a deep, splattering pot-hole, stumbles, pants soaked, stopping, fed up. NICHOLAS Son of a bitch! Christine rounds the corner, heading down the street. Nicholas reaches the sidewalk, watches her go. NICHOLAS (shouts after) I'm trying to... ask you... (giving up) I'm apologizing... He heads back the way he came. A strangled CRY is HEARD. Nearby, a HEAVY MAN falls to his knees, then falls face forward to the concrete. Nicholas looks around, alone... NICHOLAS (to Heavy Man) Are... are you okay?! DOWN THE SIDEWALK, Christine slows, looks back... Nicholas bends, trying to see the man's face, seems afraid to actually touch him. NICHOLAS Jesus... this can't be... Nicholas looks up to see Christine running back. CHRISTINE What's with him? NICHOLAS I don't know... he fell. Christine kneels, turns Heavy Man on his side and feels for a pulse. Heavy Man convulses. CHRISTINE Do you know what to do? NICHOLAS I don't think he's breathing. Christine clears Heavy Man's airway, pulling saliva and mucus from his mouth with two fingers. NICHOLAS Oh, God... ! CHRISTINE Don't just stand there, get help! NICHOLAS (taking out his CELLULAR) This can't be real... CHRISTINE He's pissing his pants. Is that real enough for you? Call 911! NICHOLAS Alright... okay... CHRISTINE He's turning blue! Nicholas is starting to believe, dialing, circling as Christine gives C.P.R. He listens to his phone -- STATIC. NICHOLAS Damn... He backpedals in the street, cellular to his ear, trying to catch a signal, tilst his head. STATIC. A HORN BLARES -- a CAR barely misses Nicholas, DRIVER cursing. Nicholas anxiously punches buttons. He spots a SQUAD CAR and runs toward it... NICHOLAS Police! SAME STREET -- TIME CUT... SIREN BLASTING, an AMBULANCE is parked. PARAMEDICS pull a stretcher, helped by TWO COPS, hurrying to the prone Heavy Man. A crowd is gathered. Nicholas and Christine watch the paramedics work. COP ONE hands Nicholas a clipboard, everything hurried, overlapped: COP ONE You have to fill these out. NICHOLAS I don't know this man. Christine takes the clipboard. CHRISTINE (to cop, of clipboard) What do you need... ? Paramedics hoist heavy Man on a stretcher and take him to the ambulance. Cop Two goes to help them lift. NICHOLAS (to Christine) I can't get involved in this. Christine moves to climb into the ambulance. COP TWO (to Nicholas) We'll have to detain you. COP ONE Report's got to be filled out. Ride with your wife. We'll meet at the hospital. PARAMEDIC (shouting to cop) We're moving! Cop One leads Nicholas to the ambulance. NICHOLAS She's not my wife. COP ONE It's a few blocks. Help me out, huh, pal? Nicholas reluctantly gets in. EXT. CITY STREETS -- NIGHT Busy streets. The ambulance rockets on... INT. AMBULANCE -- NIGHT SIREN WAILING. Paramedic works. Christine fills out forms. Nicholas tries to see where they're going, frustrated. NICHOLAS This is nuts. CHRISTINE (without looking up) What is your problem? NICHOLAS (digging in his pocket) Ten minutes ago, I'm looking forward to a quiet dinner. I get a note... Nicholas slaps his CHECK on top of Christine's paperwork. NICHOLAS Suddenly I'm in an ambulance. Why am I in an ambulance?! He looks out the window. Christine studies the check: "DON'T LET HER GET AWAY," finds it odd, looks to Nicholas. NICHOLAS (wincing, to paramedic of Heavy Man) He's breathing, isn't he? Is the siren entirely necessary? INT. UNDERGROUND PARKING ENTRANCE -- NIGHT "Emergency Vehicles Only." The ambulance races down a RAMP, moving across this big underground garage, doing a u-turn... Backs up toward a busy EMERGENCY ROOM ENTRANCE. MEDICAL PERSONNEL everywhere. Other ambulances. INJURED PEOPLE. Our paramedics get out and unload Heavy Man. Nicholas and Christine get out, disoriented. Heavy Man's rushed inside via automatic doors. Christine hands off the clipboard to Nicholas, following the stretcher... CHRISTINE Let's talk to whoever can get this over with... NICHOLAS (reading clipboard) Hold on... (of the clipboard) They want your driver's license number. Christine returns to look, and suddenly ALL THE LIGHTS GO OUT. Nicholas and Christine look up. In the surrounding darkness, we HEAR EVERYONE FLEEING... FOOTSTEPS SCATTER... then, SILENCE. NICHOLAS You've got to be kidding. CHRISTINE What... is... happening... ? The only light is a BULB inside the ambulance. NICHOLAS (disgust) I was trying to tell you... it's a game. CHRISTINE A game? NICHOLAS (tosses clipboard) It's run by a company... they play elaborate pranks. Things like this. I'm really only now finding out myself. CHRISTINE What are you talking about? NICHOLAS The lights went out, one hundred people all ran away... CHRISTINE You mean, the guy who turned blue and wet himself... ? NICHOLAS I'm sorry, about this... CHRISTINE You should be. Christine climbs into the ambulance, searching. CHRISTINE There's got to be a flashlight. NICHOLAS (quietly) I don't understand why they're getting you involved. IN THE AMBULANCE, she finds all drawers and cabinets EMPTY. CHRISTINE This is so fucked. You don't fuck with people like this. I thought that guy was gonna die. I gave him mouth to mouth! She digs in her purse, finds a book of restaurant MATCHES. She lights a match, climbing out. CHRISTINE See you around. NICHOLAS Where are you going? CHRISTINE Home. NICHOLAS How do you know that's the way? She just keeps walking. A distant "DING" is HEARD. Far away, an ELEVATOR OPENS with a light inside. Christine stops. Christine changes direction, heading for the elevator. Nicholas hurries to follow. The match burns out. A moment, then Christine strikes another, lighting the way, barely. As they squeeze between parked cars, Christine searches... CHRISTINE Where'd you all go? Motherfucking frat boys. You better hide. (to Nicholas) Is your life so pathetic that this is something you're willing to pay for? NICHOLAS It was a gift... from my brother. CHRISTINE How thoughtful. The gift of inconvenience. NIcholas stumbles. A beer BOTTLE is HEAR SKITTERING away. INT. ELEVATOR -- NIGHT They reach the elevator. Nicholas pushes a button. NICHOLAS Ground floor. He and Christine step back and wait, looking up. And wait... and wait, looking unhappily to each other. Nicholas pushes all the buttons. Nothing happens. Christine opens the EMERGENCY PHONE door: NO PHONE. Nicholas touches his finger to a KEY HOLE below the buttons. He takes out keys, finds the C.R.S. KEY, tries it... it fits. He turns it. DOORS CLOSE and the ELEVATOR MOVES. Nicholas is pleased, sees Christine wondering. NICHOLAS (of the key) Long story. (off her stare) I found this key in the mouth of a wooden Harlequin. CHRISTINE Never mind. The ELEVATOR LURCHES, DROPS, then HALTS. LIGHTS OUT, replaced by RED EMERGENCY LIGHT. A MOTOR is HEARD DYING. CHRISTINE I don't like that. (pushing buttons) We're stuck. Nicholas takes out his phone, puts it to his ear. STATIC. NICHOLAS (pockets phone) No signal. Christine pounds on the buttons and doors, frustrated. She tries to pry the doors open. Can't. CHRISTINE What's the going rate for the "trapped-in-elevator-adventure" these days? Nicholas hits BUTTONS hard. Christine studies the ceiling, moving under the square seam of the TRAP DOOR, pointing. NICHOLAS Don't even think about it. CHRISTINE Why not? NICHOLAS Read what it says: "Warning, do not attempt to open. If elevator stops, use emergency... " CHRISTINE If there was one. NICHOLAS "... wait for help." Wait for help. I'm not opening a door that specifically warns me not to. CHRISTINE Are you suggesting we wait till someone finds us? Nicholas considers this, looks around. INT. ELEVATOR SHAFT -- NIGHT The trap door CREAKS open. Nicholas looks up from the elevator, standing on hand rails. He gets down. IN THE ELEVATOR NICHOLAS I'll give you a boost. CHRISTINE You first. NICHOLAS This isn't an attempt to be gallant. If I don't lift you, how are you going to get there? CHRISTINE You pull me up. NICHOLAS It's much easier this way. Come on, step up... CHRISTINE No. NICHOLAS Please... CHRISTINE I'm not wearing underwear. Okay? There, I said it. Satisfied. NICHOLAS (looks at her skirt) Oh. FIne. Nicholas starts climbing... IN THE ELEVATOR SHAFT Nicholas comes up, batting cobwebs, tentative. He grips a handful of grease, disgusted. He climbs thru, catching his jacket on a jutting screw, FABRIC RIPPPPPPPPING... CHRISTINE (o.s.) Oops. Nicholas stands in the shaft, pissed. He looks for a place to wipe his hand, wipes it on his jacket, looking up. NICHOLAS There's a ladder here. IN THE ELEVATOR CHRISTINE My hero. Let's go. Nicholas offers his grease covered hand from above. NICHOLAS I don't think so. Nicholas withdraws that hand, offers the clean one. CUT TO: INT. BUILDING LOBBY -- NIGHT Elevator doors shift, forced from inside. Nicholas climbs out, then pulls Christine out behind him. They're head-to-toe filthy, clothing ruined. NICHOLAS Damn. My briefcase. He looks back down the shaft. CHRISTINE I'll wait. NICHOLAS (resigned sigh) It's not like anyone could actually open it. They walk, looking at the vast lobby and sky-lit ATRIUM. NICHOLAS This is C.R.S. CHRISTINE What's C.R.S.? NICHOLAS Consumer Recreation Services. It's their building. They... A BEEP is HEARD. Nicholas looks above... Sees a MOTION SENSOR with a green light blinking. NICHOLAS Oh... An ALARM SOUNDS; a loud RINGING BELL. Nicholas backs away. NICHOLAS Don't panic. When security gets here, we simply explain what happened... CHRISTINE They'll love that. NICHOLAS Yes... well... FOOTFALLS. Nicholas turns to see Christine running away. CHRISTINE (over her shoulder) Explain for both of us! Nicholas looks around, unsure. He follows... EXT. ALLEYWAY, BEHIND C.R.S. BUILDING -- NIGHT Christine bursts thru "EMERGENCY EXIT" doors. Nicholas arrives. He grips her arm and they walk, out of breath. NICHOLAS Walk, slowly. Don't draw attention. Out for a stroll... TIRES SCREECH. A SPOTLIGHT HITS them from behind. ANGRY VOICE (o.s.) You! Stay where you are! It's a SECURITY CAR on the other side of a fence. CHRISTINE Run! They run, down the alley. ANGRY VOICE Stop! EXT. NARROW ALLEYWAY -- NIGHT SIRENS HEARD. Christine and Nicholas sprint round a corner, all out... thru puddles, glancing back. Ahead, a SECURITY CAR skids, starting for them. Christine and Nicholas double back. She takes the lead. Christine spots something, makes a chouse, moving into a very NARROW ALLEY space. NICHOLAS Where are you going? (looks in, worried) You can't fit there. She's making fine progress regardless. NICHOLAS I can't! Nicholas sees the SECURITY CAR bearing down. He must turn sideways to fit in the narrow alley, shuffling after. BEHIND, the car stops and SECURITY GUARD gets out, club in hand. In the car, a GERMAN SHEPHERD barks. Security Guard tries to fit down the space, but can't. His belly's too big, his utility belt catching. He runs back to the car, opens the door... The German Shepherd shoots down the alley, a projectile... DOWN THE TIGHT ALLEYWAY Christine comes out into OPEN AREA, running on, looking up. Ruined buildings on all sides, CHAIN LINK FENCES everywhere. Nicholas arrives, pissed, trying to catch up... NICHOLAS You deserted me. CHRISTINE You're a grown man. I'm not responsible for you. NICHOLAS You're the one who started running. CHRISTINE Me? You're the one who... ! (sees something) Shit! Christine runs faster. Nicholas looks back... The German Shepherd's on its way... Nicholas faces front, runs, arms pumping, terrified... The German Shepherd's closing, growling... Christine and Nicholas reach the CHAIN LINK FENCE ahead... NICHOLAS Climb! Christine makes the leap first, scrambling up the fence. Nicholas climbs beside her, pulling himself up... The German Shepherd leaps... bites Nicholas' leg... Nicholas YELLS -- PANTS RIPPING. The dog falls with a mouthful of cloth. Christine and Nicholas reach the top of the fence, clinging, balanced on their elbows, looking back. The German Shepherd barks and leaps. Christine and Nicholas start over the fence, beginning their climb down the other side... ON THE OPPOSITE SIDE: three OTHER DOGS run from the shadows, Pit-Bulls and a Doberman, jumping and biting... Nicholas and Christine scramble back to the top. All the dogs hop up and down, snapping. They gnash at each other and bark at each other, frenzied. Nicholas and Christine have no choice but to hang, stranded. CHRISTINE Now what? Nicholas looks up, daunted. He spots something... There's a place where the fence runs under a FIRE ESCAPE. NICHOLAS Follow me... Nicholas gets a toe-hold, shifts his elbows, grunting, beginning the herky lateral climb toward the fire escape. Christine follows his example. Slow going. DOGS BARKING NON-STOP, nipping at their heels. CHRISTINE Shut up, you stupid, fucking dogs!! BARKING AND BARKING AND BARKING. CHRISTINE What are they guarding around here? Each other? Nicholas slips, keeps grip, but loses a SHOE... The dogs catch the shoe in their jaws, fighting for it. Nicholas watches the shoe get torn to pieces, keeps moving. NICHOLAS There goes a thousand dollars. CHRISTINE Your shoes cost a thousand dollars? NICHOLAS That one did. CHRISTINE (to herself) ... two hundred dollars a toe. Nicholas reaches the fire escape, balancing precariously to reach it. He climbs gracelessly up... He helps Christine after him, bringing her on board. They lean against the rail, exhausted. Nicholas looks to the multi-leveled ladders above. NICHOLAS Let me guess. Me first? He climbs. Christine looks down at the dogs, stupefied, looks up at Nicholas on the CREAKING rusty fire escape. CHRISTINE (to herself) This is getting out of hand. As she starts up. CUT TO: EXT. GARBAGE ALLEY -- NIGHT ABANDONED BUILDING. Boarded-over windows are kicked open from inside. Nicholas and Christine look out. They climb out onto ANOTHER FIRE ESCAPE, two stories up above a trash filled, dumpster crowded alley. CHRISTINE Never did catch your name. NICHOLAS Nicholas. Nicholas Van Orton. CHRISTINE Nicholas Van Orton? What are you, a czar? Nicholas moves to the catch of the fire escape ladder, unhooks it. The LADDER DROPS to bridge the gap to the ground, KEEPS GOING, sliding free and disconnecting -- falls flat to the ground below with a LOUD, ECHOING CLATTER. CHRISTINE (pause) That's classic. NICHOLAS (staring down, misery) Why... ? Christine crosses to the far edge of the railing, points. CHRISTINE We hang down here and drop. The garbage'll break our fall. NICHOLAS I think not. Christine climbs over the fire escape railing... CHRISTINE Afraid you're going to ruin your one-legged suit? She lowers herself down, hanging off, legs dangling... NICHOLAS Be careful... A metal DOOR is THROWN OPEN below. TWO THAI BUS-BOYS come out, dumping garbage, smoking cigarettes, laughing. Above, Christine looks up at Nicholas, mortified. She nods urgently for him to help her back up. Nicholas climbs the rail, beside her, trying to get a grip, none too effective. Below, one bus-boy looks up, shouting. The other bus-boy looks. They back away, SPEAKING RAPID THAI, pointing. CHRISTINE What are they... ? (realizing) Hey! Christine lets go with one hand, trying to pull her skirt shut. Nicholas loses hold, drops her... Christine lands hard in garbage. NICHOLAS Are you okay... ?! Nicholas drops, alarmed... lands in broken plastic bags of wet garbage, slipping as he moves to Christine. Bus-boys are helping her up. CHRISTINE I'm okay... I'm okay, thank you... Bus-boys keep questioning in Thai. Nicholas and Christine brush off. Nicholas takes off his spewed jacket, shakes it in disgust, straightens his tie. They stop... At the doorway, all the COOKS, BUS-BOYS, WAITERS and DISH-WASHERS stare at Nicholas and Christine in wonder. Nicholas and Christine stare back. Nicholas looks to Christine, brushing rotten lettuce off her shoulder, nods to the restaurant workers, clears his throat. NICHOLAS Table for two, please. He offers his arm to Christine, she takes it, they head in. CUT TO: EXT. CITY STREETS -- NIGHT ONE CONTINUOUS LONG SHOT: Nicholas and Christine walk, taking their time, eating out of take-out boxes. CHRISTINE Where are we going? NICHOLAS (points at skyline) That tall, bright building. Near there. They walk a long time in silence. A POLICE CAR moves from behind. POLICEMAN shines a flashlight up and down Nicholas. POLICEMAN Everything okay, miss? CHRISTINE Yeah. How are you? The police car keeps pace, then drives on. CUT TO: INT. NICHOLAS' OFFICE -- NIGHT Nicholas enters, turning on lights, which dim to a warm glow. Christine takes in the impressive office. Nicholas crosses to a wall, opens a hidden closet, chooses a shirt. NICHOLAS There's a shower, if you'd like. Christine leans to peek in the bathroom. CHRISTINE A shower in your office? You an athlete or something? Nicholas puts on a new shirt. Christine circles the desk, runs her fingers down his phone. CHRISTINE What exactly do you do? NICHOLAS Investment banking. Moving money from place to place. Christine has wandered to the closed blinds, opening them to reveal a breathtaking view of the city. CHRISTINE Nice. NICHOLAS Hm? (looks) Oh, yes. Nicholas takes out a SWEATSHIRT and offers it. NICHOLAS A fresh shirt... CHRISTINE (takes shirt, crossing) If this was my office, I wouldn't keep that closed. NICHOLAS I don't spend much time looking out the window. (goes to desk) I'll call you a taxi. Christine faces away, throws off her filthy shirt... Nicholas, on the phone, looks to Christine's shapely back and RED BRA. He averts his eyes, embarrassed... NICHOLAS Oh! Uh... Christine puts on the PENN STATE sweatshirt, straightens it. CHRISTINE Thanks. Nicholas nods, phone to his ear. CUT TO: EXT. VAN ORTON BUILDING -- NIGHT TWO CABS. Nicholas opens the door of the first for Christine. She faces him, close. NICHOLAS I know the owner of Campton Place. I could talk to him in the morning. CHRISTINE Don't. It was a shitty job anyway. I overreacted. Christine sits, keeps her legs out the door of the cab. Nicholas stands waiting for her to pull her legs in. NICHOLAS Goodnight. CHRISTINE I don't think I've ever spent this much time with someone who didn't even ask my name. NICHOLAS The maitre d' called you Christine. CHRISTINE (remembering) Right. Call me Christy. NICHOLAS Goodnight, Christy. It was nice meeting you. CHRISTINE Give me an address so I can send your shirt back. NICHOLAS Keep it. She looks up at Nicholas, sits inside. He shuts the door and steps back. Christine rolls her window down. CHRISTINE I have a confession to make. Someone gave me six-hundred dollars to spill drinks on you, as a practical joke. NICHOLAS Seriously? What did they say? CHRISTINE They said five hundred. I said six. They said the man in the gray flannel suit. I think I said, you mean the attractive guy in the gray flannel suit? Christine smiles, rolls up the window. The taxi leaves. Nicholas watches it go. A twinge of regret. EXT. CAMPTON PLACE RESTAURANT -- LATER NIGHT Nicholas' cab pulls up at the closed restaurant, behind the Bentley. A restaurant VALET sweeps the sidewalk, waves to greet as Nicholas gets out of the cab. CUT TO: INT. VAN ORTON MANSION, MASTER BEDROOM -- NIGHT Nicholas comes from the bathroom, just showered. He looks at CNN on TV. He walks to change channels: infommercials, B+W movies, cartoons. BUGS BUNNY. Nicholas leaves Bugs Bunny on, steps back, watching. He sits on the bed. CUT TO: INT. VAN ORTON MANSION, MASTER BEDROOM -- DAY Nicholas sleeps. Cordless PHONE RINGING. He stirs, awakens, face creased, hair mussed. NICHOLAS (in phone, voice cracks) Hel... hello? MARIA (v.o.) (from phone) Mr. Van Orton, it's Maria. I... I wasn't sure I should call... NICHOLAS (in phone) What time is it? Nicholas studies his CLOCK RADIO: 11:05. He picks it up and examines it, suspicious. MARIA (v.o.) (from phone) Eleven o'clock. I took the liberty of rescheduling your nine a.m. with Allison and Dietrich. Are you... not not feeling well? NICHOLAS I'll be in in an hour. I left my briefcase at fifteen-thirty-three Montgomery. Check with their lost and found. MARIA (v.o.) Alan Baer's in town, at the Ritz-Carlton. NICHOLAS Really? MARIA (v.o.) He's requesting dinner tonight. NICHOLAS We'll let him know. MARIA (v.o.) Also, the Claremont Hotel called to say they have your American Express card at the front desk. You left it last night? Nicholas is confused. He crosses with the phone, finds and studies his wallet. He fingers an empty plastic pocket. MARIA (v.o.) Should I send someone... ? NICHOLAS No. Give me their number. MARIA (v.o.) Eight, four, three, three-thousand. NICHOLAS See you in awhile. Goodbye. Nicholas hangs up, dials. HOTEL MANAGER (v.o.) (from phone) Claremont Resort and Spa. NICHOLAS (into phone) This is Nicholas Van Orton. I'm told my American Express card... HOTEL MANAGER (v.o.) (from phone) Yes, Mister Van Orton. Everything's in order. The concierge has arranged for the wine and flowers in the room. NICHOLAS Has he? HOTEL MANAGER (v.o.) And, a young woman phoned just now to say she's on route but running a little late. NICHOLAS (pause) Did this young woman leave her name? HOTEL MANAGER (v.o.) I'm sure I don't know. NICHOLAS Thank you. Nichola hangs up, interest piqued. CUT TO: EXT. BAY BRIDGE -- DAY Nicholas drives the Bentley. PREVIOUS CONVERSATION: SWITCHBOARD OPERATOR (v.o.) There's no answer. Would you like his voice mail? NICHOLAS (v.o.) Tell him his brother called, and to call back soon as he can. SWITCHBOARD OPERATOR (v.o.) Yes, sir. CELLULAR DISCONNECT. Nicholas looks in his rearview mirror. THRU MIRROR: a grimy BLACK SEDAN follows... keeps distance. EXT. CLAREMONT HOTEL -- DAY Grand hotel. Nicholas lelaves his car with the valet. INT. CLAREMONT HOTEL, LOBBY -- DAY At the GLASS DOORS, Nicholas pushes thru. A THIN MAN in a plain suit isn't looking, BUMPS Nicholas. THIN MAN Sorry. My fault. Thin Man exits. Nicholas crosses the opulent lobby to the desk. The grinning HOTEL MANAGER spots him coming. HOTEL MANAGER Ah, Mr. Van Orton. Here you go... NICHOLAS Have we met? He hands over Nicholas' AMEX CARD, which Nicholas studies. HOTEL MANAGER I believe so. If you would jsut sign here... The manager offers a CHARGE SLIP and pen. Nicholas looks at the manager, the slip, then signs. The manager hits a BELL. A BELLHOP arrives. HOTEL MANAGER Show Mr. Van Orton to his room. NICHOLAS The key? HOTEL MANAGER Hm? NICHOLAS Is there a room key? HOTEL MANAGER Didn't I give you two? NICHOLAS No, you didn't... Nicholas shakes his head and pats his pockets, stops, feeling one pocket... reachse in and takes out a GOLD KEY on a hotel key chain. Nicholas looks to the GLASS DOORS. NICHOLAS Cute. INT. CLAREMONT HOTEL, HALL -- DAY Long hallway. Nicholas follows the Bellhop. They arrive at the door to ROOM 277. NICHOLAS I'll take it from here. He tips the Bellhop, who leaves, uses the key, entering... INT. CLAREMONT HOTEL, ROOM 277 -- DAY Nicholas shuts the door. There's a room-service cart with wine chilling. Nicholas moves down this short hall... NICHOLAS Hello... ? His jaw drops. The room is TRASHED. Curtains shredded, furniture overturned, television imploded, mirror spiderweb-smashed, walls full of holes. Nicholas moves forward, having spotted... His battered BRIEFCASE on the ruined mattress. The latch is undone. Nicholas opens it. Inside: MANY PHOTOGRAPHS of blurry SEX acts. Bodies in motion. Limbs. Breasts. A NAKED WOMAN tied to the bed. One PHOTO shows two women entwined with a NAKED MAN who appear to be NICHOLAS. It's a so-so cut-and-paste job. A LOUD KNOCKING at the door startles Nicholas. He closes the briefcase, freaked. He hurries to the door as POUNDING is HEARD again, puts his eye to the peephole. THRU THE PEEPHOLE: a MAIN gets out her keys. MAID (thru door) Time to make up the room. Nicholas fumbles with the SECURITY CHAIN, slides it in place as the door opens -- stopped. Nicholas keeps hidden. NICHOLAS Could you come back later? MAID Yes, sir. Sorry. THRU THE PEEPHOLE: the maid moves away. Nicholas crosses to retrieve his briefcase, and is crossing back when he stops in his tracks upon seeing... On a dresser, a MIRROR covered in COCAINE lines and residue. IN THE BATHROOM Nicholas turns on the faucet, washing the cocaine down the sink, hands shaking. The mirror edge cuts his thumb and he gives a cry, drops the mirror, which SHATTERS on the floor. Nicholas sucks his thumb, puts it under the faucet. He finds a hand cloth and wraps it round his thumb. There are big blood droplets on the sink and floor. Nicholas grabs wads of tissues from a box on the back of the toilet, using them to blot up the blood, throwing tissues in the toilet and flushing. Nicholas keeps wiping blood. The toilet burps, OVERFLOWING. WATER SPILLS OUT... Nicholas backs away, panicked, exiting... INT. CLAREMONT HOTEL, HALL -- DAY Nicholas looks out from Room 277. He sees a MAID CART, HEARS an O.S. VACUUM CLEANER. He run-walks down the hall, hugging his briefcase. He pushes thru a STAIRWELL DOOR. EXT. CLAREMONT HOTEL -- DAY Nicholas takes his Bentley back from the valet, pulling out fast to the street. Further back, the grimy BLACK SEDAN moves from the curb. INT. NICHOLAS' BENTLEY -- DAY Nicholas' mind races. He wipes sweat off his face. He glances in his rearview... THRU MIRROR: the black sedan, following again. Resolve comes to Nicholas, and anger. He speeds up. EXT. BERKELEY STREETS -- DAY The Bentley weaves thru traffic, taking a corner sharp. Nicholas spins the wheel, heading... DOWN AN ALLEYWAY Nicholas brakes hard, gets out of the Bentley and heads for the mouth of the alley... As the black sedan follows, blocked, stopping. Nicholas comes to pull open the car door, confronting the rumpled, PLUMP GUY behind the wheel. PLUMP GUY What the fuck... ?! NICHOLAS Why are you following me? PLUMP GUY I don't know what you're talking about. I'm just driving... He falters as he follows Nicholas' angry gaze to the seat beside him where a FILE is open to a PHOTO of NICHOLAS. PLUMP GUY (fumbling to close file) Look... what I'm doing is none of your business... NICHOLAS Is Alan Baer "the Game?" Is that what this is? PLUMP GUY (defiant pause) Friend... why don't you back off. He leans as he talks... inside his jacket, he wears a gun. Nicholas reaches across and pulls the gun, hefting it. PLUMP GUY Hey... ! NICHOLAS (of the gun) Nice touch. Does the game use real bullets... ? Nicholas points the gun at the sedan's rear tire, FIRES! The gun is SHOCKINGLY LOUS -- BURSTS the TIRE! Nicholas looks to the smoking weapon, blanching. Plump Guy leaps to the other seat, scrambling out the passenger door, submissive... PLUMP GUY Okay, I'm a private investigator. Somebody hired me to keep tabs on you... Nicholas lifts the gun, unsure, pointing it awkwardly... NICHOLAS Who... who hired you? Plump Guy bolts, running away down the alleyway. Nicholas aims the gun after him, but catches himself, lowers it. He runs the other direction, back to the Bentley... Nicholas gets in the car, drops the gun on the seat, drives. INSIDE THE BENTLEY Nicholas returns to the street, glancing back. He looks at the gun. He opens the glove compartment, throws the gun in. He takes out his CELLULAR PHONE, dialing... MARIA (o.s.) (from cellular) Mister Van Orton's office... NICHOLAS (into cellular) Maria. Have Sutherland meet me at the Ritz-Carlton. I'm on my way there now. MARIA (o.s.) May I tell him... ? But, Nicholas is already pushing DISCONNECT. CUT TO: INT. RITZ CARLTON HOTEL, LOBBY -- DAY Nicholas enters with briefcase. Sutherland rises to follow. SUTHERLAND What's happened... NICHOLAS Follow me. INT. RITZ-CARLTON, ALAN BAER'S SUITE -- DAY A HOTEL EMPLOYEE rolls a room service cart out. Nicholas pushes past with Sutherland in tow. Alan Baer, his handsome WIFE and lovely DAUGHTER are seated at a table where a WAITER lays out a splendid meal. ALAN BAER Nicholas... this is unexpected. Nicholas takes out the SEX PHOTOS, throws them on the table. NICHOLAS Do you actually believe that because you publish children's books, anyone's going to care about my reputation? Wife and daughter are frightened. Alan Baer covers the photos with his napkin. NICHOLAS You could print pictures of me wearing nipple rings and butt-fucking Captain Kangaroo... all anyone would wonder was whether the stock was up, or down. Sutherland's nervousness grows by the second. DAUGHTER Daddy... ? ALAN BAER It's alright, dear. Mr. Van Orton... SUTHERLAND Nicholas... NICHOLAS (still to Alan Baer) That you've involved Conrad... is unforgivable. I am now your enemy. ALAN BAER Are you finished? NICHOLAS No. This is my lawyer, Samuel Sutherland. I thought you two should meet. ALAN BAER We met, this morning. I signed the termination contract for Baer/Grace. I accepted your settlement, Nicholas. you were right. I'm going sailing. Nicholas opens his mouth, but no words come. He looks to Sutherland. Sutherland nods to confirm. ALAN BAER You're welcome to join our luncheon. Maybe we can straighten this our. (motioning to...) My wife, Mary Carol, and my daughter-in-law, Kaliegh. Wife and daughter give mumbled greetings, having no desire to meet Nicholas. Nicholas just stands stymied. NICHOLAS It seems I've... please, disregard my apparently misguided remarks. Nicholas heads for the door, hurrying out. Alan, wife, daughter, the waiter and Sutherland exchange looks. SUTHERLAND Well... Sutherland walks to retrieve the sex photos. SUTHERLAND Enjoy your lunch. Sutherland smiles, exiting. CUT TO: INT. NICHOLAS' OFFICE -- DAY Nicholas sits at his desk, opens his briefcase, checking the contents. Soon, Sutherland arrives, shutting the door. He watches Nicholas, deciding. SUTHERLAND How concerned should I be? NICHOLAS It was a misunderstanding. Sutherland puts the SEX PHOTOS on the desk. NICHOLAS Someone's playing hardball. It's complicated. Can I ask a favor? SUTHERLAND You know you can. NICHOLAS Find out about a company called C.R.S. Consumer Recreation Services. SUTHERLAND Sounds like they make tennis rackets. What do we know? NICHOLAS Just what I told you. SUTHERLAND Nothing else? Nicholas remembers. He opens up a file drawer in his desk. NICHOLAS They gave me their waiver. On their... wait... Nicholas hands over a file, returning to his briefcase. He finds an ENVELOPE with a SMILELY-FACE on it. He opens it. He takes out a silver-plated METAL CRANK. Like a handle. SUTHERLAND What is this? Nicholas looks up. Sutherland's looking in the file, quizzically, hands it back... Nicholas studies PINK-TINTED PAGES; the pages Feingold gave him, once dense with words, now completely blank except for NICHOLAS' SIGNATURE and INITIALS several places. NICHOLAS (of the pages) Christ... I can't believe it... invisible ink? SUTHERLAND You're joking. NICHOLAS It's what they do. It's like... being toyed with by a bunch of... (picks up SEX PHOTOS) Depraved children. Nicholas examines each photo. Sutherland goes to leave. SUTHERLAND Very well. If you tell me not to worry, I shan't. NICHOLAS Sam... (as Sutherland stops) Thank you. Sutherland exits. Nicholas keeps examining the pictures. He sits forward, finding something... IN A PHOTO: the out-of-focus back of a NAKED WOMAN wearing only a RED BRA. NICHOLAS (INTO PHONE-INTERCOM) Maria. The other night... last night, there was a woman here named Christine. I called a taxi, from that company we use... MARIA (v.o.) (FROM PHONE-INTERCOM) Elite? NICHOLAS What? MARIA (v.o.) Elite Taxi Company? NICHOLAS Look into it. Find out which car answered and where they took her. Nicholas sits back. He picks up the METAL CRANK, twists it in his hands, frowning, pockets it. CUT TO: EXT. VAN ORTON MANSION, GARAGE -- NIGHT The rapid SOUND of a PHONE OFF THE HOOK is HEARD OVER: BEEP BEEP BEEP BEEP... The Bentley pulls in. Headlights out. IN THE CAR, Nicholas takes the gun from the glove compartment and puts it in his briefcase. INT. VAN ORTON MANSION, KITCHEN -- NIGHT Dark. The PHONE OFF THE HOOK is LOUDER, grating: BEEP BEEP BEEP BEEP BEEP... Nicholas comes in the back door, peering into the weak moonlight. NICHOLAS Ilsa? Nicholas replaces the phone on its cradle. QUIET. He reaches for a light switch, ZAP! -- BLUE SPARKS leap to his fingers. Nicholas YELPS and shakes his hand out. The switch has been RIPPED OUT, leaving exposed wiring. Nicholas goes to his briefcase, getting the gun and moving forward, wary, calling out... NICHOLAS Ilsa!? INT. VAN ORTON MANSION, DEN -- NIGHT In the blackness, Nicholas comes to stand at the doorway, levels the gun at someone across the room... NICHOLAS I've got a gun! There's a roaring fire in the giant fireplace and a FIGURE in a chair. Nicholas eases forward... It's the HARLEQUIN in the chair, with a GLOSSY B+W PHOTO between its teeth. Nicholas pulls out the picture... A POLICE PHOTO of NICHOLAS' FATHER, his body sprawled. It's stamped "PROPERTY SFPD" in red. There's a NOTE papere-clipped behind: "Like my father before me, I choose eternal sleep." At the bottom, a RED SIGNATURE ARROW affixed, "Please Sign Here." Suddenly, ALL LIGHTS SURGE TO LIFE, icy and ghoulish -- each and every bulb replaced by BLACK LIGHT... Nicholas pivots slowly, taking in the horror... The wrecked den is covered in FLUORESCENT SPRAY-PAINT GRAFFITI: "WELCOME HOME" "FUCK YOU" "NICHOLAS VAN COCKSUCKER" "SUCK IT" "C.R.S. RULES" "HAVING FUN, RICH BOY?" Everywhere. Across windows, paintings and curtains. The ceiling is covered in "MOMMA'S BOY" and OBSCENITIES. Scaffolding's been left behind. Used SPRAY CANS on the splattered Oriental rug. A PAINT/AIR COMPRESSOR. NICHOLAS ... fuckers... INT. VAN ORTON MANSION, MASTER BEDROOM -- NIGHT A glowing ANARCHY SYMBOL sprayed across the door which is throw open by Nicholas as he enters. It's all BLACK LIT here too. GRAFFITIED and DESTROYED. "HELTER SKELTER: in jolting letters. Nicholas backs out... INT. VAN ORTON MANSION, VARIOUS ROOMS -- NIGHT FOLLOW: Nicholas down the hall and around corners, BLACK LIGHTS above, walls covered in CURSES and MULTI-COLORED SQUIGGLES. Like a bad trip thru the Bat-Cave... DOWN STAIRS Past OTHER ROOMS likewise awash in vibrant slurs... THRU THE KITCHEN Now also revealed as ruined. Nicholas goes out the door... EXT. VAN ORTON MANSION, BACKYARD -- NIGHT Nicholas runs to the GUEST HOUSE. INT. VAN ORTON GUEST HOUSE, FOYER -- NIGHT BANGING on the FRONT DOOR. Ilsa comes to look thru the peephole, opens the door to a breathless Nicholas. ILSA Mr. Van Orton... ? NICHOLAS Ilsa... you're alright? ILSA Yes. What do you mean? What's wrong? NICHOLAS Did the alarm go off? The house... they... you didn't see... ? ILSA I don't know what you're talking about. What's happened? NICHOLAS There's been a break in. Lock this door and stay here. Don't move a muscle. Nicholas runs back toward the house. ILSA Be careful! EXT. VAN ORTON MANSION, BACKYARD -- NIGHT Crossing the lawn, Nicholas pulls out his cellular phone, dialing as he runs, takes out his gun. 911 OPERATOR (v.o.) (from cellular) Nine-one-one, emergency... NICHOLAS (into cellular) I need the police. There's been a break-in at my home... 911 OPERATOR (v.o.) (from cellular) Okay, sir. Stay on the line and give me your address... INT. VAN ORTON MANSION, KITCHEN -- NIGHT Nicholas enters, still on the phone, locking the door, beginning to punch the security code into the ALARM KEYPAD. NICHOLAS (into cellular) Twenty-two Moore Street. At the corner of Moore and Buchanan. 911 OPERATOR (v.o.) Now, sir, you said it was a break-in... NICHOLAS Yes... 911 OPERATOR (v.o.) Are you sure they're gone... ? As Nicholas finishes the security code, the KEYPAD BEEPS, and Nicholas straightens, worried. 911 OPERATOR (v.o.) ... are you sure there's not still someone somewhere in the house? NICHOLAS I... don't think so. And with the DYING HUMMMMMMMM of POWER FAILING, all the BLACK LIGHTS GO OUT. Nicholas raises his gun... NICHOLAS Oh God... Pointing it into the dark kitchen, hand trembling. 911 OPERATOR (v.o.) Hello? Are you still there? Behind, a DARK FIGURE outside rises against the kitchen door window, POUNDING FRANTICALLY! Nicholas leaps and spins, CRYING OUT in terror, dropoping the gun... The gun bounces across the linoleum. It's CONRAD at the kitchen door, haggard and scared, his pale face pressed against the glass, pointing frantically. CONRAD Meet me out front! Conrad ducks away, moving on. CUT TO: EXT. CITY STREETS -- NIGHT The Bentley takes a corner fast, heading downhill, moving from residential to mostly urban... INSIDE THE BENTLEY Nicholas drives. Conrad looks back over his shoulder, a man on the run, dark circles under his eyes. NICHOLAS Tell me where we're going. CONRAD Just drive, man. (slumps low) It's fucking nuts! NICHOLAS What's this all about, Connie? CONRAD Shhhhhhh. Wait... wait... Conrad flips the sunshade, looks behind it, feels the fabric of the roof and the seam of the door. He grips the interior LIGHT, breaks it open, pulling the bulb and wires. NICHOLAS What are you doing? CONRAD They're methodical. They're nothing if they're not that. NICHOLAS Who? CONRAD C.R.S. Who do you think? Jesus H., thank your lucky charms. To think what I almost got you into. NICHOLAS (miserable) Yeah, almost... CONRAD You dodged a bullet. NICHOLAS How do you mean, exactly? CONRAD They fuck you and they fuck you and they fuck you. And then, just when you think it's done, that's when the real fucking begins. NICHOLAS Slow down, take a breath... CONRAD It doesn't stop, Nick. I paid the bill, I gave 'em their money, but it all started again. They won't leave me alone... NICHOLAS What have they been doing to you? CONRAD Everything. I'm a goddamn human-pinata... NICHOLAS Calm down. Why would they keep playing after you paid? CONRAD You think I know? I paid them more to make it stop. BOOM! -- the wheel jerks in Nicholas' hand, TIRES SCREAM... CONRAD What the hell... !? ON THE STREET A TIRE'S BLOWN OUT. Riding the rim, the car jerks over... INSIDE THE BENTLEY Nicholas stops at the curb. Conrad's turned in his seat. CONRAD It's them. They did this. NICHOLAS It's a flat tire. That's all. CONRAD How do you know? NICHOLAS We're going to figure this out. Get a grip on yourself. CONRAD Okay... okay. Conrad faces forward. Nicholas gets out to look at the wheel, using his cellular, then returns to the open window. NICHOLAS The phone's dead. CONRAD Really? NICHOLAS Do you know how to change a tire? CONRAD No. Do you? (off Nicholas' frown) Can't be too hard, can it? I don't think we should be here out in the open like this. Nicholas rubs his temples, looks all around, frustrated. NICHOLAS Check the glove box... might be another battery there. Conrad OPENS the glove compartment: KEYS SPILL OUT. At least fifty, silver and gold, all stamped "C.R.S." Conrad's breath catches in his throat. He looks to Nicholas, afraid. Nicholas leans closer... NICHOLAS How did those... ? CONRAD You're part of it... NICHOLAS What? Connie... Conrad climbs out, pointing across the roof of the car... CONRAD No! You're one of them. Of course, it makes perfect sense! NICHOLAS No, it doesn't! Those keys were put there. I didn't even know... CONRAD You're behind this, aren't you? You and your sick friends. Well, make it stop! NICHOLAS Listen to yourself. Why would I do anything like what you're describing? CONRAD Because you hate me. Because you had to be here, when mom died. Because you had to do it alone. (near tears) Well, don't you think if I'd known... I'd've been here too. I'd have been here... NICHOLAS Stop this. It's not true... CONRAD I'm sorry, Christ, I'm sorry! How many more times do I have to say I'm sorry before you forgive me... ? NICHOLAS Stop it! Conrad bolts away, full tilt, into a nearby PARK and PUBLIC GARDENS. Nicholas gives chase, calling after. AHEAD, Conrad runs headlong, disappearing thru thick bushes. Nicholas follows, downhill, falls and slides, gets up. At the bottom, he shoves thru vegetation... On the other side, Nicholas looks all directions, gulping air. Conrad's nowhere to be seen. Nicholas stops. NICHOLAS (shouting) Connie! Far off, there's a concrete path winding thru the park past a BANK OF PAYPHONES. ONE PAYPHONE starts RINGING. Nicholas starts back the way he came. Behind, ALL THE PAYPHONES start RINGING. Nicholas halts. He runs to the phones, answers one. NICHOLAS (into phone) You sons-of-bitches... MAN'S VOICE (v.o.) (from phone) Flippy? Is Flippy there? Flippy? Nichols slams the phone down, picks up another... RECORDING (v.o.) (from phone) If you'd like to make a call, please hang up and... PHONE STOP RINGING. Nicholas hangs up, digging out his wallet. Rifling thru it, he comes up with the VALET TICKET with the C.R.S. EMERGRENCY 800-NUMBER on it. He dials... Puts the phone to his ear. BUSY SIGNAL. He slaps the headset-tongue, redialing, waiting... RECORDING (v.o.) (from phone) We're sorry. The number you have dialed has been disconnected or is no longer in service... He throws the receiver, tears the valet ticket in half and tosses it, then steps back -- KICKS the phone. EXT. CITY STREET -- NIGHT Nicholas returns to his car, looks down at the flat tire. At the rear, Nicholas opens the trunk. He reaches in and takes out the car's JACK. He looks at it like an alien thing, turns it over, tosses it into the street. He closes the trunk, REMOTE's the ALARM, walking away. There's a TAXI heading this way. Nicholas hails it... INSIDE THE TAXI Nicholas gets in. GLASS separates him from the CAB DRIVER NICHOLAS Twenty-two Moore Street. The driver nods and hits the gas. EXT. CITY STREETS, FURTHER ON -- NIGHT The taxi roars down the street. INSIDE THE TAXI Nicholas has his head back, eyes closed, loosening his tie. He looks out the window, narrow his eyes. NICHOLAS (pointing) Um... you want to turn here... (TAXI KEEPS GOING) Excuse me, you missed the turn. The driver says nothing. Nicholas knocks on the glass. NICHOLAS Did you hear me? You're... Nicholas stops, noticing the DRIVER I.D. on the other side of the partition. "California Regal Sedans." C.R.S. NICHOLAS No... no, no, no. Stop the car! The taxi HALTS at a LIGHT. Nicholas tries the DOOR HANDLE. Doesn't work. He tries the WINDOW HANDLE -- it COMES OFF. ON THE STREET The cab PEELS OUT as the light turns green. INSIDE THE TAXI Nicholas tries the other door, panicky. Same results -- locked in. The taxi makes a SCREEEEECHING TURN... ON THE STREET The taxi speeds up... heading for a WHARF AREA and PIERS. INSIDE THE TAXI Nicholas presses against the partition, urgent, calm... NICHOLAS Listen. I am a very wealthy man. Whatever they're paying you, I'll double it! The taxi driver simply opens his door and leaps out... THRU THE WINDOW: the driver ROLLS, a perfectly executed stunt fall. Nicholas can't believe. He grabs frantically for his seatbelt, SNAPS it around him, looks up... Opens his mouth to SCREAM... ON THE WHARF The taxi goes FLYING off a deserted pier... airborne... SPLASHES DOWN! in the San Francisco Bay. INSIDE THE TAXI Nicholas is jerked forward, breath slammed out of him. ON THE SURFACE OF THE WATER The taxi goes under in an eruption of bubbles. UNDERWATER THRU THE TAXI WINDOW: Nicholas pulls off his seatbelt, extricates himself and starts kicking the window. Dashboard lights grow eerie as they submerge. INSIDE THE TAXI Nicholas stops kicking, trying to calm. He looks to the front: water's gushing in through two-inches of open window. The taxi's less that half full. NICHOLAS (to himself) It's a game... it's a game... He tries the DOOR HANDLE again, yanking, to no avail. He realizes something, searches his pockets... UNDERWATER The taxi sinks, headlights dimming in murkier depths. INSIDE THE TAXI Nicholas finds the METAL CRANK. He takes a deep breath... SUBMERGING. He puts the crank in the WINDOW HANDLE HOLE, turns the crank. The WINDOW LOWERS, water flooding in... UNDERWATER Nicholas swims out the window, heading upwards... EXT. SAN FRANCISCO BAY -- NIGHT Nicholas bursts to the surface, sucking air. He treads water, catching his breath. GIRL'S VOICE (o.s.) Hey, mister... are you alright? Nicholas turns. There's a CABIN CRUISER docked nearby. A beautiful GIRL in a yellow raincoat throws a life preserver. Nicholas swims to it. EXT. CABIN CRUISER -- NIGHT Nicholas climbs the rear ladder with the girl's help. He stays on his knees, teeth chattering. The boat's luxurious. GIRL You could get hepatitis from that water. She helps Nicholas up, keeps a grip on him. NICHOLAS I need the police. GIRL Let's get you dried off first. I might have some clothes below. INT. CABIN CRUISER, BATHROOM -- NIGHT The shower and mirrors are fogged. Nicholas' wet clothing sits in the sink. He's wearing a short-sleeved shirt, pulling on trousers. IN THE ADJOINING BEDROOM QUIET MUSIC. Nicholas comes from the bathroom, feeling the waistband of the pants, checking out the cuffs. NICHOLAS You know, these fit... perfectly. GIRL They were my husband's. My late husband... may he rest in peace. Nicholas looks to the girl. She rises from the bed and slides the raincoat off, wearing only a BIKINI. A Playmate. Nicholas just sort of sags. The girl undoes her top, which falls. She steps forward. GIRL I've been so lonely. NICHOLAS I can't tell you how not interested I am. GIRL Don't be nervous. They said you'd be nervous. NICHOLAS Don't take another step. The girl covers her breasts, confused. Nicholas gathers his clothing from the sink, heading for the stairs. GIRL Isn't this what you like? They told me you had a thing for boats. NICHOLAS First they try to kill me, now you? (to girl) Put your damn clothes back on. Nicholas scrambles upstairs... EXT. CABIN CRUISER -- NIGHT Nicholas leaps off onto the wharf. The girl, pulling on her raincoat, crosses to the boat's rail, waving a BOX. Thru the box's window: a gold GLASS CUTTER nestled in velvet. GIRL Don't you want your thing? I was supposed to give you this thing. Nicholas just keeps walking. CUT TO: EXT. C.R.S. BUILDING -- DAY TWO POLICE CARS, marked and unmarked, pull to the curb. From the plainclothes car, MALE DETECTIVE and FEMALE DETECTIVE get out. Nicholas and Sutherland get out. INT. C.R.S. BUILDING, LOBBY -- DAY Nicholas, Sutherland, Male and Female Detective cross the busy lobby with TWO UNIFORMED OFFICER'S behind. INT. C.R.S. BUILDING, OFFICES -- DAY Nicholas enters, followed by the others. He stops short... REVEAL: this huge room, once filled with cubicles far as the eye could see, is now entirely EMPTY. Trash. Dust. Fixtures jutting from the floor. CUT TO: INT. NICHOLAS' OFFICE -- DAY Nicholas stands with hands in pockets, staring at the floor. Sutherland's here. Female and Male Detective stand together. She's checking notes. FEMALE DETECTIVE Management for the building says that space hasn't been officially rented yet. The county recorder has no listing for "Consumer Recreation Services" or any derivation thereof. No sign of the boat or the girl. We're checking escort services, but it's unlikely. Divers are looking for the taxi, and soon as they find it they'll pull the plates and V.I.N. MALE DETECTIVE Have you gotten in touch with your brother? NICHOLAS He hasn't called back. SUTHERLAND What about the house? MALE DETECTIVE The graffiti was painted in an oil-based marine marking solution. Illegal in the states. Not impossible to trace, but it'll take time. FEMALE DETECTIVE The photos, gun, the clown, the ambulance, cable box, everything else... it's all pending. (shuts notebook) Breaking and entering we have, solid. Malicious mischief, vandalism, harassment. But, that's about all. SUTHERLAND Illegal surveillance, reckless endangerment... NICHOLAS Attempted murder. MALE DETECTIVE Except... you said you hired these people. SUTHERLAND That's irrelevant. MALE DETECTIVE It's our job to let you know what we have. We haven't got motive. FEMALE DETECTIVE (to Nicholas) You are who you are, so we know you're not making it up. But, we've never dealt with anything quite like this. Be appropriately cautious. (pause) Unless you think they're done with you. CUT TO: INT. VAN ORTON MANSION, KITCHEN -ń NIGHT Ilsa sets down a plate: sandwich with crust cut off, potato chips and carrot sticks. Nicholas eats, pondering. NICHOLAS What was my father like? Ilsa's at the fridge, near where drop-cloths, paint cans and other repair preparations are piled. ILSA What makes you ask? NICHOLAS I'm not sure. Ilsa comes to set down a glass, fills it with milk. ILSA All the time I've known you, you've never once asked about him. NICHOLAS He came to my mind recently, that's all. Ilsa moves to put food back into the refrigerator. ILSA Your mother thought he was a good man. He worked very hard. What I remember most was his manner was so... slight. It was easy to spend time in a room, and not realize he'd been there the whole time. NICHOLAS Was he morose, or...? I mean... ILSA No. What happened... no one expected it. NICHOLAS Sometimes I wonder how much of him there is in me. ILSA Not much, I think. NICHOLAS I'm just like him. ILSA You're not like him at all. I don't know exactly what's going on around here lately, but don't make me start worrying about you. NICHOLAS Did you worry about him? ILSA Nobody worried about your father. Nicholas stares at his milk. PHONE RINGS. He answers... NICHOLAS (into phone) Hello. MARIA (v.o.) (from phone) It's Maria. I found the address you wanted from Elite Taxi. NICHOLAS (picks up pen and paper) Go ahead... CUT TO: EXT. SUBURBAN NEIGHBORHOOD -- NIGHT Rows of lower-middle-class homes. Nicholas parks. A WHITE VAN sits near, a wrench-wielding WORKMAN painted on the side. "Cable Repair Specialists." Nicholas crosses the lawn of a WHITE HOUSE, to the porch. He rings the doorbell and waits. Finally, an older man in a bathrobe answers, CHRISTINE'S DAD, puffy-eyed.
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From: me (Aug 02, 2004 15:44 EDT)
damn shes got a awesome rack
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From: PETE (Aug 02, 2004 23:49 EDT)
GOD I WANT TO FUCK HER HARD SHE IS SUCH A HOTTIE U WANT MASTERBATING PICS GO TO LINDSAYLOHANNUDE.COM
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From: 1hotguy (Aug 04, 2004 12:09 EDT)
o god damn!!lindsay is one fine ass chic!!lindsay babe i wanna suck yo tits! girl imma stick my long hunky dick up ur hot sexy lookin pussyyyy..ooo baby i can imagine us now fuckin REAL hard all nite...oooo imagining u naked with ur tits and ur sexy pussy ooo that feelz good..fucking u is the best thing...ahh ur sexy lips just wana meet myne and french kiss o baby we could fuck eachudda for a week babe!
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From: completely disgusted (Aug 04, 2004 22:20 EDT)
wow... we got some horny guys here who prolly can't get any in real life... that's y they come here... it's sad really... P.S. The way to a girls heart isn't by talking about how hard u wanna fuck her jackasses... plus... ur prolly not even good looking enough for her to give u a second glance. She's much too good for ya'll
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From: mac (Aug 05, 2004 14:59 EDT)
I love you Lindsay!!!!
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From: Weed is Good FOr YoU (Aug 07, 2004 01:21 EDT)
nice tities
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From: Weed is Not Good FOr YoU (Aug 07, 2004 01:22 EDT)
stfu Good!
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From: Weed is Good FOr YoUNo (Aug 07, 2004 01:23 EDT)
no...you stfu!
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From: Weed is Not Good FOr YoU (Aug 07, 2004 01:24 EDT)
dont make me come there
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From: Weed is Good FOr YoU (Aug 07, 2004 01:25 EDT)
come on Biatch..bring it!
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From: Homer Simpson (Aug 07, 2004 01:28 EDT)
MMMmmMMMmmmMMmMmmMmMMMMMMmmmm Lindsay Lohan
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From: DumbaSS (Aug 07, 2004 01:29 EDT)
Yo guys, what makes you think she will read this stuff????????????????????????????????????????????????????????????????????????????????????????????????????????????????
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From: Lindsay LoHan (Aug 07, 2004 01:34 EDT)
I'm a lesbo :)
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From: REFUSED (Aug 07, 2004 01:42 EDT)
me too
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From: Homer Simpson (Aug 07, 2004 01:46 EDT)
OHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!!
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From: Lindsay LoHan (Aug 07, 2004 01:47 EDT)
mmmm...homer simpson knows how to fuck hard and good!
