Beats Movie Quotes

Mahoney: "Thirty-seven seconds. Great, well done; now we wait." Mr. Magorium: "No, we breathe, we pulse, we regenerate. our hearts beat, our minds create, our souls ingest. Thirty-seven seconds well used is a lifetime.

Do you know when they say soul-mates? Everybody uses it in personal ads. "Soul-mate wanted". It doesn't mean too much now. But soul mates- think about it. When your soul-whatever that is anyway-something so alive when you make music or love and so mysteriously hidden most of the rest of the time, so colorful and big but without color or shape-when your soul finds another soul it can recognize even before the rest of you knows about it. The rest of you just feels sweaty and jumpy at first. And your souls get married without even meaning to-even if you can't be together for some reason in real life, your souls just go ahead and make the wedding plans. A soul's wedding must be too beautiful to even look at. It must be blinding. In must be like all the weddings in the world-gondolas with canopies of doves, champagne glasses shattering, wings of veils, drums beating, flutes and trumpets,showers of roses. And after that happens-that's it, this is it. But sometimes you have to let that person go. When you are little, people , movie and fairy tales all tell you that one day you're going to meet this person. So you keep waiting and it's a lot harder than they make it sound. Then you meet and you think, okay, now we can just get on with it but you find out that sometimes your sould brother partner lover has other ideas about that.

Yes, but you are still only human.” I laughed, the sound of it drowned out by the crunch of rocks as the mountain continued to shudder as though in the throes of birth pangs. “So was Van Helsing, yet in every movie, he beat the vampire in the end. Never underestimate the power of humanity.

It was one of those moments that would have had dramatic music if my life were a movie, but instead I got a radio jingle for some kind of submarine sandwich place blaring over the store's ambient stereo. The movie ofmy life must be really low-budget.

Yeah, well, love doesn't always beat out the fear." "Sometimes it does," he replied with a smile, pecking her on the nose. "Christ, Driggs. You're turning into a Lifetime movie." "Your defense mechanisms are captivating, as always.

Jack Sparrow: [after Will draws his sword] Put it away, son. It's not worth you getting beat again. Will Turner: You didn't beat me. You ignored the rules of engagement. In a fair fight, I'd kill you. Jack Sparrow: That's not much incentive for me to fight fair, then, is it?

What's with that?” Butters screamed, his voice high and frightened. “Just covering his head with his arms? Didn't he see the lawyer in the movie?

If I touch a burning candle I can feel no pain If you cut me with a knife It's still the same And I know her heart is beating And I know that I am dead Yet the pain here that I feel Try and tell me it's not real And it seems I still have a tear to shed

This was it. And it was right. Perfect without the dinner, movies, and flowers, because how could you really plan something like this? You couldn't Daemon sat back- A fist pounded on the door, and Andrew's voice intruded. "Daemon, are you awake?" We stared at each other in disbelief. "If I ignore him," he whispered, "do you think he'll go away?" My hands dropped to my sides. "Maybe" The pounding came again. "Daemon, I really need you downstairs. Dawson is ready to go back to Mount Weather. Nothing Dee or I are saying to him is making a bit of difference. He's like a suicidal Energizer bunny." Daemon squeezed his eyes shut. "Son of a bitch..." "It's okay." I started to sit up. "He needs you." He let out a ragged sigh. "Stay here and get some rest. I'll talk-or beat some sense into him." He kissed me briefly and then gently pushed me back down. "I'll be back." Settling in, I smiled. "Try not to kill him." "No promises." He stood, pulled on his pajama bottoms, and headed for the door. Stopping short, he looked over his shoulder,his intense gaze melting my bones. "Dammit." A few seconds after he stepped out into the hallway and closed the door behind him, there was a fleshly smack and then Andrew yelling. "Ouch. What in the hell was that for?" "Your timing sucks on an epic level," Daemon shot back.

A guy's calling to say he's failing algebra II. Just as a point of practice, I say, Kill yourself. A woman calls and says her kids won't behave. Without missing a beat, I tell her, Kill yourself. A man calls to say his car won't start. Kill yourself. A woman calls to ask what time the late movie starts. Kill yourself. She asks, "Isn't this 555-1327? Is this the Moorehouse CinePlex? I say, Kill yourself. Kill yourself. Kill yourself.

In psychology, there's something called the broken-leg problem. A statistical formula may be highly successful in predicting whether or not a person will go to a movie in the next week. But someone who knows that this person is laid up with a broken leg will beat the formula. No formula can take into account the infinite range of such exceptional events.

I want dinner dates and movie nights and homemade breakfasts after long, magical nights of lovemaking. I want to hold hands in public. I want to go on road trips, see the ocean, and laugh until our bellies ache.

I think the reason novels are regarded to have so much more 'information' than films is that they outsource the scenic design and cinematography to the reader... This, for me, is a powerful argument for the value and potency of literature specifically. Movies don't demand as much from the player. Most people know this; at the end of the day you can be too beat to read but not yet too beat to watch television or listen to music.

From Jess: FANG. I've commented your blog with my questions for THREE YEARS. You answer other people's STUPID questions but not MINE. YOU REALLY ASKED FOR IT, BUDDY. I'm just gonna comment with this until you answer at least one of my questions. DO YOU HAVE A JAMAICAN ACCENT? No, Mon DO YOU MOLT? Gross. WHAT'S YOUR STAR SIGN? Dont know. "Angel what's my star sign?" She says Scorpio. HAVE YOU TOLD JEB I LOVE HIM YET? No. DOES NOT HAVING A POWER MAKE YOU ANGRY? Well, that's not really true... DO YOU KNOW HOW TO DO THE SOULJA BOY? Can you see me doing the Soulja Boy? DOES IGGY KNOW HOW TO DO THE SOULJA BOY? Gazzy does. DO YOU USE HAIR PRODUCTS? No. Again,no. DO YOU USE PRODUCTS ON YOUR FEATHERS? I don't know that they make bird kid feather products yet. WHAT'S YOU FAVORITE MOVIE? There are a bunch WHAT'S YOUR FAVORITE SONG? I don't have favorites. They're too polarizing. WHAT'S YOUR FAVORITE SMELL? Max, when she showers. DO THESE QUESTIONS MAKE YOU ANGRY? Not really. IF I CAME UP TO YOU IN A STREET AND HUGGED YOU, WOULD YOU KILL ME? You might get kicked. But I'm used to people wanting me dead, so. DO YOU SECRETLY WANT TO BE HUGGED? Doesn't everybody? ARE YOU GOING EMO 'CAUSE ANGEL IS STEALING EVERYONE'S POWERS (INCLUDING YOURS)? Not the emo thing again. WHAT'S YOUR FAVORITE FOOD? Anything hot and delicious and brought to me by Iggy. WHAT DID YOU HAVE FOR BREAKFAST THIS MORNING? Three eggs, over easy. Bacon. More Bacon. Toast. DID YOU EVEN HAVE BREAKFAST THIS MORNING? See above. DID YOU DIE INSIDE WHEN MAX CHOSE ARI OVER YOU? Dudes don't die inside. DO YOU LIKE MAX? Duh. DO YOU LIKE ME? I think you're funny. DOES IGGY LIKE ME? Sure DO YOU WRITE DEPRESSING POETRY? No. IS IT ABOUT MAX? Ahh. No. IS IT ABOUT ARI? Why do you assume I write depressing poetry? IS IT ABOUT JEB? Ahh. ARE YOU GOING TO BLOCK THIS COMMENT? Clearly, no. WHAT ARE YOU WEARING? A Dirty Projectors T-shirt. Jeans. DO YOU WEAR BOXERS OR BRIEFS? No freaking comment. DO YOU FIND THIS COMMENT PERSONAL? Could I not find that comment personal? DO YOU WEAR SUNGLASSES? Yes, cheap ones. DO YOU WEAR YOUR SUNGLASSES AT NIGHT? That would make it hard to see. DO YOU SMOKE APPLES, LIKE US? Huh? DO YOU PREFER BLONDES OR BRUNETTES? Whatever. DO YOU LIKE VAMPIRES OR WEREWOLVES? Fanged creatures rock. ARE YOU GAY AND JUST PRETENDING TO BE STRAIGHT BY KISSING LISSA? Uhh... WERE YOU EXPERIMENING WITH YOUR SEXUALITY? Uhh... WOULD YOU TELL US IF YOU WERE GAY? Yes. DO YOU SECRETLY LIKE IT WHEN PEOPLE CALL YOU EMO? No. ARE YOU EMO? Whatever. DO YOU LIKE EGGS? Yes. I had them for breakfast. DO YOU LIKE EATING THINGS? I love eating. I list it as a hobby. DO YOU SECRETLY THINK YOU'RE THE SEXIEST PERSON IN THE WHOLE WORLD? Do you secretly think I'm the sexiest person in the whole world? DO YOU EVER HAVE DIRTY THOUGHTS ABOUT MAX? Eeek! HAS ENGEL EVER READ YOUR MIND WHEN YOU WERE HAVING DIRTY THOUGHT ABOUT MAX AND GONE "OMG" AND YOU WERE LIKE "D:"? hahahahahahahahahahah DO YOU LIKE SPONGEBOB? He's okay, I guess. DO YOU EVER HAVE DIRTY THOUGHT ABOUT SPONGEBOB? Definitely CAN YOU COOK? Iggy cooks. DO YOU LIKE TO COOK? I like to eat. ARE YOU, LIKE, A HOUSEWIFE? How on earth could I be like a housewife? DO YOU SECRETLY HAVE INNER TURMOIL? Isn't it obvious? DO YOU WANT TO BE UNDA DA SEA? I'm unda da stars. DO YOU THINK IT'S NOT TOO LATE, IT'S NEVER TOO LATE? Sure. WHERE DID YOU LEARN TO PLAY POKER? TV. DO YOU HAVE A GOOD POKER FACE? Totally. OF COURSE YOU HAVE A GOOD POKER FACE. DOES IGGY HAVE A GOOD POKER FACE? Yes. CAN HE EVEN PLAY POKER? Iggy beats me sometimes. DO YOU LIKE POKING PEOPLE HARD? Not really. ARE YOU FANGALICIOUS? I could never be as fangalicious as you'd want me to be. Fly on, Fang

Sixsmith. I climb the steps of the Scot monument every morning and all becomes clear. Wish I could make you see this brightness. Don't worry, all is well. All is so perfectly, damnably well. I understand now that boundaries between noise and sound are conventions. All boundaries are conventions, waiting to be transcended. One may transcend any convention if only one can first conceive of doing so. Moments like this, I can feel your heart beating as clearly as I feel my own, and I know that separation is an illusion. My life extends far beyond the limitations of me.

On Slavery: The saddest slap in the face is we have NO monument, no real statues or memorials, no special day of Atonement or Remembrance (NOT ONE), no thanks for 400+ years of free labor, forced servitude across the Trans-Atlantic, ass beatings, buying ourselves and families out of slavery, rape and plunder...but everyone else has monuments, special museums, and even movies. This is what America thinks of black people, so-called black president and all, who has been largely silent on this subject...we'll even celebrate Leprechauns, Easter Bunnies, and Secretary's Day before we acknowledge our history.

Then I heard a noise I’d never heard in real life before. The kind of noise you hear in movies when horse’s hooves are beating on cobblestones or the members of Monty Python were cracking together coconuts.

OK, publishing a book and releasing a movie is all very well, but Tottenham beating Man. U. 3-2... priceless.

It's a strange thing, feeling like you can't breathe without another person. Physically, I know I'm breathing and my heart is beating when she's not around, but in my soul, it feels a movie that's been paused, waiting for someone to come back into the room. When I'm away from her, I feel like my life is on hold and she's the only one who can restart it.