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From: Jesus (Aug 07, 2004 06:15 EDT)
What the fuck? Here, you fucking cunts can read this shit: Mambo Design is known Australia-wide for its often bizarre, quirky, confrontational and controversial t-shirts, posters and graphics. Although it sometime may seem like anarchy with strange juxtapositions of the mundane and bizarre, many works were deliberately assembled using catalogues of signs that the public is familiar with – to deliver a message. This essay will explore how Mambo Design creates its distinctive identity through clever borrowing and altering of signs of popular culture. The works of this group will be analyzed in terms of sign theory, where signs are defined as any object, which has meaning. The meaning is not a physical part of the object but exists in the culture which observes it, and so can change over time. The signifier (the object) and the signified (cultural meaning) together form a sign. According to the Swiss linguist, de Saussure, signs can only exist in opposition to other signs. The contrast between signs of the same nature is how signs derive their meaning. One cannot exist without the other – there is no such thing as a lone signifier, or the lone signified – a thought or association that come out of nowhere. (Hoenisch, S 1997 [Online]) Signs are exploited in Richard Allan’s 1989 poster “Spiritual Adventure wear”, which depicts an almost Disney looking cartoon mouse hung on a cross, wearing a bright pair of boxer shorts (Figure 1) The mouse is seen to be uttering, “Forgive them Father, they know not what to wear.” This demonstrates a reaction against traditional signs of the period. The sign of the cross is exclusively Christian, and previously was held in reverence and seriousness. In this work the cartoon figure and witty change to Christ’s words give a feeling of silliness to the whole picture. Even so, this work has no particular statement to make about Christianity or clothing – the poster was made in response to complaints from Christian groups about previous use of satanic imagery (Mambo: Art irritates life 1994), and so is the pictorial equivalent of “thumbing the nose” to consumer complaints. The angry response from the public shows that the sign of Crucifixion is cultural sensitive, and that the artist used the sign in a different way, distorting the original meaning. In a 1994 poster by another artist – Reg Mombassa – the Manifesto (design ideology) is clearly stated: We demand the right to dominate the world with our vision of a machine washable youth culture. It is the Mambo party policy to allow a hundred flowers to blossom and a hundred schools of thought to contend, but all erroneous ideas, all poisonous weeds and all ghosts and monsters will be dealt with harshly. We will never be cowed by the bluster of reactionaries, because a revolution is not a dinner party – it is an act of violence by which one style overthrows another. The shining path of youth culture will run crimson with the blood of our enemies! Long live Mambo! (Mambo: Art irritates life 1994, p23) These carefully chosen words taken on the tone of a leftist political party – but reveal the design group’s priorities and values. The main priority of Mambo is to fight back against all the ideas it deems to be harmful and toxic in popular culture with its own propaganda. It has declared war, and its weapons are t shirts and surf wear. In an expanded version of the Manifesto, they specifically state how they use signs in their work: “Our program of promoting and enhancing popular culture through the propagation and dissemination of heroic images is the most complete. . . and rational system in human history.” (Mambo: Art irritates life 1994, p 24) In other words, they aim to improve the quality of popular culture by the spreading of popular images in their shirts and graphics. In some of their works, Mambo’s images work on a number of levels. In one example, “I’ve Got the Horn” by Reg Mombassa (Figure 2), a Godlike figure with a stone tablet appears to a naked man holding a horn, and he announced, “I’ve got the horn.” While there is no reference to any one particular religion, it has a spiritual message. However, if we analyze the individual signs within the image, it takes on a political tone. The godlike figure has a third eye – and a number of Hindu deities such as Shiva, are portrayed with a third eye in the forehead. It represents the ability of human consciousness to see beyond the visible. (Welcome to India – Indian Culture 2002 [Online]) And – if the bald naked man is taken to be Gandhi – and the setting India, the poster takes a historical meaning. It suggests that Gandhi’s message of non-violent resistance had a celestial origin. The factory in the distance may represent the industrialized British rule over India during that period. In another Reg Mombassa work, “Cast not the First Stone” (Mambo: Art irritates life, 1994) the message is more specific. It depicts a curiously shaped trumpet like creature sitting in the lap of a cloaked cult like figure with three eyes, two horns and a halo. It questions the theory that human violence is due to an error in genetics, and the cult like figure responds “yes it is [true].” The strange symbols on the adult figure’s cloak, the halo and horns, and the third eye all give a sense of spirituality in this work, which is reinforced by Christ’s words “Cast not the first stone” at the bottom of the picture. Mambo design also delves into the world of metaphorical symbols – where the objects shown in art cannot be taken literally. Reg Mombassa’s work “The Last Temptation” shows the temptation scene from Genesis – where the serpent tempts Adam and Eve. (Watters – O’Doherty, Artists Page [Online]) However, in this image the forbidden fruit (not actually referred to as an apple in the bible) from the tree of life, is replaced by a gun, which is held by Adam, and a toaster, by Eve. The handgun symbolizes an almost masculine activity – war, and the toaster rampant consumerism. Thus in this image two evils in modern society are seen to be traced back to Adam and Eve. Also well known is Reg Mombassa’s “Australian Jesus” series of art. Reb Mombassa himself reveals that he utilizes this sign for his own use: “I tend to focus on the Christian and Old Testament stories for subject matter, as they are a familiar part of our culture and will provoke a response from believers and non-believers alike.” (Jesus through a spirit camera, Feb 1998 [Online]) This provides an insight into the thoughts and processes of the designer – regardless of his or her own personal interpretation of the sign, if they are aware that they will impact on the audience in a certain way, they will use it. Reg has revealed that he is a non-Christian, but has a general interest in religious history, and spirituality. (Jesus through a spirit camera, Feb 1998 [Online]) Other works by other Mambo artists demonstrates that signs can have historical as well as religious meanings. In Martin Plaza’s “Excellence in Third World Exploitation” (Mambo: Art irritates life, 1994), a clothed worker is seen triumphantly holding up a Mambo cap, in a gritty, woodcut red and white drawing. Besides bucking the trend of avoiding allusions to slave labour, this work apparently celebrates it. The sign of the Asian-looking worker alludes to the propaganda of Chinese communism, particularly during the Mao era. The socialist system borrowed from the Soviets had a heavy emphasis on labour, rather than improving technology, and community effort (Encarta 1997 [CD-ROM]). Thus, the common worker was celebrated as heroes in works of art. The use of the sign in a poster advertising a clothing company, undermines the seriousness of the previous signified meaning and ridicules it. Earlier the manifesto of Mambo was mentioned. A particular phrase in it “allow a hundred flowers to blossom (or bloom)” was borrowed from Mao’s slogan “let a hundred flowers bloom, let a hundred schools of thought contend”, which was aimed to encourage expression of divergent views. (Dunbar, J.Y 1991) This gives political connotations to the reading of this manifesto – at first glance it may even appear to some that Mambo is a political party. In other Mambo works their message is brought across not through the interpretation of signs, but by juxtaposing their message with unusual imagery, to grab the viewer’s attention. In Reg Mombassa’s “Mambo Theology” poster of 1992 a curiously shaped creature is seen walking hand in hand with a larger combination house-speaker, which is also holding a basket of entrails. (Mambo: Art irritates life, 1994) These images have little to be signified other than revulsion, or curiosity – but the text makes the message clear – “Yes dear [there are fascists in heaven], but they all get turned into footballs, so you can kick them around if you want, but it’s best to ignore them – they probably want to be kicked anyway” – this is an anti-fascist poster. Mambo also challenges pre-existing myths, as is evident in Reg Mombassa’s “Show Mercy” poster (Figure 3). Public opinion has generally been negative regarding boat people (Hindustan Times 2002, [Online]), with associations with potentially dangerous people “invading” Australia from countries with questionable governments and ideologies. Reg has chosen to tackle this issue by creating a sense of spirituality and compassion with his poster. Central to the image is a circular window rimmed with sections of coloured glass, like a stained-glass window. This evokes connotations with the church and holiness. Other symbols of peace and goodwill include the “ban the bomb” logo incorporated into the window (circle divided into three) “Show Mercy” appears atop to window, and below “Australians welcome the boat people.” This could be interpreted in two ways, as a commandment, “Australians, welcome the boat people!” or as a statement of fact “Australians welcome the boat people”. Also, there is further significance if the suited figure on the horse holding an olive branch in one hand, and a case of “Mambo Bitter” in the other, is taken to be the Australian Jesus that Reg created. The signs of the Sydney Opera House, and Harbour bridge, as well as the dove and beer, give a strong association with Australia, and with Australian Jesus holding the branch of peace before the incoming boat people, is a powerful lesson of mercy and goodwill. However, not all of Mambo’s works have a particular message in mind. Some images are simply playful, or celebrate certain aspects of culture. In Reg Mombassa’s More a part of the landscape than a pair of trousers (Mambo: Art irritates life, 1994), he celebrates the uniqueness of Australian culture with a landscape adorned with the Hills Hoist, caravan, Ute, chickens and gum trees. Matthew Martin’s “Sirfer” (Mambo: Art irritates life, 1994) has a visual pun of Knight combined with Surfer – above the visor of the knight is a wave ornament, and headphones cover his ears. Like Reg Mombassa’s work it was drawn to appeal to the Australian market. Mambo has worked its design to appeal to a particular niche in the market – mainly young people, who are disillusioned with consumerism, and old stereotypes. Reg Mombassa’s Mambo Theology, although dealing with spirituality, appears to reject formal organized religion for a new age type of faith. Mambo is probably best known for its surreal imagery, strong stance against consumerism and government oppression, and attitude. However, many of its works demonstrate a knowledge and use of sign theory to elicit change in people’s attitudes about many of today’s issues. References Dunbar, J.Y 1991, Let a hundred flowers bloom: A profile of Taijiquan Instruction in America [Online], (May 1999 – last update) Available http://www.magictortoise.com/abstract.pdf [2002, June 1] Encarta Encyclopedia 1997, [CD-ROM] Microsoft Hindustan Times [Online], (June 8, 2002 – last update) Available http://www.hindustantimes.com/nonfram/300801/detFOR01.asp [2002, May 29] Hoenisch, S 1997, The Sign, the signifier and the signified [Online], (October 17, 2001- last update) Available http://www.criticism.com/md/the_sign.html [2002, June 1] Jesus through a spirit camera [Online], (Feb 30, 1998 – last update) Available: http://www.shootthemessenger.com.au/pre_dec97/a_life_dec97/l_reg.htm [2002, May 29] Mambo: Art irritates life 1994, Mambo Graphics, Surrey Hills, NSW Show Mercy [Online], (April, 2002 – last update) Available: http://www.showmercy.info/ [2002, May 25] Watters – O’Doherty, Artists Page [Online], Available http://home.mira.net/%7Ewatters/artists/odoherty.htm [2002, June 3] Welcome to India – Indian Culture [Online], (June 30 – last update) Available: http://www.welcometoindia.com/culture/indexfrm.asp?trad.asp?eye [2002, May 28] Mambo Design is known Australia-wide for its often bizarre, quirky, confrontational and controversial t-shirts, posters and graphics. Although it sometime may seem like anarchy with strange juxtapositions of the mundane and bizarre, many works were deliberately assembled using catalogues of signs that the public is familiar with – to deliver a message. This essay will explore how Mambo Design creates its distinctive identity through clever borrowing and altering of signs of popular culture. The works of this group will be analyzed in terms of sign theory, where signs are defined as any object, which has meaning. The meaning is not a physical part of the object but exists in the culture which observes it, and so can change over time. The signifier (the object) and the signified (cultural meaning) together form a sign. According to the Swiss linguist, de Saussure, signs can only exist in opposition to other signs. The contrast between signs of the same nature is how signs derive their meaning. One cannot exist without the other – there is no such thing as a lone signifier, or the lone signified – a thought or association that come out of nowhere. (Hoenisch, S 1997 [Online]) Signs are exploited in Richard Allan’s 1989 poster “Spiritual Adventure wear”, which depicts an almost Disney looking cartoon mouse hung on a cross, wearing a bright pair of boxer shorts (Figure 1) The mouse is seen to be uttering, “Forgive them Father, they know not what to wear.” This demonstrates a reaction against traditional signs of the period. The sign of the cross is exclusively Christian, and previously was held in reverence and seriousness. In this work the cartoon figure and witty change to Christ’s words give a feeling of silliness to the whole picture. Even so, this work has no particular statement to make about Christianity or clothing – the poster was made in response to complaints from Christian groups about previous use of satanic imagery (Mambo: Art irritates life 1994), and so is the pictorial equivalent of “thumbing the nose” to consumer complaints. The angry response from the public shows that the sign of Crucifixion is cultural sensitive, and that the artist used the sign in a different way, distorting the original meaning. In a 1994 poster by another artist – Reg Mombassa – the Manifesto (design ideology) is clearly stated: We demand the right to dominate the world with our vision of a machine washable youth culture. It is the Mambo party policy to allow a hundred flowers to blossom and a hundred schools of thought to contend, but all erroneous ideas, all poisonous weeds and all ghosts and monsters will be dealt with harshly. We will never be cowed by the bluster of reactionaries, because a revolution is not a dinner party – it is an act of violence by which one style overthrows another. The shining path of youth culture will run crimson with the blood of our enemies! Long live Mambo! (Mambo: Art irritates life 1994, p23) These carefully chosen words taken on the tone of a leftist political party – but reveal the design group’s priorities and values. The main priority of Mambo is to fight back against all the ideas it deems to be harmful and toxic in popular culture with its own propaganda. It has declared war, and its weapons are t shirts and surf wear. In an expanded version of the Manifesto, they specifically state how they use signs in their work: “Our program of promoting and enhancing popular culture through the propagation and dissemination of heroic images is the most complete. . . and rational system in human history.” (Mambo: Art irritates life 1994, p 24) In other words, they aim to improve the quality of popular culture by the spreading of popular images in their shirts and graphics. In some of their works, Mambo’s images work on a number of levels. In one example, “I’ve Got the Horn” by Reg Mombassa (Figure 2), a Godlike figure with a stone tablet appears to a naked man holding a horn, and he announced, “I’ve got the horn.” While there is no reference to any one particular religion, it has a spiritual message. However, if we analyze the individual signs within the image, it takes on a political tone. The godlike figure has a third eye – and a number of Hindu deities such as Shiva, are portrayed with a third eye in the forehead. It represents the ability of human consciousness to see beyond the visible. (Welcome to India – Indian Culture 2002 [Online]) And – if the bald naked man is taken to be Gandhi – and the setting India, the poster takes a historical meaning. It suggests that Gandhi’s message of non-violent resistance had a celestial origin. The factory in the distance may represent the industrialized British rule over India during that period. In another Reg Mombassa work, “Cast not the First Stone” (Mambo: Art irritates life, 1994) the message is more specific. It depicts a curiously shaped trumpet like creature sitting in the lap of a cloaked cult like figure with three eyes, two horns and a halo. It questions the theory that human violence is due to an error in genetics, and the cult like figure responds “yes it is [true].” The strange symbols on the adult figure’s cloak, the halo and horns, and the third eye all give a sense of spirituality in this work, which is reinforced by Christ’s words “Cast not the first stone” at the bottom of the picture. Mambo design also delves into the world of metaphorical symbols – where the objects shown in art cannot be taken literally. Reg Mombassa’s work “The Last Temptation” shows the temptation scene from Genesis – where the serpent tempts Adam and Eve. (Watters – O’Doherty, Artists Page [Online]) However, in this image the forbidden fruit (not actually referred to as an apple in the bible) from the tree of life, is replaced by a gun, which is held by Adam, and a toaster, by Eve. The handgun symbolizes an almost masculine activity – war, and the toaster rampant consumerism. Thus in this image two evils in modern society are seen to be traced back to Adam and Eve. Also well known is Reg Mombassa’s “Australian Jesus” series of art. Reb Mombassa himself reveals that he utilizes this sign for his own use: “I tend to focus on the Christian and Old Testament stories for subject matter, as they are a familiar part of our culture and will provoke a response from believers and non-believers alike.” (Jesus through a spirit camera, Feb 1998 [Online]) This provides an insight into the thoughts and processes of the designer – regardless of his or her own personal interpretation of the sign, if they are aware that they will impact on the audience in a certain way, they will use it. Reg has revealed that he is a non-Christian, but has a general interest in religious history, and spirituality. (Jesus through a spirit camera, Feb 1998 [Online]) Other works by other Mambo artists demonstrates that signs can have historical as well as religious meanings. In Martin Plaza’s “Excellence in Third World Exploitation” (Mambo: Art irritates life, 1994), a clothed worker is seen triumphantly holding up a Mambo cap, in a gritty, woodcut red and white drawing. Besides bucking the trend of avoiding allusions to slave labour, this work apparently celebrates it. The sign of the Asian-looking worker alludes to the propaganda of Chinese communism, particularly during the Mao era. The socialist system borrowed from the Soviets had a heavy emphasis on labour, rather than improving technology, and community effort (Encarta 1997 [CD-ROM]). Thus, the common worker was celebrated as heroes in works of art. The use of the sign in a poster advertising a clothing company, undermines the seriousness of the previous signified meaning and ridicules it. Earlier the manifesto of Mambo was mentioned. A particular phrase in it “allow a hundred flowers to blossom (or bloom)” was borrowed from Mao’s slogan “let a hundred flowers bloom, let a hundred schools of thought contend”, which was aimed to encourage expression of divergent views. (Dunbar, J.Y 1991) This gives political connotations to the reading of this manifesto – at first glance it may even appear to some that Mambo is a political party. In other Mambo works their message is brought across not through the interpretation of signs, but by juxtaposing their message with unusual imagery, to grab the viewer’s attention. In Reg Mombassa’s “Mambo Theology” poster of 1992 a curiously shaped creature is seen walking hand in hand with a larger combination house-speaker, which is also holding a basket of entrails. (Mambo: Art irritates life, 1994) These images have little to be signified other than revulsion, or curiosity – but the text makes the message clear – “Yes dear [there are fascists in heaven], but they all get turned into footballs, so you can kick them around if you want, but it’s best to ignore them – they probably want to be kicked anyway” – this is an anti-fascist poster. Mambo also challenges pre-existing myths, as is evident in Reg Mombassa’s “Show Mercy” poster (Figure 3). Public opinion has generally been negative regarding boat people (Hindustan Times 2002, [Online]), with associations with potentially dangerous people “invading” Australia from countries with questionable governments and ideologies. Reg has chosen to tackle this issue by creating a sense of spirituality and compassion with his poster. Central to the image is a circular window rimmed with sections of coloured glass, like a stained-glass window. This evokes connotations with the church and holiness. Other symbols of peace and goodwill include the “ban the bomb” logo incorporated into the window (circle divided into three) “Show Mercy” appears atop to window, and below “Australians welcome the boat people.” This could be interpreted in two ways, as a commandment, “Australians, welcome the boat people!” or as a statement of fact “Australians welcome the boat people”. Also, there is further significance if the suited figure on the horse holding an olive branch in one hand, and a case of “Mambo Bitter” in the other, is taken to be the Australian Jesus that Reg created. The signs of the Sydney Opera House, and Harbour bridge, as well as the dove and beer, give a strong association with Australia, and with Australian Jesus holding the branch of peace before the incoming boat people, is a powerful lesson of mercy and goodwill. However, not all of Mambo’s works have a particular message in mind. Some images are simply playful, or celebrate certain aspects of culture. In Reg Mombassa’s More a part of the landscape than a pair of trousers (Mambo: Art irritates life, 1994), he celebrates the uniqueness of Australian culture with a landscape adorned with the Hills Hoist, caravan, Ute, chickens and gum trees. Matthew Martin’s “Sirfer” (Mambo: Art irritates life, 1994) has a visual pun of Knight combined with Surfer – above the visor of the knight is a wave ornament, and headphones cover his ears. Like Reg Mombassa’s work it was drawn to appeal to the Australian market. Mambo has worked its design to appeal to a particular niche in the market – mainly young people, who are disillusioned with consumerism, and old stereotypes. Reg Mombassa’s Mambo Theology, although dealing with spirituality, appears to reject formal organized religion for a new age type of faith. Mambo is probably best known for its surreal imagery, strong stance against consumerism and government oppression, and attitude. However, many of its works demonstrate a knowledge and use of sign theory to elicit change in people’s attitudes about many of today’s issues. References Dunbar, J.Y 1991, Let a hundred flowers bloom: A profile of Taijiquan Instruction in America [Online], (May 1999 – last update) Available http://www.magictortoise.com/abstract.pdf [2002, June 1] Encarta Encyclopedia 1997, [CD-ROM] Microsoft Hindustan Times [Online], (June 8, 2002 – last update) Available http://www.hindustantimes.com/nonfram/300801/detFOR01.asp [2002, May 29] Hoenisch, S 1997, The Sign, the signifier and the signified [Online], (October 17, 2001- last update) Available http://www.criticism.com/md/the_sign.html [2002, June 1] Jesus through a spirit camera [Online], (Feb 30, 1998 – last update) Available: http://www.shootthemessenger.com.au/pre_dec97/a_life_dec97/l_reg.htm [2002, May 29] Mambo: Art irritates life 1994, Mambo Graphics, Surrey Hills, NSW Show Mercy [Online], (April, 2002 – last update) Available: http://www.showmercy.info/ [2002, May 25] Watters – O’Doherty, Artists Page [Online], Available http://home.mira.net/%7Ewatters/artists/odoherty.htm [2002, June 3] Welcome to India – Indian Culture [Online], (June 30 – last update) Available: http://www.welcometoindia.com/culture/indexfrm.asp?trad.asp?eye [2002, May 28] Mambo Design is known Australia-wide for its often bizarre, quirky, confrontational and controversial t-shirts, posters and graphics. Although it sometime may seem like anarchy with strange juxtapositions of the mundane and bizarre, many works were deliberately assembled using catalogues of signs that the public is familiar with – to deliver a message. This essay will explore how Mambo Design creates its distinctive identity through clever borrowing and altering of signs of popular culture. The works of this group will be analyzed in terms of sign theory, where signs are defined as any object, which has meaning. The meaning is not a physical part of the object but exists in the culture which observes it, and so can change over time. The signifier (the object) and the signified (cultural meaning) together form a sign. According to the Swiss linguist, de Saussure, signs can only exist in opposition to other signs. The contrast between signs of the same nature is how signs derive their meaning. One cannot exist without the other – there is no such thing as a lone signifier, or the lone signified – a thought or association that come out of nowhere. (Hoenisch, S 1997 [Online]) Signs are exploited in Richard Allan’s 1989 poster “Spiritual Adventure wear”, which depicts an almost Disney looking cartoon mouse hung on a cross, wearing a bright pair of boxer shorts (Figure 1) The mouse is seen to be uttering, “Forgive them Father, they know not what to wear.” This demonstrates a reaction against traditional signs of the period. The sign of the cross is exclusively Christian, and previously was held in reverence and seriousness. In this work the cartoon figure and witty change to Christ’s words give a feeling of silliness to the whole picture. Even so, this work has no particular statement to make about Christianity or clothing – the poster was made in response to complaints from Christian groups about previous use of satanic imagery (Mambo: Art irritates life 1994), and so is the pictorial equivalent of “thumbing the nose” to consumer complaints. The angry response from the public shows that the sign of Crucifixion is cultural sensitive, and that the artist used the sign in a different way, distorting the original meaning. In a 1994 poster by another artist – Reg Mombassa – the Manifesto (design ideology) is clearly stated: We demand the right to dominate the world with our vision of a machine washable youth culture. It is the Mambo party policy to allow a hundred flowers to blossom and a hundred schools of thought to contend, but all erroneous ideas, all poisonous weeds and all ghosts and monsters will be dealt with harshly. We will never be cowed by the bluster of reactionaries, because a revolution is not a dinner party – it is an act of violence by which one style overthrows another. The shining path of youth culture will run crimson with the blood of our enemies! Long live Mambo! (Mambo: Art irritates life 1994, p23) These carefully chosen words taken on the tone of a leftist political party – but reveal the design group’s priorities and values. The main priority of Mambo is to fight back against all the ideas it deems to be harmful and toxic in popular culture with its own propaganda. It has declared war, and its weapons are t shirts and surf wear. In an expanded version of the Manifesto, they specifically state how they use signs in their work: “Our program of promoting and enhancing popular culture through the propagation and dissemination of heroic images is the most complete. . . and rational system in human history.” (Mambo: Art irritates life 1994, p 24) In other words, they aim to improve the quality of popular culture by the spreading of popular images in their shirts and graphics. In some of their works, Mambo’s images work on a number of levels. In one example, “I’ve Got the Horn” by