I'm a mean mother-hmmnhmmnh man of God," she informed me. "Except that I'm a woman, of course." "You just quoted something, didn't you?" I asked. "Yes, I did," Molly agreed. She seemed calm but her heart was beating fat. "From Dusk Till Dawn. Its a vampire movie with George Clooney." "Is it too late to get a different priest?" Choo wondered. "Like maybe one who quotes The Bible?

...the movie is on, but I’m not really watching… the music is playing, but I’m not really listening… all of my senses are focused on you… us… the way your hand fits mine… the way our hearts beat as one… the passion that we’re engulfed in… the love we make... the life we build.

Whose idea was it that we should all get jobs, work faster, work better, race from place to place with our brains stewing on tweets, blogs, and sound bites, on must-see movies, must-do experiences, must-have gadgets, when in the end, all any of us will have is our simple beating heart, reaching up for the connection to whoever might be in the room or leaning into our mattress as we draw our last breath?

You don't like me talking to other girls?" "I don't like you grinning at them."Teagan admitted "Then tame me with your fine Irish eyes, girl." "Humph." "You have nothing to worry about. You've had my heart since..." "When?" "I was just trying to sort it, " Fin said. "It could have been the time you explained how its cockles were related to a shellfish." he paused. "No, it was when you flat refused to kiss me-- and me thinking I'd never see you agina, risking my kife to lead the goblins away into the night. It was heroic. And sad." Teagan punched his arm. "All right." He smiled. "It was the first time I set eyes on you. My heart stopped beating, and that's a fact." "I know," Teagan said. "The first time I met you, it made me throw up." Finn knit his brows. "I'll never get over how romantic you are. It's like you've stepped right out of one of those fairy movies Aiden's making Roisin watch.

He wants the simplicity of finality, but it’s never like it is in the movies. It always lingers on. Like a song that ends a beat or two before it’s supposed to, it feels like there should be more but there’s nothing, just an empty space and a long, fading echo.

You have got to be good in that town if you want to beat the crowd.' So says young John on his first sight of New York City. THE CROWD (1928)

My favorite books, love songs, movies, the ones that resonated with me, have kept me grieving long after I turned the last page, the notes faded out, or the credits rolled. Because of that, I believed it, because I made myself believe it, and I bred the most masochistic of romantic hearts, which resulted in my illness. When I lived this story, my own twisted fairy tale, it was unbeknownst to me at the time because I was young and naïve. I gave into temptation and fed that beating beast, which grew thirstier with every slash, every strike, every blow. That’s the novelty of fiction versus reality. You can’t re-live your own love story because, by the time you’ve realized you’re living it, it’s over. At least that was the case for me.

You know, typically a nickname is shorter than the given name.” “Is it?” he asked in mock seriousness. “Oh. Well, tell you what, you can call me…” She waited several beats, thinking of more than a few unkind examples. “I can call you what?” she finally asked. “That’s it.” He shot her his bone-melting smile. “You can just call me. Anytime.” She rolled her eyes, refusing to give in to the smile that threatened. “That sounds like a line from one of your movies.” He shot her a triumphant look. “Ah, ha! I knew you were a fan.

I'd been to a movie, come home and gone to bed with a bourbon nightcap and the newest Simenon: so much my idea of comfort that I couldn't understand a sense of unease that multiplied until I could hear my heart beating.

Regret nothing. Not the cruel novels you read to the end just to find out who killed the cook. Not the insipid movies that made you cry in the dark, in spite of your intelligence, your sophistication. Not the lover you left quivering in a hotel parking lot, the one you beat to the punchline, the door, or the one who left you in your red dress and shoes, the ones that crimped your toes, don’t regret those. Not the nights you called god names and cursed your mother, sunk like a dog in the livingroom couch,b chewing your nails and crushed by loneliness. You were meant to inhale those smoky nights over a bottle of flat beer, to sweep stuck onion rings across the dirty restaurant floor, to wear the frayed coat with its loose buttons, its pockets full of struck matches. You’ve walked those streets a thousand times and still you end up here. Regret none of it, not one of the wasted days you wanted to know nothing, when the lights from the carnival rides were the only stars you believed in, loving them for their uselessness, not wanting to be saved. You’ve traveled this far on the back of every mistake, ridden in dark-eyed and morose but calm as a house after the TV set has been pitched out the upstairs window. Harmless as a broken ax. Emptied of expectation. Relax. Don’t bother remembering any of it. Let’s stop here, under the lit sign on the corner, and watch all the people walk by.

I picture a heart lying down on the floor of the torso, pulling up the blankets over its head, thinking this pain will go on forever (even though it won’t). The heart is watching Lifetime movies and wishing, and missing all the good parts of her that she has forgotten. The heart is so tired of beating herself up, she wants to stop it still, but also she wants the blood to return, wants to bring in the thrill and wind of the ride, the fast pull of life driving underneath her.

As time passes, the cast and crew go the way of all flesh, though their celluloid echoes remain--walking, talking, fighting, fucking. After enough time, every person you see onscreen will have died, transformed through the magic of cinema into a collection of visible memories: light on a screen, pixels on a videotape, information on a DVD. We bring them back every time we start a movie, and they live again, reflected in our eyes. It's a cruel sort of immortality, I guess, though it probably beats the alternative.

Anything with a beat is meat,

Overcoming deficits is an essential part of the fabric of our culture. Our books, movies, and folklore are filled with stories of the underdog who beats one-in-a-million odds. And

I can be bad all on my own. If this were a movie, a sick beat would drop at this exact moment.

That’s the kind of love that beats evil in the movies. It marches against armies, connects people over eons, shattering time and defeating death until it stands at the end of the universe, defiant and blazing.

Its important to understand that a legalist isn't just someone with higher standards or more rules than you. A lot of us wrongly stereotype a legalistic person as one who doesn't go to the movies, or who thinks that any music with a beat is evil. Legalism is much more subtle and serious than that. Here's a simple definition that I use: Legalism is seeking to achieve forgiveness from God and acceptance by God through obedience to God.

As I’ve told you many times, I’m split in two. One side contains my exuberant cheerfulness, my flippancy, my joy in life and, above all, my ability to appreciate the lighter side of things. By that I mean not finding anything wrong with flirtations, a kiss, an embrace, an off-color joke. This side of me is usually lying in wait to ambush the other one, which is much purer, deeper and finer. No one knows Anne’s better side, and that’s why most people can’t stand me. Oh, I can be an amusing clown for an afternoon, but after that everyone’s had enough of me to last a month. Actually, I’m what a romantic movie is to a profound thinker—a mere diversion, a comic interlude, something that is soon forgotten: not bad, but not particularly good either. I hate having to tell you this, but why shouldn’t I admit it when I know it’s true? My lighter, more superficial side will always steal a march on the deeper side and therefore always win. You can’t imagine how often I’ve tried to push away this Anne, which is only half of what is known as Anne—to beat her down, hide her. But it doesn’t work, and I know why. I’m afraid that people who know me as I usually am will discover I have another side, a better and finer side. I’m afraid they’ll mock me, think I’m ridiculous and sentimental and not take me seriously. I’m used to not being taken seriously, but only the “lighthearted” Anne is used to it and can put up with it; the “deeper” Anne is too weak. If I force the good Anne into the spotlight for even fifteen minutes, she shuts up like a clam the moment she’s called upon to speak, and lets Anne number one do the talking. Before I realize it, she’s disappeared. So the nice Anne is never seen in company. She’s never made a single appearance, though she almost always takes the stage when I’m alone. I know exactly how I’d like to be, how I am … on the inside. But unfortunately I’m only like that with myself. And perhaps that’s why—no, I’m sure that’s the reason why—I think of myself as happy on the inside and other people think I’m happy on the outside. I’m guided by the pure Anne within, but on the outside I’m nothing but a frolicsome little goat tugging at its tether. As I’ve told you, what I say is not what I feel, which is why I have a reputation for being boy-crazy as well as a flirt, a smart aleck and a reader of romances. The happy-go-lucky Anne laughs, gives a flippant reply, shrugs her shoulders and pretends she doesn’t give a darn. The quiet Anne reacts in just the opposite way. If I’m being completely honest, I’ll have to admit that it does matter to me, that I’m trying very hard to change myself, but that I’m always up against a more powerful enemy. A voice within me is sobbing, “You see, that’s what’s become of you. You’re surrounded by negative opinions, dismayed looks and mocking faces, people who dislike you, and all because you don’t listen to the advice of your own better half.” Believe me, I’d like to listen, but it doesn’t work, because if I’m quiet and serious, everyone thinks I’m putting on a new act and I have to save myself with a joke, and then I’m not even talking about my own family, who assume I must be sick, stuff me with aspirins and sedatives, feel my neck and forehead to see if I have a temperature, ask about my bowel movements and berate me for being in a bad mood, until I just can’t keep it up anymore, because when everybody starts hovering over me, I get cross, then sad, and finally end up turning my heart inside out, the bad part on the outside and the good part on the inside, and keep trying to find a way to become what I’d like to be and what I could be if … if only there were no other people in the world. Yours, Anne M. Frank ANNE’S DIARY ENDS HERE.

Kissing like Alfie had always imagined it was supposed to be. Movie-star-magic-silver-screen-fireworks-in-the-sky kissing. Endless and restless, like the sea beating in the distance. Like listening to a shell, except it was everything and everywhere, the taste

It was the same with movies. My mom didn’t want my mind polluted by movies with sex and violence. So the Bible was my action movie. Samson was my superhero. He was my He-Man. A guy beating a thousand people to death with the jawbone of a donkey? That’s pretty badass.

Shawshank’s good,” he says. “But you can’t beat the way Woody Harrelson kills zombies. He takes such joy in it.” “Uh-huh,” I say, making a face. “I’ve always found zombies to be the least threatening of the scary monsters. I mean, come on. They’re slow. They’re brain-dead. They don’t plot evil or try to take over the world. They just—” I put my arms out in front of me and give him my best zombie groan. I shake my head. “So not scary.” “But they just. Keep. Coming,” Christian says. “You can run, you can kill them, but more of them always pop up, and they never stop.” He shudders. “And they try to eat you, and if you get bitten, that’s it—you’re infected. You’re doomed to become a zombie yourself. End of story.” “Okay,” I concede, “they’re kind of scary,” and now I’m vaguely disappointed that we’re not here to watch a zombie movie.

Wanting All Husband, it's fine the way your mind performs Like a circus, sharp As a sword somebody has To swallow, rough as a bear, Complicated as a family of jugglers, Brave as a sequined trapeze Artist, the only boy I ever met Who could beat me in argument Was why I married you, isn't it, And you have beaten me, I've beaten you, We are old polished hands. Or was it your body, I forget, maybe I foresaw the thousands on thousands Of times we have made love Together, mostly meat And potatoes love, but sometimes Higher than wine, Better than medicine. How lately you bite, you baby, How angels record and number Each gesture, and sketch Our spinal columns like professionals. Husband, it's fine how we cook Dinners together while drinking, How we get drunk, how We gossip, work at our desks, dig in the garden, Go to the movies, tell The children to clear the bloody table, How we fit like puzzle pieces. The mind and body satisfy Like windows and furniture in a house. The windows are large, the furniture solid. What more do I want then, why Do I prowl the basement, why Do I reach for your inside Self as you shut it Like a trunkful of treasures? Wait, I cry, as the lid slams on my fingers.