Reg Mombassa (Figure 2), a Godlike figure with a stone tablet appears to a naked man holding a horn, and he announced, “I’ve got the horn.” While there is no reference to any one particular religion, it has a spiritual message. However, if we analyze the individual signs within the image, it takes on a political tone. The godlike figure has a third eye – and a number of Hindu deities such as Shiva, are portrayed with a third eye in the forehead. It represents the ability of human consciousness to see beyond the visible. (Welcome to India – Indian Culture 2002 [Online]) And – if the bald naked man is taken to be Gandhi – and the setting India, the poster takes a historical meaning. It suggests that Gandhi’s message of non-violent resistance had a celestial origin. The factory in the distance may represent the industrialized British rule over India during that period. In another Reg Mombassa work, “Cast not the First Stone” (Mambo: Art irritates life, 1994) the message is more specific. It depicts a curiously shaped trumpet like creature sitting in the lap of a cloaked cult like figure with three eyes, two horns and a halo. It questions the theory that human violence is due to an error in genetics, and the cult like figure responds “yes it is [true].” The strange symbols on the adult figure’s cloak, the halo and horns, and the third eye all give a sense of spirituality in this work, which is reinforced by Christ’s words “Cast not the first stone” at the bottom of the picture. Mambo design also delves into the world of metaphorical symbols – where the objects shown in art cannot be taken literally. Reg Mombassa’s work “The Last Temptation” shows the temptation scene from Genesis – where the serpent tempts Adam and Eve. (Watters – O’Doherty, Artists Page [Online]) However, in this image the forbidden fruit (not actually referred to as an apple in the bible) from the tree of life, is replaced by a gun, which is held by Adam, and a toaster, by Eve. The handgun symbolizes an almost masculine activity – war, and the toaster rampant consumerism. Thus in this image two evils in modern society are seen to be traced back to Adam and Eve. Also well known is Reg Mombassa’s “Australian Jesus” series of art. Reb Mombassa himself reveals that he utilizes this sign for his own use: “I tend to focus on the Christian and Old Testament stories for subject matter, as they are a familiar part of our culture and will provoke a response from believers and non-believers alike.” (Jesus through a spirit camera, Feb 1998 [Online]) This provides an insight into the thoughts and processes of the designer – regardless of his or her own personal interpretation of the sign, if they are aware that they will impact on the audience in a certain way, they will use it. Reg has revealed that he is a non-Christian, but has a general interest in religious history, and spirituality. (Jesus through a spirit camera, Feb 1998 [Online]) Other works by other Mambo artists demonstrates that signs can have historical as well as religious meanings. In Martin Plaza’s “Excellence in Third World Exploitation” (Mambo: Art irritates life, 1994), a clothed worker is seen triumphantly holding up a Mambo cap, in a gritty, woodcut red and white drawing. Besides bucking the trend of avoiding allusions to slave labour, this work apparently celebrates it. The sign of the Asian-looking worker alludes to the propaganda of Chinese communism, particularly during the Mao era. The socialist system borrowed from the Soviets had a heavy emphasis on labour, rather than improving technology, and community effort (Encarta 1997 [CD-ROM]). Thus, the common worker was celebrated as heroes in works of art. The use of the sign in a poster advertising a clothing company, undermines the seriousness of the previous signified meaning and ridicules it. Earlier the manifesto of Mambo was mentioned. A particular phrase in it “allow a hundred flowers to blossom (or bloom)” was borrowed from Mao’s slogan “let a hundred flowers bloom, let a hundred schools of thought contend”, which was aimed to encourage expression of divergent views. (Dunbar, J.Y 1991) This gives political connotations to the reading of this manifesto – at first glance it may even appear to some that Mambo is a political party. In other Mambo works their message is brought across not through the interpretation of signs, but by juxtaposing their message with unusual imagery, to grab the viewer’s attention. In Reg Mombassa’s “Mambo Theology” poster of 1992 a curiously shaped creature is seen walking hand in hand with a larger combination house-speaker, which is also holding a basket of entrails. (Mambo: Art irritates life, 1994) These images have little to be signified other than revulsion, or curiosity – but the text makes the message clear – “Yes dear [there are fascists in heaven], but they all get turned into footballs, so you can kick them around if you want, but it’s best to ignore them – they probably want to be kicked anyway” – this is an anti-fascist poster. Mambo also challenges pre-existing myths, as is evident in Reg Mombassa’s “Show Mercy” poster (Figure 3). Public opinion has generally been negative regarding boat people (Hindustan Times 2002, [Online]), with associations with potentially dangerous people “invading” Australia from countries with questionable governments and ideologies. Reg has chosen to tackle this issue by creating a sense of spirituality and compassion with his poster. Central to the image is a circular window rimmed with sections of coloured glass, like a stained-glass window. This evokes connotations with the church and holiness. Other symbols of peace and goodwill include the “ban the bomb” logo incorporated into the window (circle divided into three) “Show Mercy” appears atop to window, and below “Australians welcome the boat people.” This could be interpreted in two ways, as a commandment, “Australians, welcome the boat people!” or as a statement of fact “Australians welcome the boat people”. Also, there is further significance if the suited figure on the horse holding an olive branch in one hand, and a case of “Mambo Bitter” in the other, is taken to be the Australian Jesus that Reg created. The signs of the Sydney Opera House, and Harbour bridge, as well as the dove and beer, give a strong association with Australia, and with Australian Jesus holding the branch of peace before the incoming boat people, is a powerful lesson of mercy and goodwill. However, not all of Mambo’s works have a particular message in mind. Some images are simply playful, or celebrate certain aspects of culture. In Reg Mombassa’s More a part of the landscape than a pair of trousers (Mambo: Art irritates life, 1994), he celebrates the uniqueness of Australian culture with a landscape adorned with the Hills Hoist, caravan, Ute, chickens and gum trees. Matthew Martin’s “Sirfer” (Mambo: Art irritates life, 1994) has a visual pun of Knight combined with Surfer – above the visor of the knight is a wave ornament, and headphones cover his ears. Like Reg Mombassa’s work it was drawn to appeal to the Australian market. Mambo has worked its design to appeal to a particular niche in the market – mainly young people, who are disillusioned with consumerism, and old stereotypes. Reg Mombassa’s Mambo Theology, although dealing with spirituality, appears to reject formal organized religion for a new age type of faith. Mambo is probably best known for its surreal imagery, strong stance against consumerism and government oppression, and attitude. However, many of its works demonstrate a knowledge and use of sign theory to elicit change in people’s attitudes about many of today’s issues. References Dunbar, J.Y 1991, Let a hundred flowers bloom: A profile of Taijiquan Instruction in America [Online], (May 1999 – last update) Available http://www.magictortoise.com/abstract.pdf [2002, June 1] Encarta Encyclopedia 1997, [CD-ROM] Microsoft Hindustan Times [Online], (June 8, 2002 – last update) Available http://www.hindustantimes.com/nonfram/300801/detFOR01.asp [2002, May 29] Hoenisch, S 1997, The Sign, the signifier and the signified [Online], (October 17, 2001- last update) Available http://www.criticism.com/md/the_sign.html [2002, June 1] Jesus through a spirit camera [Online], (Feb 30, 1998 – last update) Available: http://www.shootthemessenger.com.au/pre_dec97/a_life_dec97/l_reg.htm [2002, May 29] Mambo: Art irritates life 1994, Mambo Graphics, Surrey Hills, NSW Show Mercy [Online], (April, 2002 – last update) Available: http://www.showmercy.info/ [2002, May 25] Watters – O’Doherty, Artists Page [Online], Available http://home.mira.net/%7Ewatters/artists/odoherty.htm [2002, June 3] Welcome to India – Indian Culture [Online], (June 30 – last update) Available: http://www.welcometoindia.com/culture/indexfrm.asp?trad.asp?eye [2002, May 28] Mambo Design is known Australia-wide for its often bizarre, quirky, confrontational and controversial t-shirts, posters and graphics. Although it sometime may seem like anarchy with strange juxtapositions of the mundane and bizarre, many works were deliberately assembled using catalogues of signs that the public is familiar with – to deliver a message. This essay will explore how Mambo Design creates its distinctive identity through clever borrowing and altering of signs of popular culture. The works of this group will be analyzed in terms of sign theory, where signs are defined as any object, which has meaning. The meaning is not a physical part of the object but exists in the culture which observes it, and so can change over time. The signifier (the object) and the signified (cultural meaning) together form a sign. According to the Swiss linguist, de Saussure, signs can only exist in opposition to other signs. The contrast between signs of the same nature is how signs derive their meaning. One cannot exist without the other – there is no such thing as a lone signifier, or the lone signified – a thought or association that come out of nowhere. (Hoenisch, S 1997 [Online]) Signs are exploited in Richard Allan’s 1989 poster “Spiritual Adventure wear”, which depicts an almost Disney looking cartoon mouse hung on a cross, wearing a bright pair of boxer shorts (Figure 1) The mouse is seen to be uttering, “Forgive them Father, they know not what to wear.” This demonstrates a reaction against traditional signs of the period. The sign of the cross is exclusively Christian, and previously was held in reverence and seriousness. In this work the cartoon figure and witty change to Christ’s words give a feeling of silliness to the whole picture. Even so, this work has no particular statement to make about Christianity or clothing – the poster was made in response to complaints from Christian groups about previous use of satanic imagery (Mambo: Art irritates life 1994), and so is the pictorial equivalent of “thumbing the nose” to consumer complaints. The angry response from the public shows that the sign of Crucifixion is cultural sensitive, and that the artist used the sign in a different way, distorting the original meaning. In a 1994 poster by another artist – Reg Mombassa – the Manifesto (design ideology) is clearly stated: We demand the right to dominate the world with our vision of a machine washable youth culture. It is the Mambo party policy to allow a hundred flowers to blossom and a hundred schools of thought to contend, but all erroneous ideas, all poisonous weeds and all ghosts and monsters will be dealt with harshly. We will never be cowed by the bluster of reactionaries, because a revolution is not a dinner party – it is an act of violence by which one style overthrows another. The shining path of youth culture will run crimson with the blood of our enemies! Long live Mambo! (Mambo: Art irritates life 1994, p23) These carefully chosen words taken on the tone of a leftist political party – but reveal the design group’s priorities and values. The main priority of Mambo is to fight back against all the ideas it deems to be harmful and toxic in popular culture with its own propaganda. It has declared war, and its weapons are t shirts and surf wear. In an expanded version of the Manifesto, they specifically state how they use signs in their work: “Our program of promoting and enhancing popular culture through the propagation and dissemination of heroic images is the most complete. . . and rational system in human history.” (Mambo: Art irritates life 1994, p 24) In other words, they aim to improve the quality of popular culture by the spreading of popular images in their shirts and graphics. In some of their works, Mambo’s images work on a number of levels. In one example, “I’ve Got the Horn” by Reg Mombassa (Figure 2), a Godlike figure with a stone tablet appears to a naked man holding a horn, and he announced, “I’ve got the horn.” While there is no reference to any one particular religion, it has a spiritual message. However, if we analyze the individual signs within the image, it takes on a political tone. The godlike figure has a third eye – and a number of Hindu deities such as Shiva, are portrayed with a third eye in the forehead. It represents the ability of human consciousness to see beyond the visible. (Welcome to India – Indian Culture 2002 [Online]) And – if the bald naked man is taken to be Gandhi – and the setting India, the poster takes a historical meaning. It suggests that Gandhi’s message of non-violent resistance had a celestial origin. The factory in the distance may represent the industrialized British rule over India during that period. In another Reg Mombassa work, “Cast not the First Stone” (Mambo: Art irritates life, 1994) the message is more specific. It depicts a curiously shaped trumpet like creature sitting in the lap of a cloaked cult like figure with three eyes, two horns and a halo. It questions the theory that human violence is due to an error in genetics, and the cult like figure responds “yes it is [true].” The strange symbols on the adult figure’s cloak, the halo and horns, and the third eye all give a sense of spirituality in this work, which is reinforced by Christ’s words “Cast not the first stone” at the bottom of the picture. Mambo design also delves into the world of metaphorical symbols – where the objects shown in art cannot be taken literally. Reg Mombassa’s work “The Last Temptation” shows the temptation scene from Genesis – where the serpent tempts Adam and Eve. (Watters – O’Doherty, Artists Page [Online]) However, in this image the forbidden fruit (not actually referred to as an apple in the bible) from the tree of life, is replaced by a gun, which is held by Adam, and a toaster, by Eve. The handgun symbolizes an almost masculine activity – war, and the toaster rampant consumerism. Thus in this image two evils in modern society are seen to be traced back to Adam and Eve. Also well known is Reg Mombassa’s “Australian Jesus” series of art. Reb Mombassa himself reveals that he utilizes this sign for his own use: “I tend to focus on the Christian and Old Testament stories for subject matter, as they are a familiar part of our culture and will provoke a response from believers and non-believers alike.” (Jesus through a spirit camera, Feb 1998 [Online]) This provides an insight into the thoughts and processes of the designer – regardless of his or her own personal interpretation of the sign, if they are aware that they will impact on the audience in a certain way, they will use it. Reg has revealed that he is a non-Christian, but has a general interest in religious history, and spirituality. (Jesus through a spirit camera, Feb 1998 [Online]) Other works by other Mambo artists demonstrates that signs can have historical as well as religious meanings. In Martin Plaza’s “Excellence in Third World Exploitation” (Mambo: Art irritates life, 1994), a clothed worker is seen triumphantly holding up a Mambo cap, in a gritty, woodcut red and white drawing. Besides bucking the trend of avoiding allusions to slave labour, this work apparently celebrates it. The sign of the Asian-looking worker alludes to the propaganda of Chinese communism, particularly during the Mao era. The socialist system borrowed from the Soviets had a heavy emphasis on labour, rather than improving technology, and community effort (Encarta 1997 [CD-ROM]). Thus, the common worker was celebrated as heroes in works of art. The use of the sign in a poster advertising a clothing company, undermines the seriousness of the previous signified meaning and ridicules it. Earlier the manifesto of Mambo was mentioned. A particular phrase in it “allow a hundred flowers to blossom (or bloom)” was borrowed from Mao’s slogan “let a hundred flowers bloom, let a hundred schools of thought contend”, which was aimed to encourage expression of divergent views. (Dunbar, J.Y 1991) This gives political connotations to the reading of this manifesto – at first glance it may even appear to some that Mambo is a political party. In other Mambo works their message is brought across not through the interpretation of signs, but by juxtaposing their message with unusual imagery, to grab the viewer’s attention. In Reg Mombassa’s “Mambo Theology” poster of 1992 a curiously shaped creature is seen walking hand in hand with a larger combination house-speaker, which is also holding a basket of entrails. (Mambo: Art irritates life, 1994) These images have little to be signified other than revulsion, or curiosity – but the text makes the message clear – “Yes dear [there are fascists in heaven], but they all get turned into footballs, so you can kick them around if you want, but it’s best to ignore them – they probably want to be kicked anyway” – this is an anti-fascist poster. Mambo also challenges pre-existing myths, as is evident in Reg Mombassa’s “Show Mercy” poster (Figure 3). Public opinion has generally been negative regarding boat people (Hindustan Times 2002, [Online]), with associations with potentially dangerous people “invading” Australia from countries with questionable governments and ideologies. Reg has chosen to tackle this issue by creating a sense of spirituality and compassion with his poster. Central to the image is a circular window rimmed with sections of coloured glass, like a stained-glass window. This evokes connotations with the church and holiness. Other symbols of peace and goodwill include the “ban the bomb” logo incorporated into the window (circle divided into three) “Show Mercy” appears atop to window, and below “Australians welcome the boat people.” This could be interpreted in two ways, as a commandment, “Australians, welcome the boat people!” or as a statement of fact “Australians welcome the boat people”. Also, there is further significance if the suited figure on the horse holding an olive branch in one hand, and a case of “Mambo Bitter” in the other, is taken to be the Australian Jesus that Reg created. The signs of the Sydney Opera House, and Harbour bridge, as well as the dove and beer, give a strong association with Australia, and with Australian Jesus holding the branch of peace before the incoming boat people, is a powerful lesson of mercy and goodwill. However, not all of Mambo’s works have a particular message in mind. Some images are simply playful, or celebrate certain aspects of culture. In Reg Mombassa’s More a part of the landscape than a pair of trousers (Mambo: Art irritates life, 1994), he celebrates the uniqueness of Australian culture with a landscape adorned with the Hills Hoist, caravan, Ute, chickens and gum trees. Matthew Martin’s “Sirfer” (Mambo: Art irritates life, 1994) has a visual pun of Knight combined with Surfer – above the visor of the knight is a wave ornament, and headphones cover his ears. Like Reg Mombassa’s work it was drawn to appeal to the Australian market. Mambo has worked its design to appeal to a particular niche in the market – mainly young people, who are disillusioned with consumerism, and old stereotypes. Reg Mombassa’s Mambo Theology, although dealing with spirituality, appears to reject formal organized religion for a new age type of faith. Mambo is probably best known for its surreal imagery, strong stance against consumerism and government oppression, and attitude. However, many of its works demonstrate a knowledge and use of sign theory to elicit change in people’s attitudes about many of today’s issues. References Dunbar, J.Y 1991, Let a hundred flowers bloom: A profile of Taijiquan Instruction in America [Online], (May 1999 – last update) Available http://www.magictortoise.com/abstract.pdf [2002, June 1] Encarta Encyclopedia 1997, [CD-ROM] Microsoft Hindustan Times [Online], (June 8, 2002 – last update) Available http://www.hindustantimes.com/nonfram/300801/detFOR01.asp [2002, May 29] Hoenisch, S 1997, The Sign, the signifier and the signified [Online], (October 17, 2001- last update) Available http://www.criticism.com/md/the_sign.html [2002, June 1] Jesus through a spirit camera [Online], (Feb 30, 1998 – last update) Available: http://www.shootthemessenger.com.au/pre_dec97/a_life_dec97/l_reg.htm [2002, May 29] Mambo: Art irritates life 1994, Mambo Graphics, Surrey Hills, NSW Show Mercy [Online], (April, 2002 – last update) Available: http://www.showmercy.info/ [2002, May 25] Watters – O’Doherty, Artists Page [Online], Available http://home.mira.net/%7Ewatters/artists/odoherty.htm [2002, June 3] Welcome to India – Indian Culture [Online], (June 30 – last update) Available: http://www.welcometoindia.com/culture/indexfrm.asp?trad.asp?eye [2002, May 28] Mambo Design is known Australia-wide for its often bizarre, quirky, confrontational and controversial t-shirts, posters and graphics. Although it sometime may seem like anarchy with strange juxtapositions of the mundane and bizarre, many works were deliberately assembled using catalogues of signs that the public is familiar with – to deliver a message. This essay will explore how Mambo Design creates its distinctive identity through clever borrowing and altering of signs of popular culture. The works of this group will be analyzed in terms of sign theory, where signs are defined as any object, which has meaning. The meaning is not a physical part of the object but exists in the culture which observes it, and so can change over time. The signifier (the object) and the signified (cultural meaning) together form a sign. According to the Swiss linguist, de Saussure, signs can only exist in opposition to other signs. The contrast between signs of the same nature is how signs derive their meaning. One cannot exist without the other – there is no such thing as a lone signifier, or the lone signified – a thought or association that come out of nowhere. (Hoenisch, S 1997 [Online]) Signs are exploited in Richard Allan’s 1989 poster “Spiritual Adventure wear”, which depicts an almost Disney looking cartoon mouse hung on a cross, wearing a bright pair of boxer shorts (Figure 1) The mouse is seen to be uttering, “Forgive them Father, they know not what to wear.” This demonstrates a reaction against traditional signs of the period. The sign of the cross is exclusively Christian, and previously was held in reverence and seriousness. In this work the cartoon figure and witty change to Christ’s words give a feeling of silliness to the whole picture. Even so, this work has no particular statement to make about Christianity or clothing – the poster was made in response to complaints from Christian groups about previous use of satanic imagery (Mambo: Art irritates life 1994), and so is the pictorial equivalent of “thumbing the nose” to consumer complaints. The angry response from the public shows that the sign of Crucifixion is cultural sensitive, and that the artist used the sign in a different way, distorting the original meaning. In a 1994 poster by another artist – Reg Mombassa – the Manifesto (design ideology) is clearly stated: We demand the right to dominate the world with our vision of a machine washable youth culture. It is the Mambo party policy to allow a hundred flowers to blossom and a hundred schools of thought to contend, but all erroneous ideas, all poisonous weeds and all ghosts and monsters will be dealt with harshly. We will never be cowed by the bluster of reactionaries, because a revolution is not a dinner party – it is an act of violence by which one style overthrows another. The shining path of youth culture will run crimson with the blood of our enemies! Long live Mambo! (Mambo: Art irritates life 1994, p23) These carefully chosen words taken on the tone of a leftist political party – but reveal the design group’s priorities and values. The main priority of Mambo is to fight back against all the ideas it deems to be harmful and toxic in popular culture with its own propaganda. It has declared war, and its weapons are t shirts and surf wear. In an expanded version of the Manifesto, they specifically state how they use signs in their work: “Our program of promoting and enhancing popular culture through the propagation and dissemination of heroic images is the most complete. . . and rational system in human history.” (Mambo: Art irritates life 1994, p 24) In other words, they aim to improve the quality of popular culture by the spreading of popular images in their shirts and graphics. In some of their works, Mambo’s images work on a number of levels. In one example, “I’ve Got the Horn” by Reg Mombassa (Figure 2), a Godlike figure with a stone tablet appears to a naked man holding a horn, and he announced, “I’ve got the horn.” While there is no reference to any one particular religion, it has a spiritual message. However, if we analyze the individual signs within the image, it takes on a political tone. The godlike figure has a third eye – and a number of Hindu deities such as Shiva, are portrayed with a third eye in the forehead. It represents the ability of human consciousness to see beyond the visible. (Welcome to India – Indian Culture 2002 [Online]) And – if the bald naked man is taken to be Gandhi – and the setting India, the poster takes a historical meaning. It suggests that Gandhi’s message of non-violent resistance had a celestial origin. The factory in the distance may represent the industrialized British rule over India during that period. In another Reg Mombassa work, “Cast not the First Stone” (Mambo: Art irritates life, 1994) the message is more specific. It depicts a curiously shaped trumpet like creature sitting in the lap of a cloaked cult like figure with three eyes, two horns and a halo. It questions the theory that human violence is due to an error in genetics, and the cult like figure responds “yes it is [true].” The strange symbols on the adult figure’s cloak, the halo and horns, and the third eye all give a sense of spirituality in this work, which is reinforced by Christ’s words “Cast not the first stone” at the bottom of the picture. Mambo design also delves into the world of metaphorical symbols – where the objects shown in art cannot be taken literally. Reg Mombassa’s work “The Last Temptation” shows the temptation scene from Genesis – where the serpent tempts Adam and Eve. (Watters – O’Doherty, Artists Page [Online]) However, in this image the forbidden fruit (not actually referred to as an apple in the bible) from the tree of life, is replaced by a gun, which is held by Adam, and a toaster, by Eve. The handgun symbolizes an almost masculine activity – war, and the toaster rampant consumerism. Thus in this image two evils in modern society are seen to be traced back to Adam and Eve. Also well known is Reg Mombassa’s “Australian Jesus” series of art. Reb Mombassa himself reveals that he utilizes this sign for his own use: “I tend to focus on the Christian and Old Testament stories for subject matter, as they are a familiar part of our culture and will provoke a response from believers and non-believers alike.” (Jesus through a spirit camera, Feb 1998 [Online]) This provides an insight into the thoughts and processes of the designer – regardless of his or her own personal interpretation of the sign, if they are aware that they will impact on the audience in a certain way, they will use it. Reg has revealed that he is a non-Christian, but has a general interest in religious history, and spirituality. (Jesus through a spirit camera, Feb 1998 [Online]) Other works by other Mambo artists demonstrates that signs can have historical as well as religious meanings. In Martin Plaza’s “Excellence in Third World Exploitation” (Mambo: Art irritates life, 1994), a clothed worker is seen triumphantly holding up a Mambo cap, in a gritty, woodcut red and white drawing. Besides bucking the trend of avoiding allusions to slave labour, this work apparently celebrates it. The sign of the Asian-looking worker alludes to the propaganda of Chinese communism, particularly during the Mao era. The socialist system borrowed from the Soviets had a heavy emphasis on labour, rather than improving technology, and community effort (Encarta 1997 [CD-ROM]). Thus, the common worker was celebrated as heroes in works of art. The use of the sign in a poster advertising a clothing company, undermines the seriousness of the previous signified meaning and ridicules it. Earlier the manifesto of Mambo was mentioned. A particular phrase in it “allow a hundred flowers to blossom (or bloom)” was borrowed from Mao’s slogan “let a hundred flowers bloom, let a hundred schools of thought contend”, which was aimed to encourage expression of divergent views. (Dunbar, J.Y 1991) This gives political connotations to the reading of this manifesto – at first glance it may even appear to some that Mambo is a political party. In other Mambo works their message is brought across not through the interpretation of signs, but by juxtaposing their message with unusual imagery, to grab the viewer’s attention. In Reg Mombassa’s “Mambo Theology” poster of 1992 a curiously shaped creature is seen walking hand in hand with a larger combination house-speaker, which is also holding a basket of entrails. (Mambo: Art irritates life, 1994) These images have little to be signified other than revulsion, or curiosity – but the text makes the message clear – “Yes dear [there are fascists in heaven], but they all get turned into footballs, so you can kick them around if you want, but it’s best to ignore them – they probably want to be kicked anyway” – this is an anti-fascist poster. Mambo also challenges pre-existing myths, as is evident in Reg Mombassa’s “Show Mercy” poster (Figure 3). Public opinion has generally been negative regarding boat people (Hindustan Times 2002, [Online]), with associations with potentially dangerous people “invading” Australia from countries with questionable governments and ideologies. Reg has chosen to tackle this issue by creating a sense of spirituality and compassion with his poster. Central to the image is a circular window rimmed with sections of coloured glass, like a stained-glass window. This evokes connotations with the church and holiness. Other symbols of peace and goodwill include the “ban the bomb” logo incorporated into the window (circle divided into three) “Show Mercy” appears atop to window, and below “Australians welcome the boat people.” This could be interpreted in two ways, as a commandment, “Australians, welcome the boat people!” or as a statement of fact “Australians welcome the boat people”. Also, there is further significance if the suited figure on the horse holding an olive branch in one hand, and a case of “Mambo Bitter” in the other, is taken to be the Australian Jesus that Reg created. The signs of the Sydney Opera House, and Harbour bridge, as well as the dove and beer, give a strong association with Australia, and with Australian Jesus holding the branch of peace before the incoming boat people, is a powerful lesson of mercy and goodwill. However, not all of Mambo’s works have a particular message in mind. Some images are simply playful, or celebrate certain aspects of culture. In Reg Mombassa’s More a part of the landscape than a pair of trousers (Mambo: Art irritates life, 1994), he celebrates the uniqueness of Australian culture with a landscape adorned with the Hills Hoist, caravan, Ute, chickens and gum trees. Matthew Martin’s “Sirfer” (Mambo: Art irritates life, 1994) has a visual pun of Knight combined with Surfer – above the visor of the knight is a wave ornament, and headphones cover his ears. Like Reg Mombassa’s work it was drawn to appeal to the Australian market. Mambo has worked its design to appeal to a particular niche in the market – mainly young people, who are disillusioned with consumerism, and old stereotypes. Reg Mombassa’s Mambo Theology, although dealing with spirituality, appears to reject formal organized religion for a new age type of faith. Mambo is probably best known for its surreal imagery, strong stance against consumerism and government oppression, and attitude. However, many of its works demonstrate a knowledge and use of sign theory to elicit change in people’s attitudes about many of today’s issues. References Dunbar, J.Y 1991, Let a hundred flowers bloom: A profile of Taijiquan Instruction in America [Online], (May 1999 – last update) Available http://www.magictortoise.com/abstract.pdf [2002, June 1] Encarta Encyclopedia 1997, [CD-ROM] Microsoft Hindustan Times [Online], (June 8, 2002 – last update) Available http://www.hindustantimes.com/nonfram/300801/detFOR01.asp [2002, May 29] Hoenisch, S 1997, The Sign, the signifier and the signified [Online], (October 17, 2001- last update) Available http://www.criticism.com/md/the_sign.html [2002, June 1] Jesus through a spirit camera [Online], (Feb 30, 1998 – last update) Available: http://www.shootthemessenger.com.au/pre_dec97/a_life_dec97/l_reg.htm [2002, May 29] Mambo: Art irritates life 1994, Mambo Graphics, Surrey Hills, NSW Show Mercy [Online], (April, 2002 – last update) Available: http://www.showmercy.info/ [2002, May 25] Watters – O’Doherty, Artists Page [Online], Available http://home.mira.net/%7Ewatters/artists/odoherty.htm [2002, June 3] Welcome to India – Indian Culture [Online], (June 30 – last update) Available: http://www.welcometoindia.com/culture/indexfrm.asp?trad.asp?eye [2002, May 28]
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From: Homer Simpson (Aug 07, 2004 06:19 EDT)
OHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMM
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From: Homer Simpson (Aug 07, 2004 06:21 EDT)
OHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMMOHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHHHHHHHHHHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHOHOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.........sa......OHHHHH YAAAHHHHHH.mamam mea...ohhhhhhhhhhhhhhhhhhhhohhhhhhhhh!!!!!!!!!!!!!!!!yeah!!!!!!!!!!!!!!!!ummmm!...mmmmmmmmmmmmmmmmmmmmmmmmMMMMMMMMmmmmmmmmmmmmmMMMMMMMMMMMMMMMmmmmmmmmmmmmmmmm!!!!!!!!!!!!!!!!OH! oh! OHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!yeah!!!!!!yes! oh yes! IM CUMING! OHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH>MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AH!AH!AH!AH!SHIT! SWEET JESUS! MOTHER MARY OF MERCY!!! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH OHUHUHUH OH OH OH UHA UHA UHA!!!!!!!!!!! MY GOD!!! OH MY GOD!!!! HERE IT COMES!!! UGGGGGGGGGGHHHH GAHHHHHHHH UGGGNNNNNNNNN LINDSAY, YOU DIRTY CUNT. . . I LOVE YOU DIRTY CUNT. . . I LOVE YOUR PUSSY. . . MMMMM
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From: [email protected] (Aug 08, 2004 06:11 EDT)
i see to the is a beautiful girl a lovely women i think i love you lindsay lohan
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From: Fuck you (Aug 08, 2004 06:50 EDT)
here lindsay, read this: HOME MOVIES from the 60's, SILENT and grainy: EXT. MANSION -- DAY -- HOME MOVIES A stately mansion. A perfect lawn. A BUTLER carries a birthday cake with sparking sparklers... Past wealthy MEN in crewcuts and thin ties, WOMEN in cat-eye sunglasses. Everyone sings (silent) "Happy Birthday"... CHILDREN follow the cake, in dresses and suits, gathering round NICHOLAS VAN ORTON, 7, guest of honor, who wears a blindfold. MOTHER comes to remove the blindfold and Nicholas ogles the cake, laughs. He reaches for a sparkler. STEP PRINT: Mother intercepts, fussing, fixing his hair... Nicholas' FATHER sits near, smoking, nodding. He's intense, thin, wearing a party hat. He notcies the camera without mugging for it, bends to snuff his cigarette in an ashtray. SPLICE-JUMP TO/STEP PRINT: a Harlequin CLOWN ties balloon animals. Nicholas assists, distracted by the inattentive children who look into the camera and pull hair and stand on their chairs... Men are drinking, storytelling, laughing. A fraternity... The women are elsewhere, doing movie-vamp poses for the camera, blowing cigarette smoke, brightly dressed, eyelids blue and green, lipstick perfect... Servants clear the table. Father holds a piece of untouched cake. A man talks to him, but Father stares off, lost in thought. He's forgotten the party hat on his head... STEP PRINT: Mother puts her arms around Father and makes him face the camera. He leans in, posing dutifully. SPLICE-JUMP TO: a nanny in uniform, ILSA, holds an INFANT (CONRAD) to the camera, places the baby in Nicholas' arms. STEP PRINT: Nicholas is gentle, overwhelmed by cradling his tiny brother. SPLICE-JUMP TO: children play tag. Across the lawn, Father heads to the house. He looks back, walks backwards. STEP PRINT: he gives a small wave, continuing away... Kids chase past. Nicholas and two other kids huddle, arms locked, spinning round and round, till they stumble different directions, falling, laughing, dizzy... Nicholas gets up, wearing a PUPPET on each hand. STEP PRINT: He walks CLOSE and peers in the camera, steps back, happily talking. We can't hear because it's SILENT... DISSOLVE TO: INT. VAN ORTON MANSION, BATHROOM -- MORNING The emotionless face of NICHOLAS VAN ORTON, just today 40, looks upon itself in a mirror. He brings an electric shaver across his chin, shuts it off, wipes his face with a towel. INT. VAN ORTON MANSION, MASTER BEDROOM -- MORNING Nicholas crosses. The bedroom is spacious, devoid of clutter. A weight-machine in a far corner. A big T.V. shows CNN with no sound. At a bedside table, Nicholas picks up a heavy, gold ROLEX, sliding it on, checking the time. 6:32. INT. VAN ORTON MANSION, KITCHEN -- NIGHT Nicholas stands at the kitchen islandm his tie thrown over his shoulder, eating breakfast. ILSA, now elderly, is across the way doing dishes. The only sounds are the tiny clicks of Nicholas' knife and fork against his plate. He's reading a German newspaper. Nicholas jabs the last piece of egg, skewers the last bit of ham and last square of toast. Plate's clean. He sips his last swallow of juice, dabs his mouth with a napkin, picks up his briefcase and heads to a back door. NICHOLAS (without looking) Thank you. ILSA Have a nice day. EXT. VAN ORTON MANSION, BACKYARD -- MORNING Nicholas walks down a garden pathway to a three-car garage. He looks at his Rolex. CUT TO: INT. NICHOLAS' BENTLEY -- MORNING Bentley Continental Coupe. Quiet. Nicholas drives, begins humming, barely audible. A Prince song, "Erotic City." NICHOLAS (sings, to self) ...until the dawn... making love till cherry's gone.. (humming, quiet) ... Erotic City, you and me... Nicholas changes lanes, HONKING the HORN, impassive. We can BARELY HEAR the BEEPING in here. He glances back. He drives, adjusts his mirror. Resumes humming. CUT TO: EXT. VAN ORTON BUILDING -- MORNING Distinctive SAN FRANCISCO skyline on the horizon. Nicholas' building is a brownstone bookended by skyscrapers. Old money dwarfed by new. The Bentley arrives... INT. VAN ORTON BUILDING, UNDERGROUND GARAGE -- MORNING The Bentley moves past a valet station. One VALET follows. The Bentley takes its place. A brass plaque reads: "NICHOLAS VAN ORTON, Van Orton Enterprises." The valet opens the car door for Nicholas. CUT TO: INT. VAN ORTON OFFICE -- MORNING Two objects on Nicholas' desk: phone and laptop computer. He's on the phone, operating the laptop with one hand. Business talk, mile-a-minute. MALE VOICE (v.o.) (from phone) ... might be perched up on majority shares, but you're not the only one who gets hurt if the actuals crash. Forecasts were fucked to begin with. NICHOLAS (into phone) The moment Baer/Grant's P and L report is placed in my hand, I will be speed dialing your number. Empty walls. No distractions. MARIA, the proper executive assistant, stands practically at attention. MALE VOICE (v.o.) Is that a promise? NICHOLAS I'm sorry... I'm unfamiliar with the term. MALE VOICE (v.o.) What if Alan calls me with a sob story about substantiation procedure? NICHOLAS Take evasive action: have your secretary say you're in a meeting. Goodbye, Jack. MALE VOICE (v.o.) Yeah. Nicholas hangs up, shuffling computer windows: stock quotes, pie-charts, graphs, lists. Maria refers to an index card. MARIA Invitations: the Museum Gala. NICHOLAS No. NICHOLAS The Fitzwilliam Botanical Garden Annual Fundraiser. NICHOLAS No. NICHOLAS The Hinchberger wedding. NICHOLAS Let me think... (sits back, eyes closed) Hordes of men in tuxedos. Everyone's droning. Ludwell's trying to break the ice by reciting an off-color limerick... MARIA (impatient) I'll send your regrets. Honestly, why must I even bother? NICHOLAS Because, if you don't know about society, you don't have the satisfaction of avoiding it. A KNOCK and a female ASSISTANT enters. There's a lot more NOISE and ACTIVITY behind her. ASSISTANT Elizabeth on line three. Nicholas taps his fingers on his lips, considering. MARIA Your ex-wife. NICHOLAS I know who she is. (to assistant) Take a message. ASSISTANT Um... Happy Birthday, sir. Nicholas squints. MARIA (icily) Thank you, Maggie. The assistant backs out. Nicholas returns to his computer. NICHOLAS I don't like her. MARIA I wouldn't mention the following, except he was very insistent. It's obviously some sort of prank... NICHOLAS What? MARIA A gentleman left a message requesting a lunch, but I assured him... NICHOLAS What gentleman, Maria? MARIA A Mister... Seymour Butts. Nicholas looks up. He sits back, lost in thought. NICHOLAS (to himself) "Under the Bleachers"... by Seymour Butts. MARIA Pardon me? I'm afraid I don't... NICHOLAS Cancel lunch. Make reservations at Campton Place for me and Mr. Butts. Maria nods, heading out, high heels clicking as she crosses. NICHOLAS And, put the reservation in my name. CUT TO: INT. CAMPTON PLACE RESTAURANT -- DAY Upscale. Quiet. Nicholas is in a booth facing the rear, studying a thick FINANCIAL STATEMENT, making tiny notations. A WAITRESS arrives. WAITRESS Ready to order, sir? NICHOLAS I'm still waiting... Nicholas points out the other plate. The waitress leaves. NICHOLAS Excuse me... She returns. He slides his empty glass toward her. NICHOLAS This was iced tea. He's returned to his report. The waitress takes the glass and leaves, irritated. Nicholas checks his watch. An EXAGGERATED SNEEZE is HEARD and liquid hits the back of his neck -- AH-CHOO!... Nicholas jumps, sickened, turning to face CONRAD, who holds a spray bottle and smiles. CONRAD Hey there, Nickie. NICHOLAS (repulsed) Conrad, what a surprise. Gesundheit. CONRAD Happy Birthday, man. NICHOLAS (nods) "Seymour Butts." I never get tired of that one. CONRAD That's why it's a classic. Come on, man... how 'bout a hug... ? Nicholas is wiping his neck with a napkin as Conrad forces a hug on him. Conrad takes a seat, good-lookingm unkempt, tan, wearing a too-big suit jacket. CONRAD They gave me a free jacket at the door. NICHOLAS They'll be wanting it back. CONRAD Not after I'm done with it. (laughs) Actually, I've been here. In grad-school I bought crystal-meth from the maitre d'. NICHOLAS Which grad-school? Conrad smiles. The brothers take each other in for a moment. Long moment. They're a bit stunned to be reunited. NICHOLAS You look good. CONRAD So do you. And to think I was worried... NICHOLAS About me? CONRAD How long's it been? Since mom died... four years? How are you? NICHOLAS Never better. CONRAD Elizabeth? NICHOLAS Divorced. Remarried to some pediatrician or gynecologist, or pediatric gynaecologist, in Sausalito. CONRAD Too bad, I liked her. So, you're all alone in the House of Pain? NICHOLAS I redecorated. What about you? CONRAD Nowhere in particular. Don't you keep track of my whereabouts anymore? NICHOLAS Connie... what brings you here? Is everything alright? CONRAD Yeah. NICHOLAS You need anything? CONRAD No. NICHOLAS Really? CONRAD I don't need anything from you. I was laying on a beach somewhere in Spain, naked, and, it hit me -- Nickie's birthday. So, here I am, four layovers, twenty-seven hours flying and one donkey ride later. Not necessarily in that order. Conrad drops an envelope on the table. CONRAD For you. NICHOLAS You shouldn't have. Nicholas opens it, takes out a sappy, Hallmark B-day card. A BUSINESS CARD falls out. Nicholas picks it up... CONRAD What do you get for the man who has just slightly more than everything? The card: "Consumer Recreation Services." With a PHONE NUMBER and ADDRESS below. CONRAD Call that number. NICHOLAS "Consumer Recrreation Services." What, do they make golf clubs? CONRAD Trust me. Call that number. NICHOLAS Why? CONRAD They make your life fun. Their only guarantee is you will not be bored. NICHOLAS Fun? CONRAD You've heard of it. You've seen other people having it. They're an entertainment service, but more than that. NICHOLAS This isn't an escort service? CONRAD It's a profound life experience. NICHOLAS Like a stroke? CONRAD Call them. Trust me. The waitress shows up with Nicholas' iced tea, spills some. Nicholas blots it up with a napkin. WAITRESS Sorry. Let me get you another napkin. NICHOLAS I'll be fine... if we could just... She moves off as Nicholas raises a finger to order, ignored. CONRAD Tell me you'll call. NICHOLAS Okay. CONRAD Will you? NICHOLAS I said I would... CONRAD But, will you? NICHOLAS Are you still on mediction? CONRAD (taken aback) Why would you say that? The waitress arrives. WAITRESS Ready to order, gentlemen? NICHOLAS (ignores, to Conrad) I didn't mean it like it sounded... CONRAD I'm not on anything anymore. I'm not even seeing a shrink. I'm happy. (notices waitress, turning to her) Do you mind... ?! The waitress gives him a look, leaves. CONRAD (to Nicholas) I thought you'd like this. Best thing I ever did. If you don't want to do it, DON'T... NICHOLAS I'll call them, okay? CONRAD It doesn't matter... NICHOLAS I'm going to call. CONRAD Do it for YOU. NICHOLAS Okay, okay... okay? (pause, studies card) I just... you know I hate surprises. CONRAD I know... Conrad CLINKS his fork against a glass, motioning... Behind Nicholas, WAITERS, WAITRESSES and BUS-BOYS, lying in wait, now come to SING "HAPPY BIRTHDAY." Conrad stands, loving it. Nicholas forces a fake smile. CUT TO: EXT. NICHOLAS' NEIGHBORHOOD -- NIGHT The Bentley cruises hilly streets, ESTATES on all sides. INT. NICHOLAS' BENTLEY -- NIGHT Nicholas is on his CELLULAR PHONE. CLASSICAL MUSIC PLAYS. FEMALE VOICE (v.o.) (from cellular) ... seen the profitability report. No one's happy with the numbers. NICHOLAS (into cellular) Imagine how much MORE unhappy I am. FEMALE VOICE (v.o.) You'll deal with Alan? NICHOLAS Correct. FEMALE VOICE (v.o.) Okay, Nicholas. Sleep well. NICHOLAS I plan to. He increases VOLUME on the CLASSICAL MUSIC, makes a turn. He looks out his window, watching the street roll past... FLASHBACK/GRAINY HOME MOVIES -- 1960'S -- DAY SILENT, HOME MOVIE-ISH IMAGES as before: YOUNG NICHOLAS, 10, peers out from a LIMOUSINE, watching his neighborhood pass... PERIOD FASHIONS, PERIOD CARS and HOUSES... BACK TO SCENE, IN THE BENTLEY Nicholas faces front. The Bentley comes to the formidable FRONT GATE of the mansion. The gate begins to slide open. Nicholas stares ahead, expressionless. FLASHBACK/GRAINY HOME MOVIES -- 1960'S -- DAY The LIMOUSINE pulls up the ungated driveway. Young Nicholas emerges, carrying books, waving goodbye to the CHAUFFEUR. Young Nicholas runs past rose bushes, heading to the house, but slows, looking up... High up, Nicholas' FATHER, in a robe, stands on a balcony railing, looking to hte sky. He's weary, lowers his gaze... Young Nicholas is puzzled, gives a tentative wave. Father just stares, eyes dead, expression blank. BACK TO SCENE, IN THE BENTLEY Nicholas looks down, puts the car in gear and drives... THRU THE WINDSHIELD: the Bentley's headlights sweep the stately Van Orton house. CUT TO: EXT. VAN ORTON MANSION, BACKYARD -- NIGHT Nicholas exits the garage, walks up the garden path. Ahead, Ilsa's leaving through the kitchen door of the house, heading across the yard to the GUEST HOUSE. ILSA Dinner's in the oven. NICHOLAS Thank you. Goodnight. At the rear door, Nicholas stops himself. NICHOLAS Oh, I saw Conrad today. Ilsa stops, looking back. They're far from each other. ILSA You did? How is he? NICHOLAS Okay. I think he's into some sort of new personal improvement cult. ILSA (nods, at a loss) Well... send my love, if you see him again. Nicholas nods. Ilsa leaves. CUT TO: INT. VAN ORTON MANSION, KITCHEN -- NIGHT Nicholas uses mitts to remove a dinner plate from the oven, sets it on a waiting tray: huge cheeseburger and hand-cut french fries, perfectly presented. Nicholas picks up a CUPCAKE with a B-day candle in it. CUT TO: INT. VAN ORTON MANSION, DEN -- NIGHT Nose-bleed-high ceilings. Cavernous fireplace. THREE TVs in the ENTERTAINMENT WALL, the largest showing CNN. Nicholas is seated in a chair facing his meal, pouring a glass of champagne. He toasts to no one, takes a sip. The PHONE RINGS. Nicholas looks to it, hesitates. He hits SPEAKERPHONE. NICHOLAS (to speakerphone) Elizabeth. ELIZABETH (v.o.) (from speakerphone) Happy Birthday, Nick. NICHOLAS (looks at watch) Eleven forty. You almost didn't make it this year. Nicholas uses a REMOTE to MUTE BERNARD SHAW on the TV. ELIZABETH (v.o.) Did you have a great birthday? NICHOLAS Does Rose Kennedy have a black dress? You know my parties. I went not once, but twice through the spanking-machine. ELIZABETH (v.o.) I can only imagine. How are you? NICHOLAS Connie asked me the same thing today. ELIZABETH (v.o.) Connie, really? I always liked him. NICHOLAS Anyway... ELIZABETH (v.o.) I just thought this... might be difficult for you. NICHOLAS Just another birthday. ELIZABETH (v.o.) I meant because of your father. NICHOLAS That's right. He was forty, wasn't he? Hadn't thought about it, to tell you the truth, thanks for the reminder. ELIZABETH (v.o.) Why do I call you... ? NICHOLAS I honestly don't know. Listen, give my best to Doctor Mel and Rachel.... ELIZABETH (v.o.) Sue has a little brother on the way. We just did the ultrasound. NICHOLAS No kidding? An official nuclear family. You must be pleased. ELIZABETH (v.o.) We are. We couldn't be happier. Nicholas smiles thinly, bored, waiting for more. NICHOLAS Well, so... thanks for calling. I've got some work here... ELIZABETH (v.o.) I should let you go. NICHOLAS Take care of yourself. ELIZABETH (v.o.) You too, Nicholas. I mean that, I really do. NICHOLAS Um-hm. Good luck. Bye. He PUSHES OFF the PHONE in the middle of her "goodbye." He uses the t.v. remote to give BERNARD SHAW back his VOICE. Nicholas eats, watching the news. He takes out the business card Conrad gave him, looks at it, puts it on the table. The card: "Consumer Recreation Services." Nicholas sits back, chewing. He stares at the ceiling. FLASHBACK/GRAINY HOME MOVIES -- 1960'S -- DAY SILENT IMAGES: Nicholas' FATHER stands on the high balcony, as before. He looks skyward one last time, then LAUNCHES INTO SPACE... falling in EXTREME SLOW MOTION... A head-first dive... CUT TO: INT. OFFICE BUILDING, 10TH FLOOR -- DAY "DING," elevator doors open. Nicholas and TWO EXECUTIVES are talking. As PEOPLE get on, the two executives get off. EXECUTIVE 1 We're getting off here. Nicholas follows. He and the executives huddle nearby. NICHOLAS (voice low) So, we understand each other? EXECUTIVE 2 We do. NICHOLAS Make it work on paper, and you can count on my full support. EXECUTIVE 1 Right-o. We'll talk. Soon. They shake. The executives walk away. Nicholas returns to elevator, pushes the button, waiting. He turns, noticing... A massive WALL OF TRANSLUCENT GLASS marks the office of "C.R.S." Modern. Activity beyond it. Nicholas finds this disconcerting. He takes out his wallet, digging up the C.R.S. business card, studying it... looking again to the glass facade to double check. He looks at his Rolex. ON THE OTHER SIDE OF THE GLASS DOORS Nicholas enters. A female RECEPTIONIST speaks into a HEADSET/PHONE. EMPLOYEES mill about. UTILITY MEN sort crawlspace wiring. NICHOLAS (to receptionist, shows "C.R.S." card) Is this Consumer Recreation Services... ? The reecptionist takes the card. In the b.g., JIM FEINGOLD pays a DELIVERY GUY for CHINESE FOOD. RECEPTIONIST (into PHONE) You shouldn't feel this reflects negatively upon yourself. (to Nicholas) Just a moment. (back into phone) We hope we haven't caused you any inconvenience. Thank you for considering C.R.S. She studies the card, hangs up and motions to Feingold, a bald, amiable engineer-type who passes with his food bag. RECEPTIONIST Mister Feingold... could you assist this gentleman? Feingold spins on his heels, looking, walking over with his hand out. Nicholas shakes. FEINGOLD Jim Feingold, V.P., E.D.A. Engineering and Data Analysis. NICHOLAS I'm not quite sure how this works. My brother... FEINGOLD Oh, here we go... Feingold takes the card the receptionist offers, examines it, turns it over: finds FOUR NUMBERS on the back. FEINGOLD (of the numbers) Excellent. Let's get started. Nicholas picks up his briefcase to follow Feingold. INT. C.R.S. OFFICES -- DAY Big operation. Feingold leads past partitioned cubicles that seem to go on forever. C.R.S. WORKERS abound. TELEPHONE CO. WORKMEN operate on the phones. FEINGOLD Sorry about about all the hullabaloo. We're still moving. Stick with me... I've got an office around here somewhere. Feingold reaches open BOXES, begins collecting pages from each, loading up on all sorts of forms. he holds out his leaking, greasy food bag to Nicholas. FEINGOLD Mind holding this... ? Nicholas reluctantly takes it, keeping it at arms length. INT. FEINGOLD'S OFFICE -- DAY Feingold types at his computer. Nicholas stands, looking through the pile of forms on a clipboard. FEINGOLD (TYPES in keyboard) V-A-N... O-R-T-O-N... (studies screen) A gift from Conrad Van Orton. Interesting... NICHOLAS What is? Feingold picks up his Chinese food, eats using chop-sticks. The BOX features a grinning CARTOON PANDA mascot, FEINGOLD (still studying screen) Your brother was a client with our London branch. We do a sort of informal scoring. His numbers were outstanding. (holds up box) Sure you're not hungry at all... ? Tung Hoy, best in Chinatown... NICHOLAS No, thank you. FEINGOLD (eating, mouth full) You need to fill out those forms. Application, psych-tests: M.M.P.I. and T.A.T. For the financial questionnaire, don't answer anything you don't feel like. We'll run a T.R.W.... Nicholas looks through the densely written forms. NICHOLAS (reading FORM) "I sometimes hurt small animals. True or False?" "I feel guilty when I masturbate..." Nocholas looks up, skeptical. Feingold shrugs, embarrassed. FEINGOLD I don't write the questions. I just review them. NICHOLAS What's all this for? FEINGOLD We want a sense of your overall capabilities, limitations, turn-ons, turn-offs... NICHOLAS No, I mean, what is it FOR? What are you selling? FEINGOLD Oh... it's a game. NICHOLAS A game? FEINGOLD Tailored specifically to each participant. Think of it as a great vacation, except you don't go to it, it comes to you. NICHOLAS What kind of vacation? FEINGOLD It's different every time. NICHOLAS (patience waning) Humor me with specifics. FEINGOLD We provide whatever's lacking. NICHOLAS And if nothing's lacking? FEINGOLD May I make two suggestions... ? NICHOLAS Do you really expect me to participate without knowing a single thing? FEINGOLD First, admit to yourself that it sounds intriguing. Second, you don't have to decide today. Take the silly tests, fill out the forms. One day, the game begins. You either love it or hate it. Decide then. We're like an experimental Book-of-the-Month- Club; drop out at any time with no further obligation. (smiles) That was my sales pitch. Nicholas thumbs thru the forms one last time... NICHOLAS How long will these take? FEINGOLD An hour for those... maybe another for the physical. NICHOLAS Physical? FEINGOLD Cursory examination. Turn-your-head- and-cough sort of thing. You'll be out of here in no time. Feingold takes out a ballpoint pen, clicks it and offers it to Nicholas. Nicholas takes it. On the pen, in tiny letters: the C.R.S. LOGO. CUT TO: TESTING MONTAGE -- VARIOUS C.R.S. OFFICES -- DAY - Nicholas fills out an APPLICATION of endless questions. - A #2 pencil fills in circles on a long M.M.P.I. form. CLOSE ON: "I often feel someone is following me. True/False." "I hate vegetables. True/False." "Vegetables hate me. True/False." - WHITE ROOM. A stone-faced PSYCHOLOGIST holds up CARDS. Nicholas gives his unenthusiastic interpretation into a TAPE RECORDER, checks his Rolex. One CARD shows a large ant in an apron feeding a TV dinner to a human child. That card is replaced by another of a man slipping head over heels on a banana peel. - Nicholas wears HEADPHONES, facing a TECHNICIAN, raising a finger on his left fist or right fist for each low BEEP. Nicholas sighs, can't believe he's doing this. INT. C.R.S. OFFICES, EXAM ROOM -- MONTAGE CONTINUES Electronic MONITORS and PRINTERS record Nicholas' EEG and EKG. He's on an exam table, wearing a paper gown, covered in SENSORS and WIRES, talking on a C.R.S. telephone. NICHOLAS (into phone) ... cancel. Push Cooper back to Wednesday afternoon. A TECHNICIAN studies readouts. A NURSE takes BLOOD PRESSURE. MARIA (v.o.) (from phone) Mister Sutherland called about Baer/Grant Publishing. NICHOLAS (into phone) Tomorrow. Hold on... (to NURSE) How much longer? NURSE Almost done. NICHOLAS I heard that two hours ago. The nurse smiles, pumping up the blood-pressure cuff. Nicholas returns to the phone. - DARK ROOM. Images FLASH on a screen: SHAPES, CURSE WORDS, PICTURES of U.S. PRESIDENTS, INSECTS... In flickering light, Nicholas, still in his gown, watches with THREE BUTTONS before him, pushing one from time to time. Frustrated, he looks around. He stands and turns... Directly into the projector's bright BEAM OF LIGHT. NICHOLAS Hello... ? Anyone there? (squints, holds up hand) Hello?! CUT TO: INT. C.R.S. OFFICES, EXAM ROOM -- DAY Nicholas dresses, alone, pulling up his pants. He notices above: a MIRRORED DOME in the corner, obviously a camera. Nicholas