She's probably just tired of seeing you miserable.Like we all are," I add. "I'm sure...I'm sure she's as crazy about you as ever." "Hmm." He watches me put away my own shoes and empty the contents of my pockets. "What about you?" he asks, after a minute. "What about me?" St. Clair examines his watch. "Sideburns. You'll be seeing him next month." He's reestablishing...what? The boundary line? That he's taken, and I'm spoken for? Except I'm not. Not really. But I can't bear to say this now that he's mentioned Ellie. "Yeah,I can't wait to see him again. He's a funny guy, you'd like him.I'm gonna see his band play at Christmas. Toph's a great guy, you'd really like him. Oh. I already said that,didn't I? But you would. He's really...funny." Shut up,Anna. Shut.Up. St. Clair unbuckles and rebuckles and unbuckles his watchband. "I'm beat," I say. And it's the truth. As always, our conversation has exhausted me. I crawl into bed and wonder what he'll do.Lie on my floor? Go back to his room? But he places his watch on my desk and climbs onto my bed. He slides up next to me. He's on top of the covers, and I'm underneath. We're still fully dressed,minus our shoes, and the whole situation is beyond awkward. He hops up.I'm sure he's about to leave,and I don't know whether to be relieved or disappointed,but...he flips off my light.My room is pitch-black. He shuffles back toward my bed and smacks into it. "Oof," he says. "Hey,there's a bed there." "Thanks for the warning." "No problem." "It's freezing in here.Do you have a fan on or something?" "It's the wind.My window won't shut all the way.I have a towel stuffed under it, but it doesn't really help." He pats his way around the bed and slides back in. "Ow," he says. "Yes?" "My belt.Would it be weird..." I'm thankful he can't see my blush. "Of course not." And I listen to the slap of leather as he pulls it out of his belt loops.He lays it gently on my hardwood floor. "Um," he says. "Would it be weird-" "Yes." "Oh,piss off.I'm not talking trousers. I only want under the blankets. That breeze is horrible." He slides underneath,and now we're lying side by side. In my narrow bed. Funny,but I never imagined my first sleepover with a guy being,well,a sleepover. "All we need now are Sixteen Candles and a game of Truth or Dare." He coughs. "Wh-what?" "The movie,pervert.I was just thinking it's been a while since I've had a sleepover." A pause. "Oh." "..." "..." "St. Clair?" "Yeah?" "Your elbow is murdering my back." "Bollocks.Sorry." He shifts,and then shifts again,and then again,until we're comfortable.One of his legs rests against mine.Despite the two layers of pants between us,I feel naked and vulnerable. He shifts again and now my entire leg, from calf to thigh, rests against his. I smell his hair. Mmm. NO! I swallow,and it's so loud.He coughs again. I'm trying not to squirm. After what feels like hours but is surely only minutes,his breath slows and his body relaxes.I finally begin to relax, too. I want to memorize his scent and the touch of his skin-one of his arms, now against mine-and the solidness os his body.No matter what happens,I'll remember this for the rest of my life. I study his profile.His lips,his nose, his eyelashes.He's so beautiful.

Meditation is food for our inner being. We can live without it, but not well. As we deepen our breath and still our body, our thoughts follow into stillness. As we listen to the beating of our heart, and place it in rhythm with our breath, our emotions come alive, like a black-and-white movie suddenly exploding into colour

I smile at my friends, but Mer and Rashmi and Josh are distracted, arguing about something that happened over dinner. St. Clair sees me and smiles back. "Good?" I nod.He looks pleased and ducks into the row after me. I always sit four rows up from the center, and we have perfectseats tonight.The chairs are classic red. The movie begins,and the title screen flashes up. "Ugh,we have to sit through the credits?" Rashmi asks. They roll first,like in all old films. I read them happily. I love credits. I love everything about movies. The theater is dark except for the flicker of blacks and whites and grays on-screen. Clark Gable pretends to sleep and places his hand in the center of an empty bus seat. After a moment of irritation,Claudette Colbert gingerly plucks it aside and sits down. Gable smiles to himself,and St. Clair laughs. It's odd,but I keep finding myself distracted. By the white of his teeth through the darkness.By a wavy bit of his hair that sticks straight out to the side. By the soft aroma of his laundry detergent. He nudges me to silently offer the armrest,but I decline and he takes it.His arm is close to mine,slightly elevated. I glance at his hands.Mine are tiny compared to his large,knuckly boy hands. And,suddenly,I want to touch him. Not a push,or a shove,or even a friendly hug. I want to feel the creases in his skin,connect his freckles with invisible lines,brush my fingers across the inside of his wrist. He shifts. I have the strangest feeling that he's as aware of me as I am of him. I can't concentrate. The characters on the screen are squabbling, but for the life of me, I don't know what about. How long have I not been paying attention? St. Clair coughs and shifts again. His leg brushes against mine.It stays there. I'm paralyzed. I should move it; it feels too unnatural.How can he not notice his leg is touching my leg? From the corner of my eye,I see the profile of his chin and nose,and-oh,dear God-the curve of his lips. There.He glanced at me. I know he did. I bore my eyes into the screen, trying my best to prove that I am Really Interested in this movie.St. Clair stiffens but doesn't move his leg.Is he holding his breath? I think he is.I'm holding mine. I exhale and cringe-it's so loud and unnatural. Again.Another glance. This time I turn, automatically,just as he's turning away. It's a dance,and now there's a feeling in the air like one of us should say something.Focus,Anna. Focus. "Do you like it?" I whisper. He pauses. "The film?" I'm thankful the shadows hide my blush. "I like it very much," he says. I risk a glance,and St. Clair stares back. Deeply.He has not looked at me like this before.I turn away first, then feel him turn a few beats later. I know he is smiling,and my heart races.

Yeah, I did, Luna. You wanna go out to eat? I’ll take you. You wanna go out and get a Sprite? Tell me. You want to watch a fucking movie? I’ll take you to the goddamn movies. If you want to go to beat the shit out of your cousin again, I’ll fucking take you. You want to meet someone to be your best friend and your fucking partner? I’m right fucking here, baby girl.

The Y Not had a waitress named Shirley who was the most disagreeable person I have ever met. Whatever you ordered, she would look at you as if you had asked to borrow her car to take her daughter to Tijuana for a filthy weekend. ‘You want what?’ she would say. ‘A pork tenderloin and onion rings,’ you would repeat apologetically. ‘Please, Shirley. If it’s not too much trouble. When you get a minute.’ Shirley would stare at you for up to five minutes, as if memorizing your features for the police report, then scrawl your order on a pad and shout out to the cook in that curious dopey lingo they always used in diners, ‘Two loose stools and a dead dog’s schlong,’ or whatever. In a Hollywood movie Shirley would have been played by Marjorie Main. She would have been gruff and bossy, but you would have seen in an instant that inside her ample bosom there beat a heart of pure gold. If you unexpectedly gave her a birthday present she would blush and say, ‘Aw, ya shouldana oughtana done it, ya big palooka.’ If you gave Shirley a birthday present she would just say, ‘What the fuck's this?' Shirley, alas, didn’t have a heart of gold.

Whose idea was it that we should all get jobs, work faster, work better, race from place to place with our brains stewing on tweets, blogs, and sound bites, on must-see movies, must-do experiences, must-have gadgets, when in the end, all any of us will have is our simple beating heart, reaching up for the connection to whoever might be in the room or leaning into our mattress as we draw our last breath.

What about television?" a young man asked. "It's an octopus. It's no longer just a little box, it's the Love Machine." "Why the Love Machine?" a reporter asked. "Because it sells love. It creates love. Presidents are chosen by their appeal on that little box. It's turned politicians into movie stars and movie stars into politicians. It can you engaged if you use a certain mouthwash. It claims you'll have women hanging on your coattails if you use a certain hair cream. It tells the kids to eat their cereal if they want to be like their baseball idol. But like all great lovers, the Love Machine is a fickle bastard. It has great magnetism--but it has no heart. In place of a heart beats a Nielsen rating. And when the Nielsen falters, the program dies. It's the pulse and heart of the twentieth century--The Love Machine.

When he was in college, a famous poet made a useful distinction for him. He had drunk enough in the poet's company to be compelled to describe to him a poem he was thinking of. It would be a monologue of sorts, the self-contemplation of a student on a summer afternoon who is reading Euphues. The poem itself would be a subtle series of euphuisms, translating the heat, the day, the student's concerns, into symmetrical posies; translating even his contempt and boredom with that famously foolish book into a euphuism. The poet nodded his big head in a sympathetic, rhythmic way as this was explained to him, then told him that there are two kinds of poems. There is the kind you write; there is the kind you talk about in bars. Both kinds have value and both are poems; but it's fatal to confuse them. In the Seventh Saint, many years later, it had struck him that the difference between himself and Shakespeare wasn't talent - not especially - but nerve. The capacity not to be frightened by his largest and most potent conceptions, to simply (simply!) sit down and execute them. The dreadful lassitude he felt when something really large and multifarious came suddenly clear to him, something Lear-sized yet sonnet-precise. If only they didn't rush on him whole, all at once, massive and perfect, leaving him frightened and nerveless at the prospect of articulating them word by scene by page. He would try to believe they were of the kind told in bars, not the kind to be written, though there was no way to be sure of this except to attempt the writing; he would raise a finger (the novelist in the bar mirror raising the obverse finger) and push forward his change. Wailing like a neglected ghost, the vast notion would beat its wings into the void. Sometimes it would pursue him for days and years as he fled desperately. Sometimes he would turn to face it, and do battle. Once, twice, he had been victorious, objectively at least. Out of an immense concatenation of feeling, thought, word, transcendent meaning had come his first novel, a slim, pageant of a book, tombstone for his slain conception. A publisher had taken it, gingerly; had slipped it quietly into the deep pool of spring releases, where it sank without a ripple, and where he supposes it lies still, its calm Bodoni gone long since green. A second, just as slim but more lurid, nightmarish even, about imaginary murders in an imaginary exotic locale, had been sold for a movie, though the movie had never been made. He felt guilt for the producer's failure (which perhaps the producer didn't feel), having known the book could not be filmed; he had made a large sum, enough to finance years of this kind of thing, on a book whose first printing was largely returned.

There is a scene in one of the Rocky movies where after the match Apollo Creed and Rocky are waiting for the scoring of their brawl all beat up and battered, obviously both fighters gave all they had to win, and Apollo Creed says to Rocky - "Your not getting a rematch" and Rocky says "I don't want one". I love that scene. That's when you know that you left no doubt - that your opponent, win or lose, never wants to compete against you ever again. That's fighting.

For all his early-morning bravado, Bannon sounded as if he still couldn’t quite believe it all. And what an incredible story it was. Given the central role he had played in the greatest political upset in American history, the reporter suggested that it had all the makings of a Hollywood movie. Without missing a beat, Bannon shot back a reply worthy of his favorite vintage star, Gregory Peck in Twelve O’Clock High. “Brother,” he said, “Hollywood doesn’t make movies where the bad guys win.

Our conventions humiliate the ass, inflicting on him beatings in real life and insults in our daily vocabulary. The ass pulls the cart, bears the burden, carries the weight of life; and life, we well know, is ungrateful and unjust towards those who come to its aid. Life allows itself to be carried away by rose-tinted novelettes and technicolor movies, and prefers radiant destinies to the plain prose of reality, so it is more taken with racehorses at Ascot than with humble donkeys on country roads.

I was ready to get this show on the road, creating a new generation with an updated set of rules and regulations. Not that there was anything wrong with the way either one of us was brought up, but still, the world is changing, so the way you bring up kids had to change, too. Part of my plan was to never one time mention picking cotton. My parents always talked about either real cotton or the idea of it. White people say, 'It beats digging a ditch'; black people say, 'It beats picking cotton.' I'm not going to remind my kids that somebody died in order for me to do everyday things. I don't want Roy III sitting up in the movie theater trying to watch Star Wars or what have you and be thinking about the fact that sitting down eating some popcorn is a right that cost somebody his life. None of that. Or maybe not much of that. We'll have to get the recipe right. Now Celestial promises that she will never say that they have to be twice as good to get half as much. 'Even if it's true,' she said, 'what kind of thing is that to say to a five-year-old?

Overcoming deficits is an essential part of the fabric of our culture. Our books, movies, and folklore are filled with stories of the underdog who beats one-in-a-million odds. And this leads us to celebrate those who triumph over their lack of natural ability even more than we recognize those who capitalize on their innate talents. As a result, millions of people see these heroes as being the epitome of the American Dream and set their sights on conquering major challenges. Unfortunately, this is taking the path of most resistance.

A guy’s calling to say he’s failing Algebra II. Just as a point of practice, I say, Kill yourself. A woman calls and says her kids won’t behave. Without missing a beat, I tell her, Kill yourself. A man calls to say his car won’t start. Kill yourself. A woman calls to ask what time the late movie starts. Kill yourself. She asks, “Isn’t this 555-1327? Is this the Moorehouse CinePlex?” I say, Kill yourself. Kill yourself. Kill yourself. A girl calls and asks, “Does it hurt very much to die?” Well, sweetheart, I tell her, yes, but it hurts a lot more to keep living.

I see the glow before I see her. The orange light is so strong it’s hard to believe the house isn’t on fire, but when feet appear at the top of the staircase, I can finally see that the light isn’t coming from the house. It’s coming from her. My heart beats so fast I can’t tell the pulses apart—it’s one harsh thrum inside my head. If I’m a Smurf, this girl is an Oompa Loompa. No. Not even. It looks like she walked out of a horror movie. She really is on fire, burning from the inside out. I’m staring, but I can’t help it. Everyone would be staring if they could see what I see.

Most remember Hitchcock as a skilled storyteller, but what few know is that the director shot his movies using two separate scripts. The first, known as “the Blue Script,” was entirely functional. In it were all the tangible onscreen components, including dialogue, props, camera angles and set descriptions. The second script, which Hitchcock referred to as “the Green Script,” chronicled in fine detail the emotional arc, or “beats,” of the film he was shooting. Hitchcock relied on both scripts, but the Green Script reminded him how he wanted moviegoers to feel, and at what point,

Getting back to Audrey, though, I should really feel complimented that she won’t ever touch me because she likes me more than anyone else. It makes perfect sense, really, doesn’t it? If she ever gets down or depressed, i can make out the figure of her through the front window of the shack. She comes in and we drink cheap beer or wine and watch a movie or all three. Something old and long like Ben-Hur that stretches into the night. She’ll be next to me on the couch in her flannel shirt and jeans that have been cut into shorts,and eventually, when she’s asleep, I’ll bring a blanket out and cover her up. I kiss her cheek. I stroke her hair. I think of how she lives alone, just like me, and how she never had any real family, and how she only has sex with people. She never lets any love get in the way. I think she had a family once, but it was one of those beat-the-crap-out-of-each-other situations. There’s no shortage of them around here. I think she loved them and all she ever did was hurt her. That’s why she refuses to love. Anybody. I guess she feels better off that way, and who can blame her? When she sleeps on my couch, I think about all that. Everytime. I cover her up, then go to the bed and dream. With my eyes open.

We only have a little bit of time before I leave for Korea. Let’s not waste it.” Then I slide my hand in his, and he squeezes it. The house is completely empty, for the first time all week. All the other girls are still at the party, except for Chris, who ran into somebody she knows through Applebee’s. We go up to my room, and Peter takes off his shoes and gets in my bed. “Want to watch a movie?” he asks, stretching his arms behind his head. No, I don’t want to watch a movie. Suddenly my heart is racing, because I know what I want to do. I’m ready. I sit down on the bed next to him as he says, “Or we could start a new show--” I press my lips to his neck, and I can feel his pulse jump. “What if we don’t watch a movie or a show? What if we…do something else instead.” I give him a meaningful look. His body jerks in surprise. “What, you mean like now?” “Yes.” Now. Now feels right. I start planting little kisses down his throat. “Do you like that?” I can feel him swallow. “Yes.” He pushes me away from him so he can look at my face. “Let’s stop for a second. I can’t think. Are you drunk? What did Chris put in that drink she gave you?” “No, I’m not drunk!” I had a little bit of a warm feeling in my body, but the walk home woke me right up. Peter’s still staring at me. “I’m not drunk. I swear.” Peter swallows hard, his eyes searching mine. “Are you sure you want to do this now?” “Yes,” I say, because I really, truly am. “But first can you put on Frank Ocean?” He grabs his phone, and a second later the beat kicks in and Frank’s melodious voice fills the room. Peter starts fumbling with his shirt buttons and then gives up and starts to pull my shirt up, and I yelp, “Wait!” Peter’s so startled, he jumps away from me. “What? What’s wrong?” I leap off the bed and start rummaging through my suitcase. I’m not wearing my special bra and underwear set; I’m wearing my normal every day cappuccino-colored bra with the frayed edges. I can’t lose my virginity in my ugliest bra.

Lake Natron resided in northern Tanzania near an active volcano known as Ol Doinyo Lengai. It was part of the reason the lake had such unique characteristics. The mud had a curious dark grey color over where Jack had been set up for observation, and he noted that there was now an odd-looking mound of it to the right of one of the flamingo’s nests. He zoomed in further and further, peering at it, and then realized what he was actually seeing. The dragon had crouched down beside the nests and blended into the mud. From snout to tail, Jack calculated it had to be twelve to fourteen feet long. Its wings were folded against its back, which had small spines running down the length to a spiky tail. It had a fin with three prongs along the base of the skull and webbed feet tipped with sharp black talons. He estimated the dragon was about the size of a large hyena. It peered up at its prey with beady red eyes, its black forked tongue darting out every few seconds. Its shoulder muscles bunched and its hind legs tensed. Then it pounced. The dark grey dragon leapt onto one of flamingoes atop its nest and seized it by the throat. The bird squawked in distress and immediately beat its wings, trying to free itself. The others around them took to the skies in panic. The dragon slammed it into the mud and closed its jaws around the animal’s throat, blood spilling everywhere. The flamingo yelped out its last breaths and then finally stilled. The dragon dropped the limp carcass and sniffed the eggs before beginning to swallow them whole one at a time. “Holy shit,” Jack muttered. “Have we got a visual?” “Oh, yeah. Based on the size, the natives and the conservationists were right to be concerned. It can probably wipe out a serious number of wildlife in a short amount of time based on what I’m seeing. There’s only a handful of fauna that can survive in these conditions and it could make mincemeat out of them.” “Alright, so what’s the plan?” “They told me it’s very agile, which is why their attempts to capture it haven’t worked. I’m going to see if it responds to any of the usual stimuli. So far, they said it doesn’t appear to be aggressive.” “Copy that. Be careful, cowboy.” “Ten-four.” Jack glanced down at his utility belt and opened the pocket on his left side, withdrawing a thin silver whistle. He put it to his lips and blew for several seconds. Much like a dog whistle, Jack couldn’t hear anything. But the dragon’s head creaked around and those beady red eyes locked onto him. Jack lowered the whistle and licked his dry lips. “If I were in a movie, this would be the part where I said, ‘I’ve got a bad feeling about this.’” The dragon roared, its grey wings extending out from its body, and then flew straight at him.

We head for 680, which will take us seventeen miles south to the next attack, the third that month. October 1978. Carter was president. Grease had been the huge summer movie, and John Travolta and Olivia Newton-John’s “Summer Nights” was still a radio mainstay, though the Who’s “Who Are You” was climbing the charts. The fresh-scrubbed face of thirteen-year-old Brooke Shields stared blankly from the cover of Seventeen. The Yankees beat the Dodgers in the World Series. Sid Vicious’s girlfriend Nancy Spungen bled to death from a stab wound on a bathroom floor at the Chelsea Hotel. John Paul II was the new pope. Three days before the San Ramon attack, the movie Halloween was released.

Pont Saint Benezet.” “What happened to it?” Luce asked. Daniel glanced over his shoulder. “Remember how quiet Annabelle got when I mentioned we were coming here? She inspired the boy who built that bridge in the Middle Ages in the time when the popes lived here and not in Rome. He noticed her flying across the Rhone one day when she didn’t think anyone could see her. He built the bridge to follow her to the other side.” “When did it collapse?” “Slowly, over time, one arch would fall into the river. Then another. Arriane says the boy-his name was Benezet-had a vision for angels, but not for architecture. Annabelle loved him. She stayed in Avignon as his muse until he died. He never married, kept apart from the rest of Avignon society. The town thought he was crazy.” Luce tried not to compare her relationship with Daniel to what Annabelle had had with Benezet, but it was hard not to. What kind of relationship could an angel and a mortal really have? Once all this was over, if they beat Lucifer…then what? Would she and Daniel go back to Georgia and be like any other couple, going out for ice cream on Fridays after a movie? Or would the whole town think she was crazy, like Benezet? Was it all just hopeless? What would become of them in the end? Would their love vanish like a medieval bridge’s arches? The idea of sharing a normal life with an angel was what was crazy. She sensed that in every moment Daniel flew her through the sky. And yet she loved him more each day.

A young man dreamed of being an actor, but in the early 1980s, he wasn’t getting the big parts he wanted. Broke and discouraged, he drove his beat-up old car to the top of a hill overlooking the city of Los Angeles and did something unusual. He wrote himself a check for ten million dollars for “Acting services rendered.” This young man had grown up so poor his family lived in a Volkswagen van at one time. He put that check in his wallet and kept it there. When things got tough, he’d pull it out and look at it to remind himself of his dream. A dozen years later, that same young man, the comedian Jim Carrey, was making fifteen million to twenty-five million a movie. Studies tell us that we move toward what we consistently see. You should keep something in front of you, even if it’s symbolic, to remind you of what you are believing for.

Six horses died in a tractor-trailer fire. There. That's the hard part. I wanted to tell you straight away so we could grieve together. So many sad things, that's just one on a long recent list that loops and elongates in the chest, in the diaphragm, in the alveoli. What is it they say, heartsick or downhearted? I picture a heart lying down on the floor of the torso, pulling up the blankets over its head, thinking the pain will go on forever (even though it won't). The heart is watching Lifetime movies and wishing, and missing all the good parts of her that she has forgotten. The heart is so tired of beating herself up, she wants to stop it still, but also she wants the blood to return, wants to bring in the thrill and wind of the ride, the fast pull of life driving underneath her. What the heart wants? The heart wants her horses back.

Maybe it’s not a coincidence that I’ve always been interested in heroes, starting with my dad, Phil Robertson, and my mom, Miss Kay. My other heroes are my pa and my granny, who taught me how to play cards and dominoes and everything about fishing (which was a lot), and my three older brothers, who teased me, beat me up, and sometimes let me follow them around. Not much has changed in that department. I’ve always loved movies, and when I was about seven or eight years old, I watched Rocky, Sylvester Stallone’s movie about an underdog boxer who used his fists, along with sheer will, determination, and the ability to endure pain, to make a way for himself. He fought hard but played fair and had a soft spot for his friends. I fell in love with Rocky. He was my hero, and I became obsessed. When I decide to do something, I’m all in; so I found a pair of red shorts that looked like Rocky’s boxing trunks and a navy blue bathrobe with two white stripes on the sleeve and no belt. I took off my shirt and ran around bare-chested in my robe and shorts. Most kids I knew went through a superhero phase, but they picked DC Comics guys, like Batman or Superman. Not me. I was Rocky Balboa, the Italian Stallion, and proud of it. Mom let me run around like that for a couple of years, even when we went in to town. Rocky had a girlfriend, Adrian, who was always there, always by his side. When he was beaten and blinded in a bad fight, he called out for her before anybody else. “Yo, Adrian!” he shouted in his Philly-Italian accent. He needed her. Eventually, I grew up, and the red shorts and blue bathrobe didn’t fit anymore, but I always remembered Rocky’s kindness and his courage. And that every Rocky needs an Adrian.