pulls on his jacket as Feingold arrives. FEINGOLD Sorry to keep you waiting. NICHOLAS Don't worry. It's been terrific spending the entire day with your "crack team". FEINGOLD It's all down to this... Feingold holds out a CLIPBOARD with PAPERWORK in it. Nicholas takes it, studies it, wary. FEINGOLD An insurance company requirement. It states that you are aware "the game" exists and that you are a willing participant in said game, so on and so forth. Nicholas flips a page and Feingold leans over, pointing. FEINGOLD (of the paperwork) One guarantee. Payment's entirely at your brother's discretion and, as a gift, dependent on your satisfaction. NICHOLAS (still reading) You mean, I don't like it, he doesn't pay? FEINGOLD It's never happened. We've never had an unsatisfied customer. NICHOLAS You mean, dissatisfied. FEINGOLD (glances at form) That's right -- you're a left-brain word fetishist. Nicholas uses the C.R.S. pen to sign. Feingold turns pages. FEINGOLD Initials... initials, and... (another page) Sign here. Nicholas is about to sign when Feingold grabs his wrist... FEINGOLD In blood. (laughs) Just kidding. Nicholas signs. Feingold tears out a few PINK TINTED COPIES and hands them to Nicholas, kind of in a hurry now. FEINGOLD Your copies, thank you. Keep the pen. We'll let you know. Feingold exits, gives a thumbs-up and a WINK, shuts the door. Nicholas is a bit bewildered. He continues dressing. NICHOLAS (muttering to self) ... grown man just winked at me. INT. ATHLETIC CLUB, RACQUETBALL COURT -- NIGHT WHAM! -- a blue racquetball BALL SLAMS a wall... THRU A WINDOW: Nicholas plays, alone, sawtting violently at the ball. We HEAR a PHONE CONVERSATION in VOICE OVER: CONRAD (v.o.) What about Monday or Tuesday? NICHOLAS (v.o.) Bad for me. CONRAD (v.o.) How 'bout tonight? NICHOLAS (v.o.) Unfortunately I'm working all evening. Wednesday's the only possibility right now... CONRAD (v.o.) Okay. NICHOLAS (v.o.) Dinner? CONRAD (v.o.) Fine. I get to pick the restaurant. NICHOLAS (v.o.) By the way, I went to C.R.S... CONRAD (v.o.) Really? What'd you think? NICHOLAS (v.o.) They seemed disorganized. Nicholas finishes playing, exits. The ball keeps bouncing. CONRAD (v.o.) Well, the office is new. When I did it in London, they'd been around awhile. You gonna do this? NICHOLAS (v.o.) Haven't decided yet. CUT TO: INT. ATHLETIC CLUB, LOCKER ROOM -- NIGHT Carpeted floors and mahogany lockers. Nicholas sits at his locker, wet, in a monogrammed robe, toweling his hair. VOICES can be HEARD O.S.: BUSINESSMAN 1 and BUSINESSMAN 2. BUSINESSMAN 1 (o.s.) ... getting in on the ground floor of the next Disneyland. BUSINESSMAN 2 (o.s.) C.R.S. will not go public. They're family owned. BUSINESSMAN 1 (o.s.) Stranger things have happened. BUSINESSMAN 2 (o.s.) No, they haven't, actually. Nicholas leans to look around a locker. Businessman 1 and 2 dress, two fat-cats. Nicholas leans back, still listening. BUSINESSMAN 1 (o.s.) They just opened here. BUSINESSMAN 2 (o.s.) The game in San Francisco? You see, they're doing fine without any of us. INT. ATHLETIC CLUB, LOUNGE/BAR -- NIGHT Nicholas enters, looking around, spotting Businessman 1 and 2 across the room. He gets the BARTENDER'S attention, motioning to the businessmen. NICHOLAS New members? BARTENDER I believe so, sir. NICHOLAS This round's on me. Nicholas moves casually toward the men... INT. ATHLETIC CLUB, BAR/LOUNGE -- TIME CUT LATER. Another round arrives at the table where Nicholas and Businessman 1 and 2 chat. The businessmen smoke cigars. BUSINESSMAN 1 ... last time I played Pebble, I swore I'd never pick up a club again. NICHOLAS Speaking of games... I couldn't help but overhear you talking about C.R.S. Businessman 1 and 2 share a furtive glance. Nicholas discretely waves cigar smoke out of his face. NICHOLAS I only mention it because I took the test this afternoon, down on Montgomery Street. BUSINESSMAN 2 Did you? Kudos. BUSINESSMAN 1 So, yours hasn't started? NICHOLAS Not yet. I was hoping you could tell me... uh... (almost embarrassed) What is it? Businessman 1 and 2 smile. Shared enlightenment. BUSINESSMAN 1 (to Businessman 2, knowingly) Ahh, what is it? BUSINESSMAN 2 The eternal question. BUSINESSMAN 1 (to Nicholas) I envy you. I wish I could go back and do it for the first time all over again... He raises his glass. They toast. BUSINESSMAN 1 Here's to... new experiences. (gulps drink) If you'll excuse me, I've got to be going. 'Night, Jon... Nicholas. He leaves. Nicholas focuses on Businessman 2. NICHOLAS Did you play recently? BUSINESSMAN 2 Hm? No, about a year ago. I was working out of Los Angeles. NICHOLAS (nodding) I've heard good things about their London branch. (leans in) You have to admit, it sounds like some fantasy, role-playing nonsense. BUSINESSMAN 2 You want to know what it is? What it's all about? (off Nicholas' nod) John. Chapter nine. Verse twenty-five. NICHOLAS I, uh... haven't been to Sunday school in years... BUSINESSMAN 2 "Whereas once I was blind, now I can see." (rises) Night, Nick. Best of luck. Businessman 2 puffs his cigar, walks away. Nicholas watches him go, then pauses, puzzled, mouthing the words to himself. CUT TO: INT. LAW FIRM, CONFERENCE ROOM -- DAY A table of unhappy LAWYERS. Nicholas goes thru a thick CONTRACT with a red pen, CIRCLING, CROSSING-OUT and SCRAWLING QUESTION MARKS ON paragraphs that displease him. SUTHERLAND, trust personified, in his late 50's, stands behind Nicholas, imperturbable. NICHOLAS (still scrawling) As far as I'm concerned... (reading, x-ing out) ... if the Baer/Grant meeting does not take place tommorow, it might as well never take place at all. Nicholas slides the contract to the center of the table. SUTHERLAND When Mr. Van Orton boards his plane in the morrow, he will have every contract, side agreement and addendum, the complete closing package, flawlessly revised. INSTANT UPROAR as the contract is grabbed up. All the lawyers talk at once, fearful, arguing, protesting. SUTHERLAND Ladies and gentlemen... (as they quiet) This is why you're paid twice what you deserve. So you will miss another opera you would've fallen asleep during anyway... During this, Nicholas' CELLULAR PHONE is HEARD RINGING. Nicholas takes it out, irritated. SUTHERLAND The meeting has been moved forward. It affords you the opportunity to show our client how well you will rise to his exhilarating challenge. QUIET COMMOTION resumes as Nicholas takes his cellular phone to a corner, answering impatiently: NICHOLAS (into cellular) Yes? WOMAN'S VOICE (v.o.) (from cellular) Nicholas van Orton? NICHOLAS Yes, who is this? WOMAN'S VOICE (v.o.) This is Cynthia calling from C.R.S... NICHOLAS How did you get this number? WOMAN'S VOICE (v.o.) We've finished processing your application... NICHOLAS I'm in a meeting... WOMAN'S VOICE (v.o.) ... I'm afraid your application was rejected. NICHOLAS (pause) Pardon me? WOMAN'S VOICE (v.o.) You shouldn't feel this reflects negatively upon yourself. We hope we haven't caused you any inconvenience... NICHOLAS This is absurd... WOMAN'S VOICE (v.o.) Thank you for thinking of C.R.S. CLICK -- she's hung up. Nicholas folds the phone and pockets it, his mind suddenly far away from the meeting behind him. Sutherland steps close, concerned, quiet... SUTHERLAND Anything wrong... ? NICHOLAS Nothing. Nothing at all. CUT TO: EXT. FINANCIAL DISTRICT STREETS -- NIGHT Nicholas guides the Bentley down streets lined with skyscrapers, staring ahead. A previous PHONE CONVERSATION is HEARD in V.O., a PHONE RINGING... RINGING... RINGING... SWITCHBOARD OPERATOR (v.o.) Would you like voice-mail? NICHOLAS (v.o.) I suppose. SWITCHBOARD OPERATOR (v.o.) I'll connect you. Thank you for calling the Four Seasons. EXT. NICHOLAS' NEIGHBORHOOD -- NIGHT The Bentley heads towards home. The V.O. PHONE CONVERSATION CONTINUES uninterrupted, CLICKING, then... CONRAD'S VOICE (v.o.) (voice-mail recording) This is Conrad. Leave a message. NICHOLAS (v.o.) (waits till after BEEP) Connie, it's Nicholas. Give me a ring when you get a chance... INT. BENTLEY -- NIGHT The Bentley reaches the VAN ORTON GATES, which open slow. V.O. CONVERSATION CONTINUES: NICHOLAS (v.o.) About your birthday gift. Things are tight right now. I'm just not sure whether it'll fit my schedule. Anyway, see you at dinner tomorrow. The PHONE is HEARD DISCONNECTING. EXT. VAN ORTON MANSION -- NIGHT The Bentley's headlights sweep the front of the Van Orton house. There's something there, on the ground... INSIDE THE BENTLEY Nicholas stops the car, peering ahead, worried... THRU THE WINDSHIELD: A BODY lies face down on the edge of the driveway. FLASHBACK/GRAINY HOME MOVIES -- 1960'S -- DAY The BODY of Nicholas' FATHER, sprawled face-down, in nearly the same place, head twisted, mouth bloody. BACK TO SCENE Nicholas gets slowly out of the Bentley, reluctant. NICHOLAS Hello! What are you doing there? (no reaction) Wonderful... Nichoals CLAPS his hands. The body doesn't stir. Nicholas look all directions, then approaches. NICHOLAS Are you okay? Nicholas nudges the body with his foot. He crouches, confused, turning the limp body. It's a grotesque HARLEQUIN, not unlike the clown from Nicholas' seventh birthday, with a shiny face of painted wood. Nicholas looks around for an explanation. CUT TO: INT. VAN ORTON MANSION, FOYER -- NIGHT The front door opens. Nicholas enters with the Harlequin, depositing it on a hallway BENCH. A half-inch of RED RIBBON sticks out from the Harlequin's lips. Nicholas tugs the ribbon... pulling out a GOLD KEY tied to the other end. Three letters embossed on the key: "C.R.S." CUT TO: INT. VAN ORTON MANSION, DEN -- NIGHT Nicholas sits with his evening's meal, examining the key. CNN on TV. He looks across the room to the couch where the Harlequin is slumped staring back. BERNARD SHAW (v.o.) (from television) ... according to Nicholas Van Orton, millions of Americans will be affected by this legislation. Nicholas hears this vaguely in the back of his mind, looks to the TV. BERNARD SHAW has moves on to the next story. Nicholas goes to the Harlequin, opening its hinged mouth, attempting to look inside. He gets a knife from his tray, uses it to probe the Harlequin's mouth, jabbing, prying. BERNARD SHAW (v.o.) ... number of criminals behind bars growing by record numbers, with Van Orton pointing the finger at stiff, anti-crime regulations... Nicholas looks up. He heard that. He walks toward the TV. Bernard Shaw is reporting, nothing strange. Nicholas waits. Nothing. He walks away... BERNARD SHAW (v.o.) ... largest portion of population incarcerated. These figures were given at a press conference called toady by Mr. Nicholas Van Orton. Nicholas turns, disbelieving. Bernard Shaw apparently looks out FROM THE TELELVISION, perturbed... BERNARD SHAW (v.o.) You going to spend the rest of the evening prying at that clown's mouth? NICHOLAS (dumbfounded) I... I don't... BERNARD SHAW (v.o.) It's frustrating for me if you don't even pretend to pay attention. NICHOLAS What is this... ? BERNARD SHAW (v.o.) This is your game, Nicholas, and welcome to it. I'm here to let you in on a few ground rules... Bernard Shaw's FACE RIPPLES and GLITCHES occasionally, revealing its true, computer-generated nature. BERNARD SHAW (v.o.) You've received the first key and others will follow. You never know where you'll find them, or when or how you'll need to use them, so keep your eyes open. NICHOLAS (waves his hand) How do you... ? You can see me? BERNARD SHAW (v.o.) I see you, I hear you. Why don't we save the questions till... NICHOLAS How does this work? BERNARD SHAW (v.o.) There's a tiny camera looking at you right now. NICHOLAS That's impossible. BERNARD SHAW (v.o.) You're right. Impossible. You're having a conversation with your television. Nicholas touches the TV, feeling the seams. BERNARD SHAW (v.o.) It's miniaturized. Nicholas begins poking his butter knife between slots of the television's speaker, stabbing, poking... BERNARD SHAW (v.o.) Do you know how dangerous that is? Nicholas pries at the plastic speaker cover. It's not easy, but he's determined, cracking the plastic... ILSA (o.s.) Mister Van Orton... ? The speaker cover breaks off with a SNAP! and Nicholas spins, holding the broken piece. NICHOLAS Yes... Ilsa, what is it? ON T.V., Bernard Shaw grabs up pages, resumes... BERNARD SHAW (v.o.) ... and in other news, auto workers vowed to remain on picket lines... Ilsa's in the doorway, wondering. ILSA Is everything alright? NICHOLAS Fine. ILSA I've finished for the evening. Will you be needing anything else? NICHOLAS No, thank you. Goodnight. ILSA Goodnight then. She leaves. Nicholas throws the piece of television away. Bernard Shaw stops reading now that the coast is clear. BERNARD SHAW (v.o.) Who was that? NICHOLAS Never mind who that was. BERNARD SHAW (v.o.) You're uncomfortable. You want to know how a camera got into your home, don't you? NICHOLAS Yes, I do. ON TELEVISION: Bernard Shaw is REPLACED by a FISH-EYED IMAGE of NICHOLAS' DEN. It shows Nicholas from behind. The P.O.V. is not from the TV. Nicholas crosses the room, keeps his eye on the TV as a guide... BERNARD SHAW (v.o.) (from t.v., o.s.) ... cold... cold... warmer... warmer... ON TELEVISION: Nicholas gets bigger as he gets closer to... The Harlequin. Nicholas leans, looks at the clown's eyes... ON TELEVISION: Nicholas' face is huge, distorted. Nicholas pries one of the Harlequin's glass eyes with his knife, pulling it out and examining it. ON TELEVISION: The Harlequin's P.O.V. turns to STATIC. Bernard Shaw returns with a PHONE NUMBER SUPERIMPOSED. BERNARD SHAW (v.o.) Write this number down. It's a 24-hour Consumer Recreation Services hotline, for emergencies only. BERNARD SHAW (v.o.) But, don't call asking what the object of the game is; figuring that out is the object of the game. Nicholas feels his pockets, finds the C.R.S. pen. He comes up with a VALET PARKING TICKET to scrawl the number on. BERNARD SHAW (v.o.) Good luck and congratulations on choosing C.R.S. We now return you to your regularly scheduled program... STATIC and SNOW, then CNN's Bernard Shaw is back for real, newscasting. Nicholas reads the number he wrote. CUT TO: EXT. VAN ORTON MANSION -- NIGHT Nicholas crouches at a coaxial CABLE LINE at the side of the house. He fingers a BOX with a miniature LOOP and RABBIT EAR ANTENNA that's been spliced into the line. He starts to unscrew it... then thinks twice. He leaves it. INT. VAN ORTON MANSION, KITCHEN -- NIGHT Nicholas enters thru the back door. He pauses, looking out at the night. He closes the door and locks it. He PUNCHES the ALARM CODE into a KEYPAD. Nicholas takes his Bentley key chain from its hook, takes out the gold, "C.R.S." key... adding it to the keychain. CUT TO: INT. SAN FRANCISCO INTERNATIONAL AIRPORT -- DAY Nicholas enters the vast, busy terminal, briefcase in hand. He walks with purpose, but is extra-aware of the world around him. He notices... A MAN and WOMAN engaged in a SIGN LANGUAGE conversation. A MAN reading a newspaper peers from behind the pages. A JANITOR opens a door with a big KEY CHAIN full of keys. A MAN on a payphone seems to be staring at Nicholas... Nicholas turns his head to keep an eye on the man, practically bumping into a grimy HOMELESS BUM... HOMELESS BUM Help me out there? Used to be an affluent fella, till some folks did this to me... Nicholas moves away, leaving the homeless man behind. HOMELESS BUM Don't ignore me. I got screwed. INT. AIRPORT, RED CARPET LOUNGE -- DAY Quiet MUSIC. Rich people's lounge. Nicholas sits with a cup of coffee, considering magazines on a coffee table. Two seats down, a BUSINESSMAN coughs and rises, leaving his newspaper on the empty seat between Nicholas and himself. Nicholas glances down, curious when he sees... A smiling-clown-face INFANT'S RATTLE on the seat beside, sticking out from under the paper. Nicholas catches only a glimpse of the exiting businessman. Nicholas looks around, picks up the rattle. He rattles it, studies it, rattles it in his ear. He tries to see thru it by holding it up to the light. He doesn't notice the MOTHER who enters with a baby, watching him. MOTHER Excuse me... Nicholas looks up, realizes, awkward, offering the rattle. She takes it and exits. There's a BESPECTACLED MAN watching Nicholas. Nicholas notices, tries to ignore. But, bespectacled man is really staring. NICHOLAS (sits forward, fed up) May I help you... ? Nicholas' tone has turned other heads. Bespectacled man seems embarrassed, shy, taps his chest. NICHOLAS What... ? What is it? Bespectacled man taps his chest again, points at Nicholas. Nicholas looks down. Inside his suit jacket -- a huge blue INK STAIN across his shirt. Nicholas stands, aghast, taking out the offending pen. It's the "C.R.S." pen, dripping ink. INT. AIRPORT, BATHROOM -- DAY Running water. Nicholas tries to clean his shirt, blotting it ineffectually with wet paper towels. he looks in the mirror, crestfallen. The stain's worse. DEEP VOICE (o.s.) Hey, buddy... you still out there? Nicholas looks around. He's alone, except for a MAN in a TOILET STALL. All we see are the man's brown shoes. DEEP VOICE (o.s.) (from toilet stall) I'm in a little bit of trouble... The man's hairy hand motions from below the stall. Nicholas backs away, nervous, grabs his briefcase. DEEP VOICE (o.s.) I need paper. There's none in here. Come on, help a guy out... Nicholas considers, then hurries to exit. DEEP VOICE (o.s.) Hello?! Anybody? Hello? INT. AIRPORT, METAL DETECTORS -- DAY Nicholas' briefcase rides into the x-ray machine. Nicholas drops his keys, cellular phone and Rolex in a tray. He passes thru the metal detector. A SECURITY GUARD brings the tray to him. SECURITY GUARD Nice watch. Nicholas smiles tolerantly, collects his belongings. He waits at the x-ray conveyor belt, which is stopped. A FEMALE GUARD studies the x-ray monitor. NICHOLAS Is there a problem? The female guard looks up, turns the conveyor belt back on. Nicholas' briefcase arrives. Nicholas moves on, aggravated. Ahead, Sutherland rises from a seat along the concourse hallway, walking to meet him. NICHOLAS I wasn't expecting you. SUTHERLAND Wanted to wish you luck. Not that you'll need it. Sutherland offers the contract, points to Nicholas' shirt. SUTHERLAND Attractive... NICHOLAS (paging thru contract) Don't ask. SUTHERLAND I checked it personally. Nicholas nods, props his briefcase up on a window ledge, opens it and drops the contract in. CUT TO: EXT. SEATTLE AIRPORT, RUNWAY -- DAY Nicholas' jet touches down. EXT. SEATTLE AIRPORT, LOADING ZONE -- DAY Nicholas follows a CHAUFFEUR. The chauffeur opens a LIMO door. Several pressed SHIRTS hang waiting. EXT. BAER/GRANT BUILDING -- DAY In the shadow of the Baer/Grant Publishing offices, the limousine idles. Downtown Seattle. INT. BAER/GRANT PUBLISHING, ALAN BAER'S OFFICE -- DAY Meet ALAN BAER, elderly CEO, blue-blooded, pissed. ALAN BAER All these years... the first time ever you step foot in these offices, it's to ask me to step down? Nicholas stands by CHILDREN'S TEXT BOOK mock-ups. "Math- Magic." "Wonder-Words." They're "Little Baer Books." NICHOLAS You promised you'd meet projections, Alan. A dollar sixty per share you said. So, I don't think this is so surprising a visit. ALAN BAER Projections were far too optimistic. NICHOLAS Admittedly... ALAN BAER Our E.P.S. was one fifty last quarter. We're up eight cents per share. NICHOLAS But, the expectation was ten. And, in this case, expectation is everything. ALAN BAER Will you really hold me to it over pennies? NICHOLAS My stock's falling. Isn't yours? Those pennies are costing me millions. ALAN BAER The stock will turn. NICHOLAS It probably will. In fact, I'd go so far as to say it almost certainly will, in time. Why should I settle for that? ALAN BAER Because it's fair. Give me next quarter. If you still feel this way, vote your shares... NICHOLAS You're talking tomorrow. Today is what counts. ALAN BAER You intractable son-of-a-bitch. If your father could see you now... NICHOLAS What? ALAN BAER Your father was a friend. Goddamn it... I watched you grow up. How do you end up treating me like this? This swings Nicholas into a new mode: acutely-focused anger. NICHOLAS It is so very inappropriate for you to mention my father. Or, did you think this, between us, was friendship? Just because you went fishing with my father, I should sit on my hands while you throw my money away? ALAN BAER Now, look... NICHOLAS (holds up his hand) I'll be done in a minute. You misspoke before. You're not "stepping down." I'm taking you out at the knees. The whole point is to prove that you're not deciding anything anymore. I'm firing you. Action's taken. Confidence restored. Stock goes up. I sell my shares. ALAN BAER There is no Baer/Grant Publishing without Alan Baer. NICHOLAS Remember Daniel Grant? Do they say, "without Daniel Grant, there is no Baer/Grant Publishing?" He's gone sailing, Alan. He's out there enjoying his golden years, probably wondering where you are. At Alan's desk, Nicholas clears a space for his briefcase. NICHOLAS You made a promise. You failed. The severance I'm offering is more than equitable. Valid tonight only. (looks at watch) For one hour. Nicholas takes a pen from a holder, lays it on the blotter. NICHOLAS I'll step outside, so you'll have the privacy you need to read and sign it. He tries to unlatch his briefcase clasp. It's stuck. ALAN BAER I could fight you on this. NICHOLAS You could. But, if I leave without your signature, this agreement begins to disintegrate; benefits shrink, options narrow, compensations shrivel. Nicholas works on the briefcase the whole time, distraction growing as it becomes a true struggle. NICHOLAS So... it is in your best interest... to sign presently. Nicholas sits, pulling the latch, trying to see what's jammed. It refuses to open. Nicholas stares at it, frustrated, then... an odd realization... He takes his keys out, finds the C.R.S. KEY, tries it... It doesn't fit. It was never meant for this lock. Alan Baer watches, wondering. Forgetting himself, Nicholas grabs up the briefcase, pulling, grunting, desperate, striking it with his palm. Nicholas straightens, immediately composed. NICHOLAS Well... as luck would have it, you've just gotten a reprieve, I'm sure you'll come around to my way of thinking. (picks up briefcase) I have a plane to catch. My attorneys will contact you. Nicholas exits. Alan Baer doesn't know quite what to think. CUT TO: EXT. SEATTLE AIRPORT TERMINAL -- DAY On the sidewalk, Nicholas bashes his briefcase over and over again against a fire hydrant. EXT. SAN FRANCISCO AIRPORT, RUNWAY -- SUNSET Nicholas' jet touches down. INT. CAMPTON PLACE RESTAURANT -- NIGHT Nicholas sits staring. His battered briefcase is near. He checks his watch, impatient, flags down a WAITER... NICHOLAS Is there a message up front from a Conrad Van Orton? The waiter goes. Nicholas drums his fingers. He slides out of the booth, rising. when a WAITRESS knocks into him with a tray. Wine spills. Glasses crash. WAITRESS Oh, excuse me... Nicholas looks down at his wine-stained front. The waitress is CHRISTINE, same waitress as the other night. She tries to clean him up with a napkin. CHRISTINE I'm so sorry. NICHOLAS Please, don't do that... Nicholas snatches the napkin from her, wiping his suit. CHRISTINE I apologize, sir, I'm having a bad day... NICHOLAS A bad month. You did the exact same thing to me last week. Christine's taken aback. NICHOLAS Don't help me, just get more napkins. And soda water. CHRISTINE (gets more napkins) It was an accident. NICHOLAS Terrific. I now have a hundred dollar dry cleaning bill. CHRISTINE I said I was sorry... Nicholas turns his back on her, throwing wet napkins, picking up clean ones, still patting at the stain. CHRISTINE (stews) Asshole. Nicholas turns, angry. The MAITRE D' arrives, shocked. MAITRE D' Christine! Mister Van Orton is a valued customer... CHRISTINE Then, you kiss his ass. She's leaving, but the maitre d' pulls her aside. MAITRE D' You don't talk to me like that. CHRISTINE (quiet, evenly) I apologized, I offered to help. MAITRE D' Clean out your locker. CHRISTINE Fine, Dennis. Soon as I get my money for this week. MAITRE D' I'll be right with you. Christine heads to the back. The maitre d' motions for BUS BOYS to clean, smoothly guiding Nicholas to a new table... MAITRE D' I'm terribly sorry, Mr. Van Orton. If you're not too uncomfortable, will this table suit you for a complimentary meal... ? NICHOLAS Yes. Fine. MAITRE D' I'll fetch your waiter. Nicholas sits, keeps wiping his shirt as the maitre d' hurries away. After a moment, a uniformed WAITER moves past, leaves a CHECK... WAITER Check, sir. Nicholas picks up the check, indignant. NICHOLAS Excuse me... But, the waiter is long gone. Nicholas shakes his head, then the check catches his eye... "DON'T LET HER GET AWAY" scrawled across it. Nicholas turns to look. The waiter who brought the check crosses the room, goes out the front door. Nicholas rises, following... EXT. CAMPTON PLACE RESTAURANT -- NIGHT Nicholas comes out the front, sees: the waiter has crossed the street, still moving... The waiter gets in a CAR as the car pulls quickly away. Nicholas is baffled, looks at the check, heads back inside. EXT. ALLEY, BEHIND RESTAURANT -- NIGHT Christine exits the kitchen door, purse over her shoulder. CHRISTINE (back to doorway) Yeah... ? Well, fuck you and your vichyssoise, prick. She heads down this dark alley. After a moment, Nicholas follows, hurrying to catch up, briefcase in hand. NICHOLAS Pardon me... Miss... ? CHRISTINE Oh, no... you. Christine picks up the pace. NICHOLAS I'm not sure how this works. Do you have something for me... ? I got this note... CHRISTINE What are you babbling about, psycho? NICHOLAS I want to know what's going on. Are you part of this? CHRISTINE What's going on? I'm going on my second job this month, and now I'm going on unemployment. She keeps walking. Nicholas stops, ponders. He follows. They're nearing the end of the alley. NICHOLAS Excuse me, I need to explain... CHRISTINE Don't explain. Fuck off. Goodbye. Nicholas steps in a deep, splattering pot-hole, stumbles, pants soaked, stopping, fed up. NICHOLAS Son of a bitch! Christine rounds the corner, heading down the street. Nicholas reaches the sidewalk, watches her go. NICHOLAS (shouts after) I'm trying to... ask you... (giving up) I'm apologizing... He heads back the way he came. A strangled CRY is HEARD. Nearby, a HEAVY MAN falls to his knees, then falls face forward to the concrete. Nicholas looks around, alone... NICHOLAS (to Heavy Man) Are... are you okay?! DOWN THE SIDEWALK, Christine slows, looks back... Nicholas bends, trying to see the man's face, seems afraid to actually touch him. NICHOLAS Jesus... this can't be... Nicholas looks up to see Christine running back. CHRISTINE What's with him? NICHOLAS I don't know... he fell. Christine kneels, turns Heavy Man on his side and feels for a pulse. Heavy Man convulses. CHRISTINE Do you know what to do? NICHOLAS I don't think he's breathing. Christine clears Heavy Man's airway, pulling saliva and mucus from his mouth with two fingers. NICHOLAS Oh, God... ! CHRISTINE Don't just stand there, get help! NICHOLAS (taking out his CELLULAR) This can't be real... CHRISTINE He's pissing his pants. Is that real enough for you? Call 911! NICHOLAS Alright... okay... CHRISTINE He's turning blue! Nicholas is starting to believe, dialing, circling as Christine gives C.P.R. He listens to his phone -- STATIC. NICHOLAS Damn... He backpedals in the street, cellular to his ear, trying to catch a signal, tilst his head. STATIC. A HORN BLARES -- a CAR barely misses Nicholas, DRIVER cursing. Nicholas anxiously punches buttons. He spots a SQUAD CAR and runs toward it... NICHOLAS Police! SAME STREET -- TIME CUT... SIREN BLASTING, an AMBULANCE is parked. PARAMEDICS pull a stretcher, helped by TWO COPS, hurrying to the prone Heavy Man. A crowd is gathered. Nicholas and Christine watch the paramedics work. COP ONE hands Nicholas a clipboard, everything hurried, overlapped: COP ONE You have to fill these out. NICHOLAS I don't know this man. Christine takes the clipboard. CHRISTINE (to cop, of clipboard) What do you need... ? Paramedics hoist heavy Man on a stretcher and take him to the ambulance. Cop Two goes to help them lift. NICHOLAS (to Christine) I can't get involved in this. Christine moves to climb into the ambulance. COP TWO (to Nicholas) We'll have to detain you. COP ONE Report's got to be filled out. Ride with your wife. We'll meet at the hospital. PARAMEDIC (shouting to cop) We're moving! Cop One leads Nicholas to the ambulance. NICHOLAS She's not my wife. COP ONE It's a few blocks. Help me out, huh, pal? Nicholas reluctantly gets in. EXT. CITY STREETS -- NIGHT Busy streets. The ambulance rockets on... INT. AMBULANCE -- NIGHT SIREN WAILING. Paramedic works. Christine fills out forms. Nicholas tries to see where they're going, frustrated. NICHOLAS This is nuts. CHRISTINE (without looking up) What is your problem? NICHOLAS (digging in his pocket) Ten minutes ago, I'm looking forward to a quiet dinner. I get a note... Nicholas slaps his CHECK on top of Christine's paperwork. NICHOLAS Suddenly I'm in an ambulance. Why am I in an ambulance?! He looks out the window. Christine studies the check: "DON'T LET HER GET AWAY," finds it odd, looks to Nicholas. NICHOLAS (wincing, to paramedic of Heavy Man) He's breathing, isn't he? Is the