Despite having minority traditions of their own, our present poor are absolute sheep and suckers for the popular culture which they cannot afford, the movies, sharp clothes, and up to Cadillacs. Indeed, it is likely that the popular culture is aimed somewhat at them, as the lowest common denominator. I do not mean that this is not a reasonable compensation, like the Englishman’s liquor and the Irishman’s betting on the horses. Everybody has got to have something, and so poor people show off and feel big by means of the standard of living. But in these circumstances it is immensely admirable that the Beat Generation has contrived a pattern of culture that, turning against the standard culture, costs very little and gives livelier satisfaction. It is a culture communally shared, in small groups. Much of it is handmade, not canned. Some of it is communally improvised.

Jesus, he’s actually waiting for me like he wants to get beat up. The kid has a screw loose. Or I do. Because I prowl forward and the mechanical gates guarding his house start to open for me. He’s wet through, golden hair scraped off his forehead. I hate how sexy he looks. My shirt is soaked to my chest too. I realize as we stare at each other, we probably look like one of those teen fucking romance movies, where they do some shit in the rain. In every drunk or sober situation this shouldn’t be happening. I shouldn’t be looking at his mouth like I’m on death row and he’s a steak dinner. I’m not gay. My drunk-ass brain chants over and over until the lie is part of my taste buds. My hazy eyes focus. He presses into my chest before I know it and he tugs the front of my hair until my mouth is hovering over his. “Your move, Maverick.” He says with calm ease. Rain drips off his tempting lips. Goddamn.

Peter and I are standing in line for popcorn at the movies. Even just this mundane thing feels like the best mundane thing that’s ever happened to me. I check my pocket to make sure I’ve still got my ticket stub. This I’ll want to save. Gazing up at Peter, I whisper, “This is my first date.” I feel like the nerdy girl in the movie who lands the coolest guy in school, and I don’t mind one bit. Not one bit. “How can this be your first date when we’ve gone out plenty of times?” “It’s my first real date. Those other times were just pretend; this is the real thing.” He frowns. “Oh, wait, is this real? I didn’t realize that.” I move to slug him in the shoulder, and he laughs and grabs my hand and links my fingers with his. It feels like my heart is beating right through my hand. It’s the first time we’ve held hands for real, and it feels different from those fake times. Like electric currents, in a good way. The best way.

The instruments of murder are as manifold as the unlimited human imagination. Apart from the obvious—shotguns, rifles, pistols, knives, hatchets and axes—I have seen meat cleavers, machetes, ice picks, bayonets, hammers, wrenches, screwdrivers, crowbars, pry bars, two-by-fours, tree limbs, jack handles (which are not “tire irons;” nobody carries tire irons anymore), building blocks, crutches, artificial legs, brass bedposts, pipes, bricks, belts, neckties, pantyhose, ropes, bootlaces, towels and chains—all these things and more, used by human beings to dispatch their fellow human beings into eternity. I have never seen a butler use a candelabrum. I have never seen anyone use a candelabrum! Such recherché elegance is apparently confined to England. I did see a pair of sneakers used to kill a woman, and they left distinctive tread marks where the murderer stepped on her throat and crushed the life from her. I have not seen an icicle used to stab someone, though it is said to be the perfect weapon, because it melts afterward. But I do know of a case in which a man was bludgeoned to death with a frozen ham. Murderers generally do not enjoy heavy lifting—though of course they end up doing quite a bit of it after the fact, when it is necessary to dispose of the body—so the weapons they use tend to be light and maneuverable. You would be surprised how frequently glass bottles are used to beat people to death. Unlike the “candy-glass” props used in the movies, real glass bottles stand up very well to blows. Long-necked beer bottles, along with the heavy old Coca-Cola and Pepsi bottles, make formidable weapons, powerful enough to leave a dent in a wooden two-by-four without breaking. I recall one case in which a woman was beaten to death with a Pepsi bottle, and the distinctive spiral fluting of the bottle was still visible on the broken margins of her skull. The proverbial “lead pipe” is a thing of the past, as a murder weapon. Lead is no longer used to make pipes.

What are you doing?” “Coming to pick you up in a little bit,” he said. I loved it when he took charge. It made my heart skip a beat, made me feel flushed and excited and thrilled. After four years with J, I was sick and tired of the surfer mentality. Laid-back, I’d discovered, was no longer something I wanted in a man. And when it came to his affection for me, Marlboro Man was anything but that. “I’ll be there at five.” Yes, sir. Anything you say, sir. I’ll be ready. With bells on. I started getting ready at three. I showered, shaved, powdered, perfumed, brushed, curled, and primped for two whole hours--throwing on a light pink shirt and my favorite jeans--all in an effort to appear as if I’d simply thrown myself together at the last minute. It worked. “Man,” Marlboro Man said when I opened the door. “You look great.” I couldn’t focus very long on his compliment, though--I was way too distracted by the way he looked. God, he was gorgeous. At a time of year when most people are still milky white, his long days of working cattle had afforded him a beautiful, golden, late-spring tan. And his typical denim button-down shirts had been replaced by a more fitted dark gray polo, the kind of shirt that perfectly emphasizes biceps born not from working out in a gym, but from tough, gritty, hands-on labor. And his prematurely gray hair, very short, was just the icing on the cake. I could eat this man with a spoon. “You do, too,” I replied, trying to will away my spiking hormones. He opened the door to his white diesel pickup, and I climbed right in. I didn’t even ask him where we were going; I didn’t even care. But when we turned west on the highway and headed out of town, I knew exactly where he was taking me: to his ranch…to his turf…to his home on the range. Though I didn’t expect or require a ride from him, I secretly loved that he drove over an hour to fetch me. It was a throwback to a different time, a burst of chivalry and courtship in this very modern world. As we drove we talked and talked--about our friends, about our families, about movies and books and horses and cattle.

Steven’s words slush together as he gets to his feet. “Crossing this one off the bucket list.” Then he unbuckles his belt and grabs the waist of his pants—yanking the suckers down to his ankles—tighty whities and all. Every guy in the car holds up his hands to try to block the spectacle. We groan and complain. “My eyes! They burn!” “Put the boa constrictor back in his cage, man.” “This is not the ass I planned on seeing tonight.” Our protests fall on deaf ears. Steven is a man on a mission. Wordlessly, he squats and shoves his lilywhite ass out the window—mooning the gaggle of grannies in the car next to us. I bet you thought this kind of stuff only happened in movies. He grins while his ass blows in the wind for a good ninety seconds, ensuring optimal viewage. Then he pulls his slacks up, turns around, and leans out the window, laughing. “Enjoying the full moon, ladies?” Wow. Steven usually isn’t the type to visually assault the elderly. Without warning, his crazy cackling is cut off. He’s silent for a beat, then I hear him choke out a single strangled word. “Grandma?” Then he’s diving back into the limo, his face grayish, dazed, and totally sober. He stares at the floor. “No way that just happened.” Matthew and I look at each other hopefully, then we scramble to the window. Sure enough, in the driver’s seat of that big old Town Car is none other than Loretta P. Reinhart. Mom to George; Grandma to Steven. What are the fucking odds, huh? Loretta was always a cranky old bitch. No sense of humor. Even when I was a kid she hated me. Thought I was a bad influence on her precious grandchild. Don’t know where she got that idea from. She moved out to Arizona years ago. Like a lot of women her age, she still enjoys a good tug on the slot machine—hence her frequent trips to Sin City. Apparently this is one such trip. Matthew and I wave and smile and in fourth-grader-like, singsong harmony call out, “Hi, Mrs. Reinhart.” She shakes one wrinkled fist in our direction. Then her poofy-haired companion in the backseat flips us the bird. I’m pretty sure it’s the funniest goddamn thing I’ve ever seen. The two of us collapse back into our seats, laughing hysterically.

The tornadic bundle of legs and arms and feet and hands push farther into the kitchen until only the occasional flailing limb is visible from the living room, where I can’t believe I’m still standing. A spectator in my own life, I watch the supernova of my two worlds colliding: Mom and Galen. Human and Syrena. Poseidon and Triton. But what can I do? Who should I help? Mom, who lied to me for eighteen years, then tried to shank my boyfriend? Galen, who forgot this little thing called “tact” when he accused my mom of being a runaway fish-princess? Toraf, who…what the heck is Toraf doing, anyway? And did he really just sack my mom like an opposing quarterback? The urgency level for a quick decision elevates to right-freaking-now. I decide that screaming is still best for everyone-it’s nonviolent, distracting, and one of the things I’m very, very good at. I open my mouth, but Rayna beats me to it-only, her scream is much more valuable than mine would have been, because she includes words with it. “Stop it right now, or I’ll kill you all!” She pushed past me with a decrepit, rusty harpoon from God-knows-what century, probably pillaged from one of her shipwreck excursions. She waves it at the three of them like a crazed fisherman in a Jaws movie. I hope they don’t notice she’s got it pointed backward and that if she fires it, she’ll skewer our couch and Grandma’s first attempt at quilting. It works. The bare feet and tennis shoes stop scuffling-out of fear or shock, I’m not sure-and Toraf’s head appears at the top of the counter. “Princess,” he says, breathless. “I told you to stay outside.” “Emma, run!” Mom yells. Toraf disappears again, followed by a symphony of scraping and knocking and thumping and cussing. Rayna rolls her eyes at me, grumbling to herself as she stomps into the kitchen. She adjusts the harpoon to a more deadly position, scraping the popcorn ceiling and sending rust and Sheetrock and tetanus flaking onto the floor like dirty snow. Aiming it at the mound of struggling limbs, she says, “One of you is about to die, and right now I don’t really care who it is.” Thank God for Rayna. People like Rayna get things done. People like me watch people like Rayna get things done. Then people like me round the corner of the counter as if they helped, as if they didn’t stand there and let everyone they love beat the shizzle out of one another. I peer down at the three of them all tangled up. Crossing my arms, I try to mimic Rayna’s impressive rage, but I’m pretty sure my face is only capable of what-the-crap-was-that. Mom looks up at me, nostrils flaring like moth wings. “Emma, I told you to run,” she grinds out before elbowing Toraf in the mouth so hard I think he might swallow a tooth. Then she kicks Galen in the ribs. He groans, but catches her foot before she can re-up. Toraf spits blood on the linoleum beside him and grabs Mom’s arms. She writhes and wriggles, bristling like a trapped badger and cussing like sailor on crack. Mom has never been girlie. Finally she stops, her arms and legs slumping to the floor in defeat. Tears puddle in her eyes. “Let her go,” she sobs. “She’s got nothing to do with this. She doesn’t even know about us. Take me and leave her out of this. I’ll do anything.” Which reinforces, right here and now, that my mom is Nalia. Nalia is my mom. Also, holy crap.

Alex Honnold, free solo climbing phenom: The Last of the Mohicans soundtrack Rolf Potts, author of Vagabonding and others: ambitones like The Zen Effect in the key of C for 30 minutes, made by Rolfe Kent, the composer of music for movies like Sideways, Wedding Crashers, and Legally Blonde Matt Mullenweg, lead developer of WordPress, CEO of Automattic: “Everyday” by A$AP Rocky and “One Dance” by Drake Amelia Boone, the world’s most successful female obstacle course racer: “Tonight Tonight” by the Smashing Pumpkins and “Keep Your Eyes Open” by NEEDTOBREATHE Chris Young, mathematician and experimental chef: Paul Oakenfold’s “Live at the Rojan in Shanghai,” Pete Tong’s Essential Mix Jason Silva, TV and YouTube philosopher: “Time” from the Inception soundtrack by Hans Zimmer Chris Sacca: “Harlem Shake” by Baauer and “Lift Off” by Jay Z and Kanye West, featuring Beyoncé. “I can bang through an amazing amount of email with the Harlem Shake going on in the background.” Tim Ferriss: Currently I’m listening to “Circulation” by Beats Antique and “Black Out the Sun” by Sevendust, depending on whether I need flow or a jumpstart.

It can’t be over, not when I finally found my courage. I can’t let it be. My heart is pounding like a million trillion beats a minute as I scoot closer to him. I bend my head down and press my lips against his, and I feel his jolt of surprise. And then he’s kissing me back, open-mouthed, soft-lipped kissing-me-back, and at first I’m nervous, but then he puts his hand on the back of my head, and he strokes my hair in a reassuring way, and I’m not so nervous anymore. It’s a good thing I’m sitting down on this ledge, because I am weak in the knees. He pulls me into the water so I’m sitting in the hot tub too, and my nightgown is soaked now but I don’t care. I don’t care about anything. I never knew kissing could be this good. My arms are at my sides so the jets won’t make my skirt fly up. Peter’s holding my face in his hands, kissing me. “Are you okay?” he whispers. His voice is different: it’s ragged and urgent and vulnerable somehow. He doesn’t sound like the Peter I know; he is not smooth or bored or amused. The way he’s looking at me right now, I know he would do anything I asked, and that’s a strange and powerful feeling. I wind my arms around his neck. I like the smell of chlorine on his skin. He smells like pool, and summer, and vacations. It’s not like in the movies. It’s better, because it’s real. “Touch my hair again,” I tell him, and the corners of his mouth turn up. I lean into him and kiss him. He starts to run his fingers through my hair, and it feels so nice I can’t think straight. It’s better than getting my hair washed at the salon. I move my hands down his back and along his spine, and he shivers and pulls me closer. A boy’s back feels so different than a girl’s back--more muscular, more solid somehow. In between kisses he says, “It’s past curfew. We should go back inside.” “I don’t want to,” I say. All I want is to stay and be here, with Peter, in this moment. “Me either, but I don’t want you to get in trouble,” Peter says. He looks worried, which is so sweet. Softly, I touch his cheek with the back of my hand. It’s smooth. I could look at his fce for hours, it’s so beautiful. Then I stand up, and immediately I’m shivering. I start wringing the water out of my nightgown, and Peter jumps out of the hot tub and gets his towel, which he wraps around my shoulders. The he gives me his hand and I step out, teeth chattering. He starts drying me off with the towel, my arms and legs. I sit down to put on my socks and boots. He puts my coat on me last. He zips me right in. Then we run back inside the lodge. Before he goes to the boys’ side and I go to the girls’ side, I kiss him one more time and I feel like I’m flying.

My Father Comes Home From Work" My father comes home from work sweating through layers of bleached cotton t-shirts sweating through his wool plaid shirt. He kisses my mother starching our school dresses at the ironing board, swings his metal lunchbox onto the formica kitchen table rattling the remnants of the lunch she packed that morning before daylight: crumbs of baloney sandwiches, empty metal thermos of coffee, cores of hard red apples that fueled his body through the packing and unpacking of sides of beef into the walk-in refrigerators at James Allen and Sons Meat Packers. He is twenty-six. Duty propels him each day through the dark to Butcher Town where steers walk streets from pen to slaughterhouse. He whispers Jesus Christ to no one in particular. We hear him-- me, my sister Linda, my baby brother Willy, and Mercedes la cubana’s daughter who my mother babysits. When he comes home we have to be quiet. He comes into the dark living room. Dick Clark’s American Bandstand lights my father’s face white and unlined like a movie star’s. His black hair is combed into a wavy pompadour. He sinks into the couch, takes off work boots thick damp socks, rises to carry them to the porch. Leaving the room he jerks his chin toward the teen gyrations on the screen, says, I guess it beats carrying a brown bag. He pauses, for a moment to watch.

Who’s the guy?” “What guy?” “The guy you’re dating.” That’s when I see him. Peter Kavinsky, walking down the hallway. Like magic. Beautiful, dark-haired Peter. He deserves background music, he looks so good. “Peter. Kavinsky. Peter Kavinsky!” The bell rings, and I sail past Josh. “I’ve gotta go! Talk later, Josh!” “Wait!” he calls out. I run up to Peter and launch myself into his arms like a shot out of a cannon. I’ve got my arms around his neck and my legs hooked around his waist, and I don’t even know how my body knows how, because I’ve for sure never touched a boy like this in my life. It’s like we’re in a movie and the music is swelling and waves are crashing around us. Except for the fact that Peter’s expression is registering pure shock and disbelief and maybe a drop of amusement, because Peter likes to be amused. Raising his eyebrows, he says, “Lara Jean? What the--?” I don’t answer. I just kiss him. My first thought is: I have muscle memory of his lips. My second thought is: I hope Josh is watching. He has to be watching or it’s all for nothing. My heart is beating so fast I forget to be afraid of doing it wrong. Because for about three seconds, he’s kissing me back. Peter Kavinsky, the boy of every girl’s dreams, is kissing me back. I haven’t kissed that many boys before. Peter Kavinsky, John Ambrose McClaren, Allie Feldman’s cousin with the weird eye, and now Peter again. I open my eyes and Peter’s staring at me with that same expression on his face. Very sincerely I say, “Thank you.” He replies, “You’re welcome,” and I hop out of his arms and sprint off in the opposite direction.

November 22   |   Matthew 21:33–44 In a parable, Jesus tells the story of a landowner who plants a vineyard, leases it to tenants, and then goes to another country. After a time, he sends servants to the vineyard to collect the fruit. Rather than give the master his profit, the tenants beat one servant, stone another, and kill a third. In response, the landowner sends more servants, only to see the same thing happen to them. Finally, thinking surely they will respect his son, the landowner sends his heir to the vineyard. Believing they will be able to keep the vineyard for themselves, the tenants kill the son. At that point, Jesus asks the Pharisees what the landowner will do in this situation. The Pharisees say what we would all say; they suggest doing what we would all want to do: “He will put those wretches to a miserable death” (v. 41 ESV). In other words, he’s going to turn that place into an Arnold Schwarzenegger movie: no survivors. You see, the Pharisees, like us, are tuned in to the law. They’re thinking in terms of an eye for an eye and a tooth for a tooth. They can’t see Jesus’s underlying point: they’re the tenants. Jesus quotes them Psalm 118, saying that the stone the builders rejected has become the chief cornerstone. The son sent to the vineyard was rejected by the tenants … but that’s not the end of our story. Jesus says that anyone who comes into contact with this stone will be broken. All of our efforts, whether aimed at rebellion or at righteousness, will cease. The chief cornerstone will break us. There’s one important difference between the heir in the parable and Jesus. Jesus didn’t stay dead! And because Jesus was raised to new life and has given that new life to us, we can leave all our striving behind.

Steven’s words slush together as he gets to his feet. “Crossing this one off the bucket list.” Then he unbuckles his belt and grabs the waist of his pants—yanking the suckers down to his ankles—tighty whities and all. Every guy in the car holds up his hands to try to block the spectacle. We groan and complain. “My eyes! They burn!” “Put the boa constrictor back in his cage, man.” “This is not the ass I planned on seeing tonight.” Our protests fall on deaf ears. Steven is a man on a mission. Wordlessly, he squats and shoves his lilywhite ass out the window—mooning the gaggle of grannies in the car next to us. I bet you thought this kind of stuff only happened in movies. He grins while his ass blows in the wind for a good ninety seconds, ensuring optimal viewage. Then he pulls his slacks up, turns around, and leans out the window, laughing. “Enjoying the full moon, ladies?” Wow. Steven usually isn’t the type to visually assault the elderly. Without warning, his crazy cackling is cut off. He’s silent for a beat, then I hear him choke out a single strangled word. “Grandma?” Then he’s diving back into the limo, his face grayish, dazed, and totally sober. He stares at the floor. “No way that just happened.” Matthew and I look at each other hopefully, then we scramble to the window. Sure enough, in the driver’s seat of that big old Town Car is none other than Loretta P. Reinhart. Mom to George; Grandma to Steven. What are the fucking odds, huh? .... Matthew and I wave and smile and in fourth-grader-like, singsong harmony call out, “Hi, Mrs. Reinhart.” She shakes one wrinkled fist in our direction. Then her poofy-haired companion in the backseat flips us the bird. I’m pretty sure it’s the funniest goddamn thing I’ve ever seen. The two of us collapse back into our seats, laughing hysterically.

A serious reader of fiction is an adult who reads, let's say, two or more hours a night, three or four nights a week, and by the end of two or three weeks he has read the book. A serious reader is not someone who reads for half an hour at a time and then picks the book up again on the beach a week later. While reading, serious readers aren't distracted by anything else. They put the kids to bed, and then they read. They don't watch TV intermittently or stop off and on to shop on-line or to talk on the phone. There is, indisputably, a rapidly diminishing number of serious readers, certainly in America. Of course, the cause is something more than just the multitudinous distractions of contemporary life. One must acknowledge the triumph the screen. Reading, whether serious or frivolous, doesn't stand a chance against the screen: first, the movie screen, then the television screen, now the proliferating computer screen, one in your pocket, one on your desk, one in your hand, and soon one imbedded between your eyes. Why can't serious reading compete? Because the gratifications of the screen are far more immediate, graspable, gigantically gripping. Alas, the screen is not only fantastically useful, it's fun, and what beats fun? There was never a Golden Age of Serious Reading in America but I don't remember ever in my lifetime the situation being as sad for books – with all the steady focus and uninterrupted concentration they require – as it is today. And it will be worse tomorrow and even worse the day after. My prediction is that in thirty years, if not sooner, there will be just as many people reading serious fiction in America as now read Latin poetry. A percentage do. But the number of people who find in literature a highly desirable source of sustaining pleasure and mental stimulation is sadly diminished.

As I’ve told you many times, I’m split in two. One side contains my exuberant cheerfulness, my flippancy, my joy in life and, above all, my ability to appreciate the lighter side of things. By that I mean not finding anything wrong with flirtations, a kiss, an embrace, an off-color joke. This side of me is usually lying in wait to ambush the other one, which is much purer, deeper and finer. No one knows Anne’s better side, and that’s why most people can’t stand me. Oh, I can be an amusing clown for an afternoon, but after that everyone’s had enough of me to last a month. Actually, I’m what a romantic movie is to a profound thinker—a mere diversion, a comic interlude, something that is soon forgotten: not bad, but not particularly good either. I hate having to tell you this, but why shouldn’t I admit it when I know it’s true? My lighter, more superficial side will always steal a march on the deeper side and therefore always win. You can’t imagine how often I’ve tried to push away this Anne, which is only half of what is known as Anne—to beat her down, hide her. But it doesn’t work, and I know why. I’m afraid that people who know me as I usually am will discover I have another side, a better and finer side. I’m afraid they’ll mock me, think I’m ridiculous and sentimental and not take me seriously. I’m used to not being taken seriously, but only the “lighthearted” Anne is used to it and can put up with it; the “deeper” Anne is too weak. If I force the good Anne into the spotlight for even fifteen minutes, she shuts up like a clam the moment she’s called upon to speak, and lets Anne number one do the talking. Before I realize it, she’s disappeared. So the nice Anne is never seen in company. She’s never made a single appearance, though she almost always takes the stage when I’m alone. I know exactly how I’d like to be, how I am … on the inside. But unfortunately I’m only like that with myself. And perhaps that’s why—no, I’m sure that’s the reason why—I think of myself as happy on the inside and other people think I’m happy on the outside. I’m guided by the pure Anne within, but on the outside I’m nothing but a frolicsome little goat tugging at its tether. As I’ve told you, what I say is not what I feel, which is why I have a reputation for being boy-crazy as well as a flirt, a smart aleck and a reader of romances. The happy-go-lucky Anne laughs, gives a flippant reply, shrugs her shoulders and pretends she doesn’t give a darn. The quiet Anne reacts in just the opposite way. If I’m being completely honest, I’ll have to admit that it does matter to me, that I’m trying very hard to change myself, but that I’m always up against a more powerful enemy. A voice within me is sobbing, “You see, that’s what’s become of you. You’re surrounded by negative opinions, dismayed looks and mocking faces, people who dislike you, and all because you don’t listen to the advice of your own better half.” Believe me, I’d like to listen, but it doesn’t work, because if I’m quiet and serious, everyone thinks I’m putting on a new act and I have to save myself with a joke, and then I’m not even talking about my own family, who assume I must be sick, stuff me with aspirins and sedatives, feel my neck and forehead to see if I have a temperature, ask about my bowel movements and berate me for being in a bad mood, until I just can’t keep it up anymore, because when everybody starts hovering over me, I get cross, then sad, and finally end up turning my heart inside out, the bad part on the outside and the good part on the inside, and keep trying to find a way to become what I’d like to be and what I could be if … if only there were no other people in the world.