siren entirely necessary? INT. UNDERGROUND PARKING ENTRANCE -- NIGHT "Emergency Vehicles Only." The ambulance races down a RAMP, moving across this big underground garage, doing a u-turn... Backs up toward a busy EMERGENCY ROOM ENTRANCE. MEDICAL PERSONNEL everywhere. Other ambulances. INJURED PEOPLE. Our paramedics get out and unload Heavy Man. Nicholas and Christine get out, disoriented. Heavy Man's rushed inside via automatic doors. Christine hands off the clipboard to Nicholas, following the stretcher... CHRISTINE Let's talk to whoever can get this over with... NICHOLAS (reading clipboard) Hold on... (of the clipboard) They want your driver's license number. Christine returns to look, and suddenly ALL THE LIGHTS GO OUT. Nicholas and Christine look up. In the surrounding darkness, we HEAR EVERYONE FLEEING... FOOTSTEPS SCATTER... then, SILENCE. NICHOLAS You've got to be kidding. CHRISTINE What... is... happening... ? The only light is a BULB inside the ambulance. NICHOLAS (disgust) I was trying to tell you... it's a game. CHRISTINE A game? NICHOLAS (tosses clipboard) It's run by a company... they play elaborate pranks. Things like this. I'm really only now finding out myself. CHRISTINE What are you talking about? NICHOLAS The lights went out, one hundred people all ran away... CHRISTINE You mean, the guy who turned blue and wet himself... ? NICHOLAS I'm sorry, about this... CHRISTINE You should be. Christine climbs into the ambulance, searching. CHRISTINE There's got to be a flashlight. NICHOLAS (quietly) I don't understand why they're getting you involved. IN THE AMBULANCE, she finds all drawers and cabinets EMPTY. CHRISTINE This is so fucked. You don't fuck with people like this. I thought that guy was gonna die. I gave him mouth to mouth! She digs in her purse, finds a book of restaurant MATCHES. She lights a match, climbing out. CHRISTINE See you around. NICHOLAS Where are you going? CHRISTINE Home. NICHOLAS How do you know that's the way? She just keeps walking. A distant "DING" is HEARD. Far away, an ELEVATOR OPENS with a light inside. Christine stops. Christine changes direction, heading for the elevator. Nicholas hurries to follow. The match burns out. A moment, then Christine strikes another, lighting the way, barely. As they squeeze between parked cars, Christine searches... CHRISTINE Where'd you all go? Motherfucking frat boys. You better hide. (to Nicholas) Is your life so pathetic that this is something you're willing to pay for? NICHOLAS It was a gift... from my brother. CHRISTINE How thoughtful. The gift of inconvenience. NIcholas stumbles. A beer BOTTLE is HEAR SKITTERING away. INT. ELEVATOR -- NIGHT They reach the elevator. Nicholas pushes a button. NICHOLAS Ground floor. He and Christine step back and wait, looking up. And wait... and wait, looking unhappily to each other. Nicholas pushes all the buttons. Nothing happens. Christine opens the EMERGENCY PHONE door: NO PHONE. Nicholas touches his finger to a KEY HOLE below the buttons. He takes out keys, finds the C.R.S. KEY, tries it... it fits. He turns it. DOORS CLOSE and the ELEVATOR MOVES. Nicholas is pleased, sees Christine wondering. NICHOLAS (of the key) Long story. (off her stare) I found this key in the mouth of a wooden Harlequin. CHRISTINE Never mind. The ELEVATOR LURCHES, DROPS, then HALTS. LIGHTS OUT, replaced by RED EMERGENCY LIGHT. A MOTOR is HEARD DYING. CHRISTINE I don't like that. (pushing buttons) We're stuck. Nicholas takes out his phone, puts it to his ear. STATIC. NICHOLAS (pockets phone) No signal. Christine pounds on the buttons and doors, frustrated. She tries to pry the doors open. Can't. CHRISTINE What's the going rate for the "trapped-in-elevator-adventure" these days? Nicholas hits BUTTONS hard. Christine studies the ceiling, moving under the square seam of the TRAP DOOR, pointing. NICHOLAS Don't even think about it. CHRISTINE Why not? NICHOLAS Read what it says: "Warning, do not attempt to open. If elevator stops, use emergency... " CHRISTINE If there was one. NICHOLAS "... wait for help." Wait for help. I'm not opening a door that specifically warns me not to. CHRISTINE Are you suggesting we wait till someone finds us? Nicholas considers this, looks around. INT. ELEVATOR SHAFT -- NIGHT The trap door CREAKS open. Nicholas looks up from the elevator, standing on hand rails. He gets down. IN THE ELEVATOR NICHOLAS I'll give you a boost. CHRISTINE You first. NICHOLAS This isn't an attempt to be gallant. If I don't lift you, how are you going to get there? CHRISTINE You pull me up. NICHOLAS It's much easier this way. Come on, step up... CHRISTINE No. NICHOLAS Please... CHRISTINE I'm not wearing underwear. Okay? There, I said it. Satisfied. NICHOLAS (looks at her skirt) Oh. FIne. Nicholas starts climbing... IN THE ELEVATOR SHAFT Nicholas comes up, batting cobwebs, tentative. He grips a handful of grease, disgusted. He climbs thru, catching his jacket on a jutting screw, FABRIC RIPPPPPPPPING... CHRISTINE (o.s.) Oops. Nicholas stands in the shaft, pissed. He looks for a place to wipe his hand, wipes it on his jacket, looking up. NICHOLAS There's a ladder here. IN THE ELEVATOR CHRISTINE My hero. Let's go. Nicholas offers his grease covered hand from above. NICHOLAS I don't think so. Nicholas withdraws that hand, offers the clean one. CUT TO: INT. BUILDING LOBBY -- NIGHT Elevator doors shift, forced from inside. Nicholas climbs out, then pulls Christine out behind him. They're head-to-toe filthy, clothing ruined. NICHOLAS Damn. My briefcase. He looks back down the shaft. CHRISTINE I'll wait. NICHOLAS (resigned sigh) It's not like anyone could actually open it. They walk, looking at the vast lobby and sky-lit ATRIUM. NICHOLAS This is C.R.S. CHRISTINE What's C.R.S.? NICHOLAS Consumer Recreation Services. It's their building. They... A BEEP is HEARD. Nicholas looks above... Sees a MOTION SENSOR with a green light blinking. NICHOLAS Oh... An ALARM SOUNDS; a loud RINGING BELL. Nicholas backs away. NICHOLAS Don't panic. When security gets here, we simply explain what happened... CHRISTINE They'll love that. NICHOLAS Yes... well... FOOTFALLS. Nicholas turns to see Christine running away. CHRISTINE (over her shoulder) Explain for both of us! Nicholas looks around, unsure. He follows... EXT. ALLEYWAY, BEHIND C.R.S. BUILDING -- NIGHT Christine bursts thru "EMERGENCY EXIT" doors. Nicholas arrives. He grips her arm and they walk, out of breath. NICHOLAS Walk, slowly. Don't draw attention. Out for a stroll... TIRES SCREECH. A SPOTLIGHT HITS them from behind. ANGRY VOICE (o.s.) You! Stay where you are! It's a SECURITY CAR on the other side of a fence. CHRISTINE Run! They run, down the alley. ANGRY VOICE Stop! EXT. NARROW ALLEYWAY -- NIGHT SIRENS HEARD. Christine and Nicholas sprint round a corner, all out... thru puddles, glancing back. Ahead, a SECURITY CAR skids, starting for them. Christine and Nicholas double back. She takes the lead. Christine spots something, makes a chouse, moving into a very NARROW ALLEY space. NICHOLAS Where are you going? (looks in, worried) You can't fit there. She's making fine progress regardless. NICHOLAS I can't! Nicholas sees the SECURITY CAR bearing down. He must turn sideways to fit in the narrow alley, shuffling after. BEHIND, the car stops and SECURITY GUARD gets out, club in hand. In the car, a GERMAN SHEPHERD barks. Security Guard tries to fit down the space, but can't. His belly's too big, his utility belt catching. He runs back to the car, opens the door... The German Shepherd shoots down the alley, a projectile... DOWN THE TIGHT ALLEYWAY Christine comes out into OPEN AREA, running on, looking up. Ruined buildings on all sides, CHAIN LINK FENCES everywhere. Nicholas arrives, pissed, trying to catch up... NICHOLAS You deserted me. CHRISTINE You're a grown man. I'm not responsible for you. NICHOLAS You're the one who started running. CHRISTINE Me? You're the one who... ! (sees something) Shit! Christine runs faster. Nicholas looks back... The German Shepherd's on its way... Nicholas faces front, runs, arms pumping, terrified... The German Shepherd's closing, growling... Christine and Nicholas reach the CHAIN LINK FENCE ahead... NICHOLAS Climb! Christine makes the leap first, scrambling up the fence. Nicholas climbs beside her, pulling himself up... The German Shepherd leaps... bites Nicholas' leg... Nicholas YELLS -- PANTS RIPPING. The dog falls with a mouthful of cloth. Christine and Nicholas reach the top of the fence, clinging, balanced on their elbows, looking back. The German Shepherd barks and leaps. Christine and Nicholas start over the fence, beginning their climb down the other side... ON THE OPPOSITE SIDE: three OTHER DOGS run from the shadows, Pit-Bulls and a Doberman, jumping and biting... Nicholas and Christine scramble back to the top. All the dogs hop up and down, snapping. They gnash at each other and bark at each other, frenzied. Nicholas and Christine have no choice but to hang, stranded. CHRISTINE Now what? Nicholas looks up, daunted. He spots something... There's a place where the fence runs under a FIRE ESCAPE. NICHOLAS Follow me... Nicholas gets a toe-hold, shifts his elbows, grunting, beginning the herky lateral climb toward the fire escape. Christine follows his example. Slow going. DOGS BARKING NON-STOP, nipping at their heels. CHRISTINE Shut up, you stupid, fucking dogs!! BARKING AND BARKING AND BARKING. CHRISTINE What are they guarding around here? Each other? Nicholas slips, keeps grip, but loses a SHOE... The dogs catch the shoe in their jaws, fighting for it. Nicholas watches the shoe get torn to pieces, keeps moving. NICHOLAS There goes a thousand dollars. CHRISTINE Your shoes cost a thousand dollars? NICHOLAS That one did. CHRISTINE (to herself) ... two hundred dollars a toe. Nicholas reaches the fire escape, balancing precariously to reach it. He climbs gracelessly up... He helps Christine after him, bringing her on board. They lean against the rail, exhausted. Nicholas looks to the multi-leveled ladders above. NICHOLAS Let me guess. Me first? He climbs. Christine looks down at the dogs, stupefied, looks up at Nicholas on the CREAKING rusty fire escape. CHRISTINE (to herself) This is getting out of hand. As she starts up. CUT TO: EXT. GARBAGE ALLEY -- NIGHT ABANDONED BUILDING. Boarded-over windows are kicked open from inside. Nicholas and Christine look out. They climb out onto ANOTHER FIRE ESCAPE, two stories up above a trash filled, dumpster crowded alley. CHRISTINE Never did catch your name. NICHOLAS Nicholas. Nicholas Van Orton. CHRISTINE Nicholas Van Orton? What are you, a czar? Nicholas moves to the catch of the fire escape ladder, unhooks it. The LADDER DROPS to bridge the gap to the ground, KEEPS GOING, sliding free and disconnecting -- falls flat to the ground below with a LOUD, ECHOING CLATTER. CHRISTINE (pause) That's classic. NICHOLAS (staring down, misery) Why... ? Christine crosses to the far edge of the railing, points. CHRISTINE We hang down here and drop. The garbage'll break our fall. NICHOLAS I think not. Christine climbs over the fire escape railing... CHRISTINE Afraid you're going to ruin your one-legged suit? She lowers herself down, hanging off, legs dangling... NICHOLAS Be careful... A metal DOOR is THROWN OPEN below. TWO THAI BUS-BOYS come out, dumping garbage, smoking cigarettes, laughing. Above, Christine looks up at Nicholas, mortified. She nods urgently for him to help her back up. Nicholas climbs the rail, beside her, trying to get a grip, none too effective. Below, one bus-boy looks up, shouting. The other bus-boy looks. They back away, SPEAKING RAPID THAI, pointing. CHRISTINE What are they... ? (realizing) Hey! Christine lets go with one hand, trying to pull her skirt shut. Nicholas loses hold, drops her... Christine lands hard in garbage. NICHOLAS Are you okay... ?! Nicholas drops, alarmed... lands in broken plastic bags of wet garbage, slipping as he moves to Christine. Bus-boys are helping her up. CHRISTINE I'm okay... I'm okay, thank you... Bus-boys keep questioning in Thai. Nicholas and Christine brush off. Nicholas takes off his spewed jacket, shakes it in disgust, straightens his tie. They stop... At the doorway, all the COOKS, BUS-BOYS, WAITERS and DISH-WASHERS stare at Nicholas and Christine in wonder. Nicholas and Christine stare back. Nicholas looks to Christine, brushing rotten lettuce off her shoulder, nods to the restaurant workers, clears his throat. NICHOLAS Table for two, please. He offers his arm to Christine, she takes it, they head in. CUT TO: EXT. CITY STREETS -- NIGHT ONE CONTINUOUS LONG SHOT: Nicholas and Christine walk, taking their time, eating out of take-out boxes. CHRISTINE Where are we going? NICHOLAS (points at skyline) That tall, bright building. Near there. They walk a long time in silence. A POLICE CAR moves from behind. POLICEMAN shines a flashlight up and down Nicholas. POLICEMAN Everything okay, miss? CHRISTINE Yeah. How are you? The police car keeps pace, then drives on. CUT TO: INT. NICHOLAS' OFFICE -- NIGHT Nicholas enters, turning on lights, which dim to a warm glow. Christine takes in the impressive office. Nicholas crosses to a wall, opens a hidden closet, chooses a shirt. NICHOLAS There's a shower, if you'd like. Christine leans to peek in the bathroom. CHRISTINE A shower in your office? You an athlete or something? Nicholas puts on a new shirt. Christine circles the desk, runs her fingers down his phone. CHRISTINE What exactly do you do? NICHOLAS Investment banking. Moving money from place to place. Christine has wandered to the closed blinds, opening them to reveal a breathtaking view of the city. CHRISTINE Nice. NICHOLAS Hm? (looks) Oh, yes. Nicholas takes out a SWEATSHIRT and offers it. NICHOLAS A fresh shirt... CHRISTINE (takes shirt, crossing) If this was my office, I wouldn't keep that closed. NICHOLAS I don't spend much time looking out the window. (goes to desk) I'll call you a taxi. Christine faces away, throws off her filthy shirt... Nicholas, on the phone, looks to Christine's shapely back and RED BRA. He averts his eyes, embarrassed... NICHOLAS Oh! Uh... Christine puts on the PENN STATE sweatshirt, straightens it. CHRISTINE Thanks. Nicholas nods, phone to his ear. CUT TO: EXT. VAN ORTON BUILDING -- NIGHT TWO CABS. Nicholas opens the door of the first for Christine. She faces him, close. NICHOLAS I know the owner of Campton Place. I could talk to him in the morning. CHRISTINE Don't. It was a shitty job anyway. I overreacted. Christine sits, keeps her legs out the door of the cab. Nicholas stands waiting for her to pull her legs in. NICHOLAS Goodnight. CHRISTINE I don't think I've ever spent this much time with someone who didn't even ask my name. NICHOLAS The maitre d' called you Christine. CHRISTINE (remembering) Right. Call me Christy. NICHOLAS Goodnight, Christy. It was nice meeting you. CHRISTINE Give me an address so I can send your shirt back. NICHOLAS Keep it. She looks up at Nicholas, sits inside. He shuts the door and steps back. Christine rolls her window down. CHRISTINE I have a confession to make. Someone gave me six-hundred dollars to spill drinks on you, as a practical joke. NICHOLAS Seriously? What did they say? CHRISTINE They said five hundred. I said six. They said the man in the gray flannel suit. I think I said, you mean the attractive guy in the gray flannel suit? Christine smiles, rolls up the window. The taxi leaves. Nicholas watches it go. A twinge of regret. EXT. CAMPTON PLACE RESTAURANT -- LATER NIGHT Nicholas' cab pulls up at the closed restaurant, behind the Bentley. A restaurant VALET sweeps the sidewalk, waves to greet as Nicholas gets out of the cab. CUT TO: INT. VAN ORTON MANSION, MASTER BEDROOM -- NIGHT Nicholas comes from the bathroom, just showered. He looks at CNN on TV. He walks to change channels: infommercials, B+W movies, cartoons. BUGS BUNNY. Nicholas leaves Bugs Bunny on, steps back, watching. He sits on the bed. CUT TO: INT. VAN ORTON MANSION, MASTER BEDROOM -- DAY Nicholas sleeps. Cordless PHONE RINGING. He stirs, awakens, face creased, hair mussed. NICHOLAS (in phone, voice cracks) Hel... hello? MARIA (v.o.) (from phone) Mr. Van Orton, it's Maria. I... I wasn't sure I should call... NICHOLAS (in phone) What time is it? Nicholas studies his CLOCK RADIO: 11:05. He picks it up and examines it, suspicious. MARIA (v.o.) (from phone) Eleven o'clock. I took the liberty of rescheduling your nine a.m. with Allison and Dietrich. Are you... not not feeling well? NICHOLAS I'll be in in an hour. I left my briefcase at fifteen-thirty-three Montgomery. Check with their lost and found. MARIA (v.o.) Alan Baer's in town, at the Ritz-Carlton. NICHOLAS Really? MARIA (v.o.) He's requesting dinner tonight. NICHOLAS We'll let him know. MARIA (v.o.) Also, the Claremont Hotel called to say they have your American Express card at the front desk. You left it last night? Nicholas is confused. He crosses with the phone, finds and studies his wallet. He fingers an empty plastic pocket. MARIA (v.o.) Should I send someone... ? NICHOLAS No. Give me their number. MARIA (v.o.) Eight, four, three, three-thousand. NICHOLAS See you in awhile. Goodbye. Nicholas hangs up, dials. HOTEL MANAGER (v.o.) (from phone) Claremont Resort and Spa. NICHOLAS (into phone) This is Nicholas Van Orton. I'm told my American Express card... HOTEL MANAGER (v.o.) (from phone) Yes, Mister Van Orton. Everything's in order. The concierge has arranged for the wine and flowers in the room. NICHOLAS Has he? HOTEL MANAGER (v.o.) And, a young woman phoned just now to say she's on route but running a little late. NICHOLAS (pause) Did this young woman leave her name? HOTEL MANAGER (v.o.) I'm sure I don't know. NICHOLAS Thank you. Nichola hangs up, interest piqued. CUT TO: EXT. BAY BRIDGE -- DAY Nicholas drives the Bentley. PREVIOUS CONVERSATION: SWITCHBOARD OPERATOR (v.o.) There's no answer. Would you like his voice mail? NICHOLAS (v.o.) Tell him his brother called, and to call back soon as he can. SWITCHBOARD OPERATOR (v.o.) Yes, sir. CELLULAR DISCONNECT. Nicholas looks in his rearview mirror. THRU MIRROR: a grimy BLACK SEDAN follows... keeps distance. EXT. CLAREMONT HOTEL -- DAY Grand hotel. Nicholas lelaves his car with the valet. INT. CLAREMONT HOTEL, LOBBY -- DAY At the GLASS DOORS, Nicholas pushes thru. A THIN MAN in a plain suit isn't looking, BUMPS Nicholas. THIN MAN Sorry. My fault. Thin Man exits. Nicholas crosses the opulent lobby to the desk. The grinning HOTEL MANAGER spots him coming. HOTEL MANAGER Ah, Mr. Van Orton. Here you go... NICHOLAS Have we met? He hands over Nicholas' AMEX CARD, which Nicholas studies. HOTEL MANAGER I believe so. If you would jsut sign here... The manager offers a CHARGE SLIP and pen. Nicholas looks at the manager, the slip, then signs. The manager hits a BELL. A BELLHOP arrives. HOTEL MANAGER Show Mr. Van Orton to his room. NICHOLAS The key? HOTEL MANAGER Hm? NICHOLAS Is there a room key? HOTEL MANAGER Didn't I give you two? NICHOLAS No, you didn't... Nicholas shakes his head and pats his pockets, stops, feeling one pocket... reachse in and takes out a GOLD KEY on a hotel key chain. Nicholas looks to the GLASS DOORS. NICHOLAS Cute. INT. CLAREMONT HOTEL, HALL -- DAY Long hallway. Nicholas follows the Bellhop. They arrive at the door to ROOM 277. NICHOLAS I'll take it from here. He tips the Bellhop, who leaves, uses the key, entering... INT. CLAREMONT HOTEL, ROOM 277 -- DAY Nicholas shuts the door. There's a room-service cart with wine chilling. Nicholas moves down this short hall... NICHOLAS Hello... ? His jaw drops. The room is TRASHED. Curtains shredded, furniture overturned, television imploded, mirror spiderweb-smashed, walls full of holes. Nicholas moves forward, having spotted... His battered BRIEFCASE on the ruined mattress. The latch is undone. Nicholas opens it. Inside: MANY PHOTOGRAPHS of blurry SEX acts. Bodies in motion. Limbs. Breasts. A NAKED WOMAN tied to the bed. One PHOTO shows two women entwined with a NAKED MAN who appear to be NICHOLAS. It's a so-so cut-and-paste job. A LOUD KNOCKING at the door startles Nicholas. He closes the briefcase, freaked. He hurries to the door as POUNDING is HEARD again, puts his eye to the peephole. THRU THE PEEPHOLE: a MAIN gets out her keys. MAID (thru door) Time to make up the room. Nicholas fumbles with the SECURITY CHAIN, slides it in place as the door opens -- stopped. Nicholas keeps hidden. NICHOLAS Could you come back later? MAID Yes, sir. Sorry. THRU THE PEEPHOLE: the maid moves away. Nicholas crosses to retrieve his briefcase, and is crossing back when he stops in his tracks upon seeing... On a dresser, a MIRROR covered in COCAINE lines and residue. IN THE BATHROOM Nicholas turns on the faucet, washing the cocaine down the sink, hands shaking. The mirror edge cuts his thumb and he gives a cry, drops the mirror, which SHATTERS on the floor. Nicholas sucks his thumb, puts it under the faucet. He finds a hand cloth and wraps it round his thumb. There are big blood droplets on the sink and floor. Nicholas grabs wads of tissues from a box on the back of the toilet, using them to blot up the blood, throwing tissues in the toilet and flushing. Nicholas keeps wiping blood. The toilet burps, OVERFLOWING. WATER SPILLS OUT... Nicholas backs away, panicked, exiting... INT. CLAREMONT HOTEL, HALL -- DAY Nicholas looks out from Room 277. He sees a MAID CART, HEARS an O.S. VACUUM CLEANER. He run-walks down the hall, hugging his briefcase. He pushes thru a STAIRWELL DOOR. EXT. CLAREMONT HOTEL -- DAY Nicholas takes his Bentley back from the valet, pulling out fast to the street. Further back, the grimy BLACK SEDAN moves from the curb. INT. NICHOLAS' BENTLEY -- DAY Nicholas' mind races. He wipes sweat off his face. He glances in his rearview... THRU MIRROR: the black sedan, following again. Resolve comes to Nicholas, and anger. He speeds up. EXT. BERKELEY STREETS -- DAY The Bentley weaves thru traffic, taking a corner sharp. Nicholas spins the wheel, heading... DOWN AN ALLEYWAY Nicholas brakes hard, gets out of the Bentley and heads for the mouth of the alley... As the black sedan follows, blocked, stopping. Nicholas comes to pull open the car door, confronting the rumpled, PLUMP GUY behind the wheel. PLUMP GUY What the fuck... ?! NICHOLAS Why are you following me? PLUMP GUY I don't know what you're talking about. I'm just driving... He falters as he follows Nicholas' angry gaze to the seat beside him where a FILE is open to a PHOTO of NICHOLAS. PLUMP GUY (fumbling to close file) Look... what I'm doing is none of your business... NICHOLAS Is Alan Baer "the Game?" Is that what this is? PLUMP GUY (defiant pause) Friend... why don't you back off. He leans as he talks... inside his jacket, he wears a gun. Nicholas reaches across and pulls the gun, hefting it. PLUMP GUY Hey... ! NICHOLAS (of the gun) Nice touch. Does the game use real bullets... ? Nicholas points the gun at the sedan's rear tire, FIRES! The gun is SHOCKINGLY LOUS -- BURSTS the TIRE! Nicholas looks to the smoking weapon, blanching. Plump Guy leaps to the other seat, scrambling out the passenger door, submissive... PLUMP GUY Okay, I'm a private investigator. Somebody hired me to keep tabs on you... Nicholas lifts the gun, unsure, pointing it awkwardly... NICHOLAS Who... who hired you? Plump Guy bolts, running away down the alleyway. Nicholas aims the gun after him, but catches himself, lowers it. He runs the other direction, back to the Bentley... Nicholas gets in the car, drops the gun on the seat, drives. INSIDE THE BENTLEY Nicholas returns to the street, glancing back. He looks at the gun. He opens the glove compartment, throws the gun in. He takes out his CELLULAR PHONE, dialing... MARIA (o.s.) (from cellular) Mister Van Orton's office... NICHOLAS (into cellular) Maria. Have Sutherland meet me at the Ritz-Carlton. I'm on my way there now. MARIA (o.s.) May I tell him... ? But, Nicholas is already pushing DISCONNECT. CUT TO: INT. RITZ CARLTON HOTEL, LOBBY -- DAY Nicholas enters with briefcase. Sutherland rises to follow. SUTHERLAND What's happened... NICHOLAS Follow me. INT. RITZ-CARLTON, ALAN BAER'S SUITE -- DAY A HOTEL EMPLOYEE rolls a room service cart out. Nicholas pushes past with Sutherland in tow. Alan Baer, his handsome WIFE and lovely DAUGHTER are seated at a table where a WAITER lays out a splendid meal. ALAN BAER Nicholas... this is unexpected. Nicholas takes out the SEX PHOTOS, throws them on the table. NICHOLAS Do you actually believe that because you publish children's books, anyone's going to care about my reputation? Wife and daughter are frightened. Alan Baer covers the photos with his napkin. NICHOLAS You could print pictures of me wearing nipple rings and butt-fucking Captain Kangaroo... all anyone would wonder was whether the stock was up, or down. Sutherland's nervousness grows by the second. DAUGHTER Daddy... ? ALAN BAER It's alright, dear. Mr. Van Orton... SUTHERLAND Nicholas... NICHOLAS (still to Alan Baer) That you've involved Conrad... is unforgivable. I am now your enemy. ALAN BAER Are you finished? NICHOLAS No. This is my lawyer, Samuel Sutherland. I thought you two should meet. ALAN BAER We met, this morning. I signed the termination contract for Baer/Grace. I accepted your settlement, Nicholas. you were right. I'm going sailing. Nicholas opens his mouth, but no words come. He looks to Sutherland. Sutherland nods to confirm. ALAN BAER You're welcome to join our luncheon. Maybe we can straighten this our. (motioning to...) My wife, Mary Carol, and my daughter-in-law, Kaliegh. Wife and daughter give mumbled greetings, having no desire to meet Nicholas. Nicholas just stands stymied. NICHOLAS It seems I've... please, disregard my apparently misguided remarks. Nicholas heads for the door, hurrying out. Alan, wife, daughter, the waiter and Sutherland exchange looks. SUTHERLAND Well... Sutherland walks to retrieve the sex photos. SUTHERLAND Enjoy your lunch. Sutherland smiles, exiting. CUT TO: INT. NICHOLAS' OFFICE -- DAY Nicholas sits at his desk, opens his briefcase, checking the contents. Soon, Sutherland arrives, shutting the door. He watches Nicholas, deciding. SUTHERLAND How concerned should I be? NICHOLAS It was a misunderstanding. Sutherland puts the SEX PHOTOS on the desk. NICHOLAS Someone's playing hardball. It's complicated. Can I ask a favor? SUTHERLAND You know you can. NICHOLAS Find out about a company called C.R.S. Consumer Recreation Services. SUTHERLAND Sounds like they make tennis rackets. What do we know? NICHOLAS Just what I told you. SUTHERLAND Nothing else? Nicholas remembers. He opens up a file drawer in his desk. NICHOLAS They gave me their waiver. On their... wait... Nicholas hands over a file, returning to his briefcase. He finds an ENVELOPE with a SMILELY-FACE on it. He opens it. He takes out a silver-plated METAL CRANK. Like a handle. SUTHERLAND What is this? Nicholas looks up. Sutherland's looking in the file, quizzically, hands it back... Nicholas studies PINK-TINTED PAGES; the pages Feingold gave him, once dense with words, now completely blank except for NICHOLAS' SIGNATURE and INITIALS several places. NICHOLAS (of the pages) Christ... I can't believe it... invisible ink? SUTHERLAND You're joking. NICHOLAS It's what they do. It's like... being toyed with by a bunch of... (picks up SEX PHOTOS) Depraved children. Nicholas examines each photo. Sutherland goes to leave. SUTHERLAND Very well. If you tell me not to worry, I shan't. NICHOLAS Sam... (as Sutherland stops) Thank you. Sutherland exits. Nicholas keeps examining the pictures. He sits forward, finding something... IN A PHOTO: the out-of-focus back of a NAKED WOMAN wearing only a RED BRA. NICHOLAS (INTO PHONE-INTERCOM) Maria. The other night... last night, there was a woman here named Christine. I called a taxi, from that company we use... MARIA (v.o.) (FROM PHONE-INTERCOM) Elite? NICHOLAS What? MARIA (v.o.) Elite Taxi Company? NICHOLAS Look into it. Find out which car answered and where they took her. Nicholas sits back. He picks up the METAL CRANK, twists it in his hands, frowning, pockets it. CUT TO: EXT. VAN ORTON MANSION, GARAGE -- NIGHT The rapid SOUND of a PHONE OFF THE HOOK is HEARD OVER: BEEP BEEP BEEP BEEP... The Bentley pulls in. Headlights out. IN THE CAR, Nicholas takes the gun from the glove compartment and puts it in his briefcase. INT. VAN ORTON MANSION, KITCHEN -- NIGHT Dark. The PHONE OFF THE HOOK is LOUDER, grating: BEEP BEEP BEEP BEEP BEEP... Nicholas comes in the back door, peering into the weak moonlight. NICHOLAS Ilsa? Nicholas replaces the phone on its cradle. QUIET. He reaches for a light switch, ZAP! -- BLUE SPARKS leap to his fingers. Nicholas YELPS and shakes his hand out. The switch has been RIPPED OUT, leaving exposed wiring. Nicholas goes to his briefcase, getting the gun and moving forward, wary, calling out... NICHOLAS Ilsa!? INT. VAN ORTON MANSION, DEN -- NIGHT In the blackness, Nicholas comes to stand at the doorway, levels the gun at someone across the room... NICHOLAS I've got a gun! There's a roaring fire in the giant fireplace and a FIGURE in a chair. Nicholas eases forward... It's the HARLEQUIN in the chair, with a GLOSSY B+W PHOTO between its teeth. Nicholas pulls out the picture... A POLICE PHOTO of NICHOLAS' FATHER, his body sprawled. It's stamped "PROPERTY SFPD" in red. There's a NOTE papere-clipped behind: "Like my father before me, I choose eternal sleep." At the bottom, a RED SIGNATURE ARROW affixed, "Please Sign Here." Suddenly, ALL LIGHTS SURGE TO LIFE, icy and ghoulish -- each and every bulb replaced by BLACK LIGHT... Nicholas pivots slowly, taking in the horror... The wrecked den is covered in FLUORESCENT SPRAY-PAINT GRAFFITI: "WELCOME HOME" "FUCK YOU" "NICHOLAS VAN COCKSUCKER" "SUCK IT" "C.R.S. RULES" "HAVING FUN, RICH BOY?" Everywhere. Across windows, paintings and curtains. The ceiling is covered in "MOMMA'S BOY" and OBSCENITIES. Scaffolding's been left behind. Used SPRAY CANS on the splattered Oriental rug. A PAINT/AIR COMPRESSOR. NICHOLAS ... fuckers... INT. VAN ORTON MANSION, MASTER BEDROOM -- NIGHT A glowing ANARCHY SYMBOL sprayed across the door which is throw open by Nicholas as he enters. It's all BLACK LIT here too. GRAFFITIED and DESTROYED. "HELTER SKELTER: in jolting letters. Nicholas backs out... INT. VAN ORTON MANSION, VARIOUS ROOMS -- NIGHT FOLLOW: Nicholas down the hall and around corners, BLACK LIGHTS above, walls covered in CURSES and MULTI-COLORED SQUIGGLES. Like a bad trip thru the Bat-Cave... DOWN STAIRS Past OTHER ROOMS likewise awash in vibrant slurs... THRU THE KITCHEN Now also revealed as ruined. Nicholas goes out the door... EXT. VAN ORTON MANSION, BACKYARD -- NIGHT Nicholas runs to the GUEST HOUSE. INT. VAN ORTON GUEST HOUSE, FOYER -- NIGHT BANGING on the FRONT DOOR. Ilsa comes to look thru the peephole, opens the door to a breathless Nicholas. ILSA Mr. Van Orton... ? NICHOLAS Ilsa... you're alright? ILSA Yes. What do you mean? What's wrong? NICHOLAS Did the alarm go off? The house... they... you didn't see... ? ILSA I don't know what you're talking about. What's happened? NICHOLAS There's been a break in. Lock this door and stay here. Don't move a muscle. Nicholas runs back toward the house. ILSA Be careful! EXT. VAN ORTON MANSION, BACKYARD -- NIGHT Crossing the lawn, Nicholas pulls out his cellular phone, dialing as he runs, takes out his gun. 911 OPERATOR (v.o.) (from cellular) Nine-one-one, emergency... NICHOLAS (into cellular) I need the police. There's been a break-in at my home... 911 OPERATOR (v.o.) (from cellular) Okay, sir. Stay on the line and give me your address... INT. VAN ORTON MANSION, KITCHEN -- NIGHT Nicholas enters, still on the phone, locking the door, beginning to punch the security code into the ALARM KEYPAD. NICHOLAS (into cellular) Twenty-two Moore Street. At the corner of Moore and Buchanan. 