Faith’s like a goddess to the Marines, and she’s actually good at her job, especially given she’d just finished seventh grade. Which is an important job. She does really important shit. “Right now, you’re just getting your head together. Like the pamphlet says, maybe you decide to help out. We can use people who know how to get shit done. Not just as military. I only took the Lieutenancy they offered cause I have to work with the Navy and Marines to get my job done and it helps. But there’s lots of ways a guy with your background and work ethic and general get-it-done attitude could help. Problem being, even if you wanted to, right now the only reason the Marines haven’t gotten together to kick the crap out of you is that they’re too busy. When they get less busy or, for example, this evening when they break from killing zombies, I would not want to be in your shoes.” “So what is this?” Zumwald said. “A military dictatorship? Beatings for free?” “Yeah,” Isham said, looking at him as if he was nuts. “We’re on ships. And they are all officially US Navy vessels. Even most of the dinky little yachts. The commanders, including this one, are all Navy officers, even if the ink is still wet on the commissions. And even if they weren’t, captains of vessels at sea have a lot of legal control in any circumstances. By the way, I talked Captain Graham, boss of this boat, out of pressing charges against you for assault. Because you don’t get how badly you fucked up. I get that. He’s another Faith lover, but it’s also you don’t get to just grab any cookie and tell her you want another scotch. You don’t. This isn’t Hollywood, and, sorry, you’re not some big time movie executive anymore. You’re a fucking refugee in a squadron that spends half its time on the ragged edge. Still. You got no clue how tough it is to keep these vessels supplied.

Knightmare. Breezeo’s archenemy. Where Breezeo is light, a breath of fresh air, the nice breeze on a warm summer day, Knightmare is the storm that rolls in and takes it all away. Darkness, thick and suffocating, the shadows you can’t escape in the night in back alleyways. Black leather framed with dark armor, head to toe, from the combat boots the whole way up to the oversized black hood with a metal mask covering part of the face, rendering him unrecognizable. I’ve always been envious of the costume. Beats the damn pseudo-spandex, that’s for sure. “I, uh, wow.” Kennedy stands in the doorway of her apartment with a look of awe as her eyes scan the costume. “That’s just… wow.” “Wow, huh?” I glance down. “Good or bad?” “It’s just, uh, you know…” “Wow?” I guess. She nods, fighting off a smile. “Wow.” I smirk. “It’s the original.” “Seriously?” “Straight from the second movie,” I say, touching an armored chest plate with a fingerless glove-clad hand. “Well, except for these gloves. The real ones wouldn’t fit because of the cast, so I had to improvise.” “It’s, uh…” “Wow?” “Nice,” she says, touching the costume, fingertips grazing the armor. “Kind of weird seeing you like this, but still, it’s nice.” “Thanks,” I say as she steps aside for me to come in the apartment. “I talked them into letting me borrow it. Might not give it back, though. I’m kind of enjoying it.” “You should keep it,” she says, her eyes still scanning me as she closes the door. “It’s, uh…” “Nice?” “Wow.” She smiles playfully as she walks away. “I need to finish getting ready for work. Maddie, you've got a visitor!” A moment after Kennedy disappears, Madison runs in. She skids to a stop when she spots me, eyes wide, mouth popping open. “Whoa.” I push the hood off, shoving the mask up, her expression changing when she sees it’s me, face lighting up. She runs right at me, slamming into me so hard I stumble. I laugh as she hugs me. “Hey, pretty girl.” She looks up at me. “You think I’m pretty?” “What? Of course.” I kneel next to her, grinning as I press a finger to the tip of her nose. “You look like your mom.” “You think Mommy’s pretty, too?” “I think she's the most beautiful woman in the world.” Her expression shifts rapidly when I say that before her eyes widen. “Even more beautifuler than Maryanne?” I lean closer, whispering, repeating her words. “Even more beautifuler than Maryanne.” “Whoa

MY OWN BUSINESS . . . M. O. B. MOB assumes the right of every individual to possess his inner space, to do what interests him with people he wants to see. In some areas this right was more respected a hundred years ago than it is in the permissive society. 'Which is it this time, Holmes? Cocaine or morphine?' asks a disapproving Watson. But Holmes won’t have fink hounds sniffing through his Baker Street digs. If he accepts an American assignment 8 narks won’t beat his door in with sledge hammers, rush in waving their guns “WHATZAT YOU’RE SMOKING?” jerk the pipe out of his mouth and strip him naked. We will make the MOB stand on criminals and crim­inal communes clear. A criminal is someone who commits crimes against property and crimes against persons. We feel that criminals are not minding their own business. Someone who steals your typewriter, starts barroom fights, kicks an old bum to death, is not minding his own business at all. The Thuggees of India, the Mafia, the Ku Klux Klan are examples of criminal communes. Strangling someone and stealing his money, throwing acid in his face, lynching beating and burn­ ing people to death is not minding one’s own business. On one side we have MOBS dedicated to minding their own business without interference. On the other side we have the enemies of MOB dedicated to interference. Equipped with new techniques of computerized thought control the enemies of MOB could inflict a permanent defeat. MOB want to know just where everybody stands. Wouldn’t advise you to try sitting on that fence. It’s electric. Your enemies then are the enemies of MOB. You can do more to destroy these enemies with tape recorders and video cameras than you can with machine guns. Video tape puts any number of machine guns into your hands. However, it is difficult to convince a revolutionary that this weapon is actually more potent than gelignite or guns. What do revolu­tionaries want? Vengeance, or a real change? Both perhaps. It is difficult for those who have suffered outrageous brutal­ity and oppression to forget about vengeance, which is why I postulated the wholesome catharsis of MA, the Mass Assassination of enemy word and image. And this brings us to a basic question that every revolutionary must ask himself. Can I live without enemies? Can any human being live without enemies? No human being has ever done so yet. If the present revolutionary movement is to amount to more than a change of management, presenting the same old good-guy, bad-guy movie, a basic change of conscious­ ness must take place.

So, my true first time with a boy was like this… You can look but you cannot touch Ha- that is what I thought, I was so wrong too and it was not with him either regrettably. It was okay my heart was beating so rapidly; I thought that it was going to explode out of my chest. The silky-smooth skin ran along my body; it was like an enchanted expression of togetherness. At last, I felt as if I was loved. But I was not with the one that I loved. His brown eyes glazed- sweetly and softly into mine. I was so looking forward to this kiss and moment all my life. However, he walked with me in his arms to his bed. Then I was on his bed stripped of all forms of dignity. The lights were off, and the door was locked, and that took me back to when I was a little girl. Loving at night just holds onto me tight. The room is lit by the moonlight. When you are looking down at me is what you are seeing all right? This is maybe my special night. I cannot believe I am with a football player! I was not prepared at all for the performance of lovemaking. I had no idea what I was doing. I was thinking to myself this is not like the movies at all! Yes, all the touching was extremely steamy, like before and then again, the playing around that he did on me was more intriguing, to say the least. I was thinking that he was the sweetest guy on earth. However, all the thoughts in my mind ran fast… thoughts like should we be doing this? Yet, I am so shy and nervous my knees were knocked beforehand. Then again, this is going to be so beautiful; I had fantasized about this moment since I was a young girl. ‘Yet, I have to say to all you girls out there, to lose it when you are ready to. Please do it for you and no one else. It is about your timing, and what you choose to do, you can choose when and whom you let in!’ So, starting I felt like my tearing and breaking-in took forever, and that his pushing forward was never going to stop, love is painful in more than one way, it was so intense. Yet, it was so perfect and feels so amazing with him now sliding in and out of me. It hurt at the start, but it got more enjoyable, that is for sure. Yet also, it was like being run over by a speeding train, and I could not help but feel that he was not meant to be my first. Me being so naïve and only sixteen years of age I was so embarrassed by the fact that I was so under-experienced in sensual activities. I wanted to make the best of the moments of intimacy. I was happy to say that I got my first French kiss as well, but his soft little kiss was sweeter, the first time we kissed as I remember at that time.

Democracy, the apple of the eye of modern western society, flies the flag of equality, tolerance, and the right of its weaker members to defense and protection. The flag bearers for children's rights adhere to these same values. But should democracy bring about the invalidation of parental authority? Does democracy mean total freedom for children? Is it possible that in the name of democracy, parents are no longer allowed to say no to their children or to punish them? The belief that punishment is harmful to children has long been a part of our culture. It affects each and every one of us and penetrates our awareness via the movies we see and the books we read. It is a concept that has become a kingpin of modern society and helps form the media's attitudes toward parenting, as well as influencing legislation and courtroom decisions. In recent years, the children's rights movement has enjoyed enormous momentum and among the current generation, this movement has become pivotal and is stronger than ever before. Educational systems are embracing psychological concepts in which stern approaches and firm discipline during childhood are said to create emotional problems in adulthood, and liberal concepts have become the order of the day. To prevent parents from abusing their children, the public is constantly being bombarded by messages of clemency and boundless consideration; effectively, children should be forgiven, parents should be understanding, and punishment should be avoided. Out of a desire to protect children from all hardship and unpleasantness, parental authority has become enfeebled and boundaries have been blurred. Nonetheless, at the same time society has seen a worrying rise in violence, from domestic violence to violence at school and on the streets. Sweden, a pioneer in enacting legislation that limits parental authority, is now experiencing a dramatic rise in child and youth violence. The country's lawyers and academics, who have established a committee for human rights, are now protesting that while Swedish children are protected against light physical punishment from their parents (e.g., being spanked on the bottom), they are exposed to much more serious violence from their peers. The committee's position is supported by statistics that indicate a dramatic rise in attacks on children and youths by their peers over the years since the law went into effect (9-1). Is it conceivable, therefore, that a connection exists between legislation that forbids across-the-board physical punishment and a rise in youth violence? We believe so! In Israel, where physical punishment has been forbidden since 2000 (9-2), there has also been a steady and sharp rise in youth violence, which bears an obvious connection to reduced parental authority. Children and adults are subjected to vicious beatings and even murder at the hands of violent youths, while parents, who should by nature be responsible for setting boundaries for their children, are denied the right to do so properly, as they are weakened by the authority of the law. Parents are constantly under suspicion, and the fear that they may act in a punitive manner toward their wayward children has paralyzed them and led to the almost complete transfer of their power into the hands of law-enforcement authorities. Is this what we had hoped for? Are the indifferent and hesitant law-enforcement authorities a suitable substitute for concerned and caring parents? We are well aware of the fact that law-enforcement authorities are not always able to effectively do their jobs, which, in turn, leads to the crumbling of society.