911 OPERATOR (v.o.) Now, sir, you said it was a break-in... NICHOLAS Yes... 911 OPERATOR (v.o.) Are you sure they're gone... ? As Nicholas finishes the security code, the KEYPAD BEEPS, and Nicholas straightens, worried. 911 OPERATOR (v.o.) ... are you sure there's not still someone somewhere in the house? NICHOLAS I... don't think so. And with the DYING HUMMMMMMMM of POWER FAILING, all the BLACK LIGHTS GO OUT. Nicholas raises his gun... NICHOLAS Oh God... Pointing it into the dark kitchen, hand trembling. 911 OPERATOR (v.o.) Hello? Are you still there? Behind, a DARK FIGURE outside rises against the kitchen door window, POUNDING FRANTICALLY! Nicholas leaps and spins, CRYING OUT in terror, dropoping the gun... The gun bounces across the linoleum. It's CONRAD at the kitchen door, haggard and scared, his pale face pressed against the glass, pointing frantically. CONRAD Meet me out front! Conrad ducks away, moving on. CUT TO: EXT. CITY STREETS -- NIGHT The Bentley takes a corner fast, heading downhill, moving from residential to mostly urban... INSIDE THE BENTLEY Nicholas drives. Conrad looks back over his shoulder, a man on the run, dark circles under his eyes. NICHOLAS Tell me where we're going. CONRAD Just drive, man. (slumps low) It's fucking nuts! NICHOLAS What's this all about, Connie? CONRAD Shhhhhhh. Wait... wait... Conrad flips the sunshade, looks behind it, feels the fabric of the roof and the seam of the door. He grips the interior LIGHT, breaks it open, pulling the bulb and wires. NICHOLAS What are you doing? CONRAD They're methodical. They're nothing if they're not that. NICHOLAS Who? CONRAD C.R.S. Who do you think? Jesus H., thank your lucky charms. To think what I almost got you into. NICHOLAS (miserable) Yeah, almost... CONRAD You dodged a bullet. NICHOLAS How do you mean, exactly? CONRAD They fuck you and they fuck you and they fuck you. And then, just when you think it's done, that's when the real fucking begins. NICHOLAS Slow down, take a breath... CONRAD It doesn't stop, Nick. I paid the bill, I gave 'em their money, but it all started again. They won't leave me alone... NICHOLAS What have they been doing to you? CONRAD Everything. I'm a goddamn human-pinata... NICHOLAS Calm down. Why would they keep playing after you paid? CONRAD You think I know? I paid them more to make it stop. BOOM! -- the wheel jerks in Nicholas' hand, TIRES SCREAM... CONRAD What the hell... !? ON THE STREET A TIRE'S BLOWN OUT. Riding the rim, the car jerks over... INSIDE THE BENTLEY Nicholas stops at the curb. Conrad's turned in his seat. CONRAD It's them. They did this. NICHOLAS It's a flat tire. That's all. CONRAD How do you know? NICHOLAS We're going to figure this out. Get a grip on yourself. CONRAD Okay... okay. Conrad faces forward. Nicholas gets out to look at the wheel, using his cellular, then returns to the open window. NICHOLAS The phone's dead. CONRAD Really? NICHOLAS Do you know how to change a tire? CONRAD No. Do you? (off Nicholas' frown) Can't be too hard, can it? I don't think we should be here out in the open like this. Nicholas rubs his temples, looks all around, frustrated. NICHOLAS Check the glove box... might be another battery there. Conrad OPENS the glove compartment: KEYS SPILL OUT. At least fifty, silver and gold, all stamped "C.R.S." Conrad's breath catches in his throat. He looks to Nicholas, afraid. Nicholas leans closer... NICHOLAS How did those... ? CONRAD You're part of it... NICHOLAS What? Connie... Conrad climbs out, pointing across the roof of the car... CONRAD No! You're one of them. Of course, it makes perfect sense! NICHOLAS No, it doesn't! Those keys were put there. I didn't even know... CONRAD You're behind this, aren't you? You and your sick friends. Well, make it stop! NICHOLAS Listen to yourself. Why would I do anything like what you're describing? CONRAD Because you hate me. Because you had to be here, when mom died. Because you had to do it alone. (near tears) Well, don't you think if I'd known... I'd've been here too. I'd have been here... NICHOLAS Stop this. It's not true... CONRAD I'm sorry, Christ, I'm sorry! How many more times do I have to say I'm sorry before you forgive me... ? NICHOLAS Stop it! Conrad bolts away, full tilt, into a nearby PARK and PUBLIC GARDENS. Nicholas gives chase, calling after. AHEAD, Conrad runs headlong, disappearing thru thick bushes. Nicholas follows, downhill, falls and slides, gets up. At the bottom, he shoves thru vegetation... On the other side, Nicholas looks all directions, gulping air. Conrad's nowhere to be seen. Nicholas stops. NICHOLAS (shouting) Connie! Far off, there's a concrete path winding thru the park past a BANK OF PAYPHONES. ONE PAYPHONE starts RINGING. Nicholas starts back the way he came. Behind, ALL THE PAYPHONES start RINGING. Nicholas halts. He runs to the phones, answers one. NICHOLAS (into phone) You sons-of-bitches... MAN'S VOICE (v.o.) (from phone) Flippy? Is Flippy there? Flippy? Nichols slams the phone down, picks up another... RECORDING (v.o.) (from phone) If you'd like to make a call, please hang up and... PHONE STOP RINGING. Nicholas hangs up, digging out his wallet. Rifling thru it, he comes up with the VALET TICKET with the C.R.S. EMERGRENCY 800-NUMBER on it. He dials... Puts the phone to his ear. BUSY SIGNAL. He slaps the headset-tongue, redialing, waiting... RECORDING (v.o.) (from phone) We're sorry. The number you have dialed has been disconnected or is no longer in service... He throws the receiver, tears the valet ticket in half and tosses it, then steps back -- KICKS the phone. EXT. CITY STREET -- NIGHT Nicholas returns to his car, looks down at the flat tire. At the rear, Nicholas opens the trunk. He reaches in and takes out the car's JACK. He looks at it like an alien thing, turns it over, tosses it into the street. He closes the trunk, REMOTE's the ALARM, walking away. There's a TAXI heading this way. Nicholas hails it... INSIDE THE TAXI Nicholas gets in. GLASS separates him from the CAB DRIVER NICHOLAS Twenty-two Moore Street. The driver nods and hits the gas. EXT. CITY STREETS, FURTHER ON -- NIGHT The taxi roars down the street. INSIDE THE TAXI Nicholas has his head back, eyes closed, loosening his tie. He looks out the window, narrow his eyes. NICHOLAS (pointing) Um... you want to turn here... (TAXI KEEPS GOING) Excuse me, you missed the turn. The driver says nothing. Nicholas knocks on the glass. NICHOLAS Did you hear me? You're... Nicholas stops, noticing the DRIVER I.D. on the other side of the partition. "California Regal Sedans." C.R.S. NICHOLAS No... no, no, no. Stop the car! The taxi HALTS at a LIGHT. Nicholas tries the DOOR HANDLE. Doesn't work. He tries the WINDOW HANDLE -- it COMES OFF. ON THE STREET The cab PEELS OUT as the light turns green. INSIDE THE TAXI Nicholas tries the other door, panicky. Same results -- locked in. The taxi makes a SCREEEEECHING TURN... ON THE STREET The taxi speeds up... heading for a WHARF AREA and PIERS. INSIDE THE TAXI Nicholas presses against the partition, urgent, calm... NICHOLAS Listen. I am a very wealthy man. Whatever they're paying you, I'll double it! The taxi driver simply opens his door and leaps out... THRU THE WINDOW: the driver ROLLS, a perfectly executed stunt fall. Nicholas can't believe. He grabs frantically for his seatbelt, SNAPS it around him, looks up... Opens his mouth to SCREAM... ON THE WHARF The taxi goes FLYING off a deserted pier... airborne... SPLASHES DOWN! in the San Francisco Bay. INSIDE THE TAXI Nicholas is jerked forward, breath slammed out of him. ON THE SURFACE OF THE WATER The taxi goes under in an eruption of bubbles. UNDERWATER THRU THE TAXI WINDOW: Nicholas pulls off his seatbelt, extricates himself and starts kicking the window. Dashboard lights grow eerie as they submerge. INSIDE THE TAXI Nicholas stops kicking, trying to calm. He looks to the front: water's gushing in through two-inches of open window. The taxi's less that half full. NICHOLAS (to himself) It's a game... it's a game... He tries the DOOR HANDLE again, yanking, to no avail. He realizes something, searches his pockets... UNDERWATER The taxi sinks, headlights dimming in murkier depths. INSIDE THE TAXI Nicholas finds the METAL CRANK. He takes a deep breath... SUBMERGING. He puts the crank in the WINDOW HANDLE HOLE, turns the crank. The WINDOW LOWERS, water flooding in... UNDERWATER Nicholas swims out the window, heading upwards... EXT. SAN FRANCISCO BAY -- NIGHT Nicholas bursts to the surface, sucking air. He treads water, catching his breath. GIRL'S VOICE (o.s.) Hey, mister... are you alright? Nicholas turns. There's a CABIN CRUISER docked nearby. A beautiful GIRL in a yellow raincoat throws a life preserver. Nicholas swims to it. EXT. CABIN CRUISER -- NIGHT Nicholas climbs the rear ladder with the girl's help. He stays on his knees, teeth chattering. The boat's luxurious. GIRL You could get hepatitis from that water. She helps Nicholas up, keeps a grip on him. NICHOLAS I need the police. GIRL Let's get you dried off first. I might have some clothes below. INT. CABIN CRUISER, BATHROOM -- NIGHT The shower and mirrors are fogged. Nicholas' wet clothing sits in the sink. He's wearing a short-sleeved shirt, pulling on trousers. IN THE ADJOINING BEDROOM QUIET MUSIC. Nicholas comes from the bathroom, feeling the waistband of the pants, checking out the cuffs. NICHOLAS You know, these fit... perfectly. GIRL They were my husband's. My late husband... may he rest in peace. Nicholas looks to the girl. She rises from the bed and slides the raincoat off, wearing only a BIKINI. A Playmate. Nicholas just sort of sags. The girl undoes her top, which falls. She steps forward. GIRL I've been so lonely. NICHOLAS I can't tell you how not interested I am. GIRL Don't be nervous. They said you'd be nervous. NICHOLAS Don't take another step. The girl covers her breasts, confused. Nicholas gathers his clothing from the sink, heading for the stairs. GIRL Isn't this what you like? They told me you had a thing for boats. NICHOLAS First they try to kill me, now you? (to girl) Put your damn clothes back on. Nicholas scrambles upstairs... EXT. CABIN CRUISER -- NIGHT Nicholas leaps off onto the wharf. The girl, pulling on her raincoat, crosses to the boat's rail, waving a BOX. Thru the box's window: a gold GLASS CUTTER nestled in velvet. GIRL Don't you want your thing? I was supposed to give you this thing. Nicholas just keeps walking. CUT TO: EXT. C.R.S. BUILDING -- DAY TWO POLICE CARS, marked and unmarked, pull to the curb. From the plainclothes car, MALE DETECTIVE and FEMALE DETECTIVE get out. Nicholas and Sutherland get out. INT. C.R.S. BUILDING, LOBBY -- DAY Nicholas, Sutherland, Male and Female Detective cross the busy lobby with TWO UNIFORMED OFFICER'S behind. INT. C.R.S. BUILDING, OFFICES -- DAY Nicholas enters, followed by the others. He stops short... REVEAL: this huge room, once filled with cubicles far as the eye could see, is now entirely EMPTY. Trash. Dust. Fixtures jutting from the floor. CUT TO: INT. NICHOLAS' OFFICE -- DAY Nicholas stands with hands in pockets, staring at the floor. Sutherland's here. Female and Male Detective stand together. She's checking notes. FEMALE DETECTIVE Management for the building says that space hasn't been officially rented yet. The county recorder has no listing for "Consumer Recreation Services" or any derivation thereof. No sign of the boat or the girl. We're checking escort services, but it's unlikely. Divers are looking for the taxi, and soon as they find it they'll pull the plates and V.I.N. MALE DETECTIVE Have you gotten in touch with your brother? NICHOLAS He hasn't called back. SUTHERLAND What about the house? MALE DETECTIVE The graffiti was painted in an oil-based marine marking solution. Illegal in the states. Not impossible to trace, but it'll take time. FEMALE DETECTIVE The photos, gun, the clown, the ambulance, cable box, everything else... it's all pending. (shuts notebook) Breaking and entering we have, solid. Malicious mischief, vandalism, harassment. But, that's about all. SUTHERLAND Illegal surveillance, reckless endangerment... NICHOLAS Attempted murder. MALE DETECTIVE Except... you said you hired these people. SUTHERLAND That's irrelevant. MALE DETECTIVE It's our job to let you know what we have. We haven't got motive. FEMALE DETECTIVE (to Nicholas) You are who you are, so we know you're not making it up. But, we've never dealt with anything quite like this. Be appropriately cautious. (pause) Unless you think they're done with you. CUT TO: INT. VAN ORTON MANSION, KITCHEN -ń NIGHT Ilsa sets down a plate: sandwich with crust cut off, potato chips and carrot sticks. Nicholas eats, pondering. NICHOLAS What was my father like? Ilsa's at the fridge, near where drop-cloths, paint cans and other repair preparations are piled. ILSA What makes you ask? NICHOLAS I'm not sure. Ilsa comes to set down a glass, fills it with milk. ILSA All the time I've known you, you've never once asked about him. NICHOLAS He came to my mind recently, that's all. Ilsa moves to put food back into the refrigerator. ILSA Your mother thought he was a good man. He worked very hard. What I remember most was his manner was so... slight. It was easy to spend time in a room, and not realize he'd been there the whole time. NICHOLAS Was he morose, or...? I mean... ILSA No. What happened... no one expected it. NICHOLAS Sometimes I wonder how much of him there is in me. ILSA Not much, I think. NICHOLAS I'm just like him. ILSA You're not like him at all. I don't know exactly what's going on around here lately, but don't make me start worrying about you. NICHOLAS Did you worry about him? ILSA Nobody worried about your father. Nicholas stares at his milk. PHONE RINGS. He answers... NICHOLAS (into phone) Hello. MARIA (v.o.) (from phone) It's Maria. I found the address you wanted from Elite Taxi. NICHOLAS (picks up pen and paper) Go ahead... CUT TO: EXT. SUBURBAN NEIGHBORHOOD -- NIGHT Rows of lower-middle-class homes. Nicholas parks. A WHITE VAN sits near, a wrench-wielding WORKMAN painted on the side. "Cable Repair Specialists." Nicholas crosses the lawn of a WHITE HOUSE, to the porch. He rings the doorbell and waits. Finally, an older man in a bathrobe answers, CHRISTINE'S DAD, puffy-eyed.
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From: iwannafuckherTITTIES (Aug 08, 2004 20:38 EDT)
i just wanna fuck her titties so fucking badly i mean looka t her titties there so big 4 her age i just wanna fuck her till her pussy n tits are swollen....lol
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From: West (Aug 11, 2004 17:08 EDT)
Lindsay is so beautiful and there is no way in hell any of all will ever meet her or fuck her so quit dreaming and quit saying all this bad she about her.
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From: mouscoc (Aug 18, 2004 12:42 EDT)
u guys are fucking ass holes. i hope she sees this shit. just cuz shes hot doesnt mean she is going to fuck helpless horny pricks like u. wow u have no lives. if u wana fuck her so badly y not just get a fucking blow up doll.
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From: hey (Aug 19, 2004 12:43 EDT)
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From: i hate lindsay (Aug 25, 2004 11:10 EDT)
lindsay smokes and tries to copy hil d sure mean girls is an awesome movie but shes acting and i HATE HATE HATE her as a person so maybe u shud think about stop smoking u fucking whore that i HATE
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From: by the way (Aug 25, 2004 11:14 EDT)
GUYS STOP SAYING THOSE COMMENTS I DO NOT WNNA HERE EM >> I HATE U LINDSAY LOHAN GO SCREW WILMER UR 7 YEAR OLDER THAN U BOYFRIEND:)!
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From: Horny 15 Year Old Boy (Aug 25, 2004 23:43 EDT)
For 3 real Lindsay Lohan nipple slips go to www.redpac.com/legality then scroll down and click on "I think I see a nipple".
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From: guy (Aug 26, 2004 10:04 EDT)
= ]
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From: Lindsay Lohan (Aug 27, 2004 19:32 EDT)
Hello Guys, Please stop making comments like those, it really scares me and makes me think some of you are stalkers. They are also rude and disgusting, i mean, if i really want a boyfriend, i'll find one, but all of you please stop thinking you'll ever be my boyfriend. I mean, it can happen if you ever some how meet me, and i think your cute and have a nice personality, otherwise, i'm sorry, but it will probably never happen, so please stop doing that, before you scare me out of my career forever
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From: ^ dip shit. (Aug 28, 2004 23:23 EDT)
You do have a boyfriend dipshit HIS NAME IS WILMER, NOW GO FUCK URESELF
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From: the one (Aug 30, 2004 00:40 EDT)
so hott want to touch the hiney but sereously se needs to leave wilmar and come see me her breast might be fake but there very real to me
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From: TemporalSpecter31415 (Sep 02, 2004 00:40 EDT)
All you bastards need to get a life. Lindsay may be hot, but I think pornos might just be a better catalyst for your masterbation problems.
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From: lindsay lohan (Sep 02, 2004 13:52 EDT)
i don't like cum in my face
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From: y (Sep 02, 2004 13:58 EDT)
hot hot hot hot
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From: jackass fucker (Sep 02, 2004 15:14 EDT)
YOUR A SLUTE LINDSEYH
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From: lindsay lohan (Sep 03, 2004 12:39 EDT)
i'm a slut a sexy slut that wants cum bad
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From: Pussy (I am what i eat) (Sep 05, 2004 00:31 EDT)
Man all these ppl saying "your a loser" "get a life" "u'd fuck a computer" Man fuck you all how the fuck did u find this message board you most of bein look of some pussy and to the looks of it some young red headed pussy One thing that pisses me off is that kid aaron carter was dating her and playing her with hillary duff i wonder if he got some if so u know what they say if u fuck a girl ur fuckin all the guy shes pumped not that there any thing wrong with that but its all ways nice to first in line and lol PS i think she thinking of dating that guy from that 70's show ........ How do i know all this i like to watch the tonight show with jay leno
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From: [email protected] (Sep 05, 2004 16:57 EDT)
i love lindsay hot big oh tits
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From: u (Sep 06, 2004 12:25 EDT)
if you want nice lohan pics go to my site http://www.funtigo.com/lindsaylohan2?g=1623599
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From: Classic (Sep 06, 2004 16:40 EDT)
You guys are great. As I stumbled upon this website, I unknowingly stumbled into a group of people that make a Star Trek convention resemble a MENSA meeting. I will only come back to this site to read your witty rebuttals about how I must masturbate to soft-porn pics of an 18-year old and that's why i'm here. Your existence on this planet confirms the social Darwinism theory. You are clearly the bottom of the food-chain and I anxiously wait for you to take a header into the shallow end of the gene pool. You guys are tools. out.
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From: randomchick (Sep 09, 2004 02:12 EDT)
I'm a chick . A straight chick. But everytime I see a pic of lindsay's tits i cream. I want her so bad. I'd kiss her hot body and squeeze her beautiful round tits while fingering her. I'd suck each tit one at a time and then eat her out. or maybe i'd use a strapon.
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From: new (Sep 11, 2004 21:08 EDT)
hey look at this it her nipple slip http://www.foundonfloor.com/lohanslip.html
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From: guy (Sep 13, 2004 14:04 EDT)
lindsay lohan is sooo hot!!!! i would do anything for a piece of her. i hope to god that she does some porn now that she is 18. those big nice round tits, nice ass, legs, lips..... she is the perfect girl, i would like to know of anyone who is even close to being as hot as her. SOOOO HOT!!! I WANT TO FUCK HER ALL NIGHT LONG!!!!
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From: 1sexyman (Sep 18, 2004 18:00 EDT)
Lindsay you are sexy i could fuck u day in day out. i luv your tits and pussy willyou fuck me?
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From: LOL (Sep 23, 2004 00:36 EDT)
Man i was just look for Linday Lohan pic to pin up on my locker and i found this site by typing in ["Linday Lohan" hot] in google and i found this site your comments are funny about what you'd do to her are and the ppl that try to brun some ppl in this page make me LMAO cuz it just fucking funny man i'll try to come back to this page every week so i can get some good laughs b4 i go to bed lol
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From: amber (Sep 25, 2004 19:33 EDT)
i wonder how much money she actually has?????
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From: anonymuous (Oct 01, 2004 23:34 EDT)
I tink we all agree tht Lindsay Lohan is the hottest living hunan being. Tht being said, if we like her so much, y act like jerks and type these bizzare senarios about her? Dont get me wrong tho cuz i tink she is the essence of PERFECTION but some of u should tone down the graphics of what pain shed be in when ure done with her, etc. But yeah shed definately be one awesome girlfrined to have!
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From: dan (Oct 02, 2004 20:34 EDT)
shes a 10 on my scale
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From: Todd (Oct 04, 2004 11:51 EDT)
She would look even hotter with a thick load of cum all over her face!!!!
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From: Jeter (Oct 04, 2004 12:21 EDT)
I'd love to fuck Lindsay Lohan, and Raven Simone can go down on me anytime. I'd like to give her my full 8 inches of cock into those sweet plump limps, I'd tit fuck her and fuck her up the ass.
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From: oh YES! (Oct 13, 2004 17:26 EDT)
i'm a girl, 18 years old and straight. before i met you guys, i thought i was the only wacko on the planet. i had a dream about lindsay last night..it went like this: Lindsay came to my hosue and we chatted for a while, had a little beer, and got drunk, and then we feel into bed. i'll cum myself if i say anymore. but i just wanna grab a strap on and rip her pussy apart, oh man-i bet hes cum tastes good! i'd strap her to a wall with a 10 inch dildo going rapidly in and out of her while she tongue fucked me and i played with her pussy lips as the didlo went in her at 50 mph....oh yes. then i'd make her clean up the cum, and then i'd make her want me by strapping her to a chair while her fucking hot (and funny) boyfriends and me fucked in a gazilion positions and in every hole, and then lindsay and i would put on our clothes and grind, then stikc hands down each other pants and rub each other, then wed strip and do it all over again..damn it babe! oh shit..gotta go get a change of panties. any girls wanna cyber? add me on msn at : [email protected]
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From: oh YES! cont (Oct 13, 2004 17:29 EDT)
seriously..add me. heres more of what i would do to this FUCKING SLUT Oh YES! i'd make her sukc me dry, then i do the smae to her, and i'd grind with her naked and wed suck each others boobs- i have a friend named Lindsay Leyhay- she came over today and she looks like LL...the smae boobs, and i bet LL's round ass and pussy (oooh..pussy) looks just like my lindsays-thats right, but we broke up last night after a night of serious fucking..so, i need someone to cyber wiht. add me.
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From: LL (Oct 14, 2004 17:15 EDT)
Hello fans! I just wanted to say i'm very shocked by this and i would like all of you to stop-but the girls can continue, because i am a lesbian 'oh YES', please add me.
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From: woot (Oct 16, 2004 02:53 EDT)
Lindsay Loahan's fuckin hot, her rack is awesome and her pussy is ready to be fucked!
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From: Lauren (Oct 22, 2004 14:11 EDT)
OOOOOOOOOOOOOHHHHHHHHHHHH!!!!!!!!! I LOOOOOOVE YOU!!!!!!!(please reply)
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From: acrawf (Nov 09, 2004 20:26 EST)
oh lindsay i want 2 fuck u over and over .. i want to just shove my XXL up ypur fucking pussy.. and get u all wet.... ahhhhhh../ make u scream
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From: cash (Nov 13, 2004 01:54 EST)
FUCK ME OR ILL FUCK YOU
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From: Ryo (Nov 14, 2004 00:47 EST)
Ok first of all lindsay lohan is hot but im not going to fucking brag like im actually fucking her when all your fucking is your hand or yet worse an object. Sure you can brag all the fuck you want when you actually get to fuck her. Which is going to be never i may add. I mean comeon if you were going out with lindsay lohan who WOULDNT fuck her besides gay men or staright women... and thats my conclusions bitchs and you better like it! KEEP THOSE GOD DAMN DIRTY THOUGHTS TO YOURSELF NO ONE WANTS TO HEAR A GUY WITHOUT A LIFE SAY "Oh Lindsay i wanna fuck you so bad with your tight little pussy...etc. etc." GET THE POINT BOZOS!
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From: A7X (Nov 22, 2004 20:27 EST)
shut the hell up moron.
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From: god (Nov 24, 2004 02:00 EST)
let me stick my dick in her and die happy.
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From: Goddess (Nov 28, 2004 23:28 EST)
She's so damn hott. Jesus Christ. One night Lindsay I'll send u to nirvana.
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From: [email protected] (Dec 13, 2004 22:03 EST)
You people are a bunch of sick nerds I hate all of you. She is hot get over it you dont have a chance with her. SO fuck off. And I for one happen not to just like her boob even though that helps. She has a really buetiful smile and face. But noooo all of you kinko pervs happen to like her cuz you think she has a big rack get over it. U suck if you have something to say this is my email [email protected]
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From: Bob (Dec 14, 2004 20:19 EST)
Man, I want her boobs so bad...
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From: Lindsay's boobs talk to me. (Dec 17, 2004 20:53 EST)
I want them
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HOT photos of Lindsay Lohan! Click here!
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