I am speaking of the evenings when the sun sets early, of the fathers under the streetlamps in the back streets returning home carrying plastic bags. Of the old Bosphorus ferries moored to deserted stations in the middle of winter, where sleepy sailors scrub the decks, pail in hand and one eye on the black-and-white television in the distance; of the old booksellers who lurch from one ϧnancial crisis to the next and then wait shivering all day for a customer to appear; of the barbers who complain that men don’t shave as much after an economic crisis; of the children who play ball between the cars on cobblestoned streets; of the covered women who stand at remote bus stops clutching plastic shopping bags and speak to no one as they wait for the bus that never arrives; of the empty boathouses of the old Bosphorus villas; of the teahouses packed to the rafters with unemployed men; of the patient pimps striding up and down the city’s greatest square on summer evenings in search of one last drunken tourist; of the broken seesaws in empty parks; of ship horns booming through the fog; of the wooden buildings whose every board creaked even when they were pashas’ mansions, all the more now that they have become municipal headquarters; of the women peeking through their curtains as they wait for husbands who never manage to come home in the evening; of the old men selling thin religious treatises, prayer beads, and pilgrimage oils in the courtyards of mosques; of the tens of thousands of identical apartment house entrances, their facades discolored by dirt, rust, soot, and dust; of the crowds rushing to catch ferries on winter evenings; of the city walls, ruins since the end of the Byzantine Empire; of the markets that empty in the evenings; of the dervish lodges, the tekkes, that have crumbled; of the seagulls perched on rusty barges caked with moss and mussels, unϩinching under the pelting rain; of the tiny ribbons of smoke rising from the single chimney of a hundred-yearold mansion on the coldest day of the year; of the crowds of men ϧshing from the sides of the Galata Bridge; of the cold reading rooms of libraries; of the street photographers; of the smell of exhaled breath in the movie theaters, once glittering aϱairs with gilded ceilings, now porn cinemas frequented by shamefaced men; of the avenues where you never see a woman alone after sunset; of the crowds gathering around the doors of the state-controlled brothels on one of those hot blustery days when the wind is coming from the south; of the young girls who queue at the doors of establishments selling cut-rate meat; of the holy messages spelled out in lights between the minarets of mosques on holidays that are missing letters where the bulbs have burned out; of the walls covered with frayed and blackened posters; of the tired old dolmuşes, ϧfties Chevrolets that would be museum pieces in any western city but serve here as shared taxis, huϫng and puϫng up the city’s narrow alleys and dirty thoroughfares; of the buses packed with passengers; of the mosques whose lead plates and rain gutters are forever being stolen; of the city cemeteries, which seem like gateways to a second world, and of their cypress trees; of the dim lights that you see of an evening on the boats crossing from Kadıköy to Karaköy; of the little children in the streets who try to sell the same packet of tissues to every passerby; of the clock towers no one ever notices; of the history books in which children read about the victories of the Ottoman Empire and of the beatings these same children receive at home; of the days when everyone has to stay home so the electoral roll can be compiled or the census can be taken; of the days when a sudden curfew is announced to facilitate the search for terrorists and everyone sits at home fearfully awaiting “the oϫcials”; CONTINUED IN SECOND PART OF THE QUOTE

Anyhow, I drove like my daddy was chasing me, which he did a few times when I was a teenager and I snuck out of the house, and made it to the airport. I stowed away on a plane, which looks a lot more fun in the movies by the way, and made it back home. Most guys would have stopped at that point but Dmitri, being stubborn, called a few times spouting off, so I had my number changed.” “But?” “But, he got my family’s number and started calling them. Which was fine. My aunts and stuff blocked him, but thing is, he showed up on my parents’ doorstep while I was out shopping. My parents are vacationing in Mexico, and so Aunt Cecily had to deal with him.” “They scared her.” She laughed. “Scare my Aunt Cecily? Not in this lifetime. She wields a mean right hook. Daddy’s sister is the one who taught me to fight dirty.” “Something had to have happened to get you banished.” “Well, she was kind of worried about me, on account of me being delicate and stuff.” He couldn’t help but snort. “Yeah, that was my reaction too, but that’s what I get for being the youngest in the family. Teena beat me into the world by like ten seconds. Anyhow, Aunt Cecily would have kept me around, except the goons trampled Mama’s flower garden during one of their kidnapping attempts.” “You got banished over flowers?” “No, I got banished before the goons did any more damage to Mama’s stuff. When my mother cries, Daddy gets a little upset, and when Daddy gets upset, things happen. Dealing with the disposal of bodies is always a pain, and law enforcement really frowns upon murder. And Daddy’s been trying so hard to stay out of jail. Anyhow, for the good of the family, it was strongly suggested I take an extended vacation in the hopes my absence would see Dmitri call off his paid thugs and give up on the whole marriage business.” “Except he realized you took off and followed you here.” A frown creased her brow. “Yeah, which is weird because I was certain I didn’t have a tail.” “Well, you’re going to have one now, twenty-four-seven, until I locate this Dmitri fellow and tell him to get the hell out of pride territory.” -Meena & Leo

Her long beautiful red hair wasn’t what got me to stare. It was her beautiful heart that I heard beating when I thought no one was there. Her hugs wasn’t what got me to stay, it was the thought of me being alone again and I was afraid. She completes me more than she knows. I admire her more than I show, they say true love is hard to find but, I don’t believe that because once I saw her in my dreams, I knew she was mines. I’ve waited for this day for so long and she never knew it, I plan to give her the world. Lord please don’t let me blow it.

The movie has Marty say "blues riff in B" and then WHAM, the entire band is playing Johnny B. Goode like they've done so for years.  It's amazing, and as a kid, I spent a lot of time trying to figure this out.  How was it possible that everyone knew what notes to play and when to come in??  The backup guitar and drums both hit a beat at the beginning of the song without any communication whatsoever.

I have an inner Regina George. The manipulative, deceitful, belittling queen bee in the movie Mean Girls talks smack, giving my self-esteem Ray Rice beat downs. Don’t judge. I’ll bet you have an inner Regina George, who makes you feel like crap because of your thighs/boyfriend/job/laugh. We all do. Some are just better at silencing their Reginas before she inflicts real damage. My Regina is telling me I am going to lose my job.

One day I realized something obvious: In all these movies, there was a similar plot. The hero is always weak at the beginning and strong at the end, or a jerk at the beginning and kind at the end, or cowardly at the beginning and brave at the end. In other words, heroes are almost always screwups. But it hardly mattered. All the hero has to do to make the story great is struggle with doubt, face their demons, and muster enough strength to destroy the Death Star. That said, I noticed another thing. The strongest character in a story isn’t the hero, it’s the guide. Yoda. Haymitch. It’s the guide who gets the hero back on track. The guide gives the hero a plan and enough confidence to enter the fight. The guide has walked the path of the hero and has the advice and wisdom to get the hero through their troubles so they can beat the resistance. The more I studied story, the more I realized I needed a guide.

says Robert Faris, a sociologist at UC Davis. If you were to screen the movie Cool Hand Luke for an audience of chimps—something he has not done—they would have no trouble determining who prevails in the prison boxing scene: the hulking boss, Dragline, beats Luke until the title character can barely stand. But the next scene would leave the chimps scratching their heads. Luke, the loser, has become the new leader of the prisoners. A human moviegoer could attempt to explain. Because Luke kept getting up out of the dirt, even when he was beat, he won the other prisoners’ respect. But the chimps would just not get it. “That’s a complexity of humans,” Faris says: it was not until after the human-chimpanzee split that Homo sapiens developed a newer, uniquely human path to power. Scholars call it “prestige.

the first two years of a movie’s development should be a time of solidifying the story beats by relentlessly testing them—much like you temper steel.

Remember now your Creator in the days of your youth, before the difficult days come, and the years draw near when you say, “I have no pleasure in them.” —Ecclesiastes 12:1 (NKJV) I was making rounds at the veterans hospital where I work, when an elderly gentleman in a wheelchair pointed his cane to a sign on a bulletin board. “Look, hon,” he said to his wife, “they’re having an old-fashioned Easter egg hunt on Saturday. It says here that the kids can compete in a bunny-hop sack race for prizes.” He barely came up for air. “Remember when we used to have those Easter egg hunts on our farm? The kids would color eggs at our kitchen table and get dye all over everything.” Just then, his wife noticed the smell of popcorn in the air. Volunteers sell it for a bargain price—fifty cents a sack. The veteran didn’t miss a beat. “Remember when we used to have movie night and you would pop corn? We’ve got to start doing that again, hon. I love popcorn. Movies too.” As I took in this amazingly joyful man, I thought of things I used to be able to do before neurofibromatosis took over my body. It was nothing to run a couple of miles; I walked everywhere. Instead of rejoicing in the past, I too often complain about my restrictions. Rather than marvel how I always used to walk downtown, shopping, I complain about having to use a handicap placard on my car so I can park close to the mall, which I complain about as well. But today, with all my heart, I want to be like that veteran and remember my yesterdays with joy. Help me, dear Lord, to recall the past with pleasure. —Roberta Messner Digging Deeper: Eph 4:29; Phil 2:14

You’d think I’d have learned from all the movie villains who get beat while monologuing. Guess not.

Vanished In the dark lights, We come out and play We are its children, And we’re here to stay Running through the streets, Hungry for strays No invitation, To take me away I’m not cruel, But thats still what you see Club to club, Come see this city with me Hungry for life, Without your pity I dont want it, But it comes anyway You go sexual city You till can’t say she won’t start up a fight You go the city 'Cause in the city of life she can't, she can't wait In the darkness, A killer awaits To kill a life, And the lies you make You do another, So this death can live Just keep on dancing, To the movie you’re in The smell of your sweat, Just lures me in Your heartbeat, Does sing to me Your running feet, Beats my blood My ghost inside you, Soon will be Now it’s over, You’ve taken your life The dark grows thin, And I’m left to hide I don’t regret it, But it’s sad anyway Now were both dead, And scared of the black This life of games, And diligent trust It’s the things we do, Or the things we must I’m now tired of being cussed So go sleep forever end to dust

Whose idea was it that we should all get jobs, work faster, work better, race from place to place with our brains stewing on tweets, blogs, and sound bites, on must-see movies, must-do experiences, must-have gadgets, when in the end, all any of us will have is our simple beating heart, reaching up for the connection to whoever might be in the room or leaning into our mattress as we draw our last breath. I hate to put it in such dramatic terms, but it's kinda true.

In a drama or a movie, love is a formation; in the heart, love is a beat of the heart; the creation can be in the niche, not a heartbeat.

After years of being hounded by the same question—What’s the next new device?—Cook had finally delivered his answer: There isn’t one. His message hadn’t been aimed at Main Street; it was for Wall Street. He wanted investors to see that Apple was making a major shift. Rather than its products creating glory, Cook outlined a future in which Apple basked in the glory of others. He didn’t want to merely update the iPhone every year; he wanted people to pay Apple subscription fees for the movies they watched on that iPhone. He didn’t want to enable digital payments; he wanted Apple to be the processor of every transaction. And he didn’t want Apple to make the screen on which people read articles; he wanted to sell access to the magazines they read. For years, Cook had seen new revenue opportunities in each of those businesses. He had plotted a path to get there, buying Beats in 2014, courting Hollywood agents and directors in the years that had followed, and forging strong ties with Goldman Sachs throughout that time. He saw in all of it a way to shed the burden of a device business that was running out of juice and enter a world of services that promised unlimited growth.

Forgive me, but," he begins, and I know this can be going nowhere good, "what about the men who watch our channel? Do we really want to look so biased? We can't alienate half our viewership." I see Katherine open her mouth to respond, but then I must enter some kind of alternate reality in which I think I'm the best one to take these questions, as I open my big mouth and beat her to the punch. "Who's to say they'll be alienated, though? Men watch plenty of TV shows and movies led by women. Or if they don't, they certainly should. We've been put through five million Fast and the Furious and James Bond movies, for goodness' sake. And if they're opposed to watching and learning from women, because they think we're boring or don't get our perspectives, well, I reckon they're part of the problem." I fold my arms over my chest defiantly, then lose my remaining nerve and avert my eyes from those of the CEO. When I look at the other women instead, they're all staring at me with some measure of shock, some looking amused and impressed on top of that. Katherine is the first one to shake herself out of it and narrows her gaze on Geoffrey Block, CEO, once more. "It may also be of interest to you that if this series doesn't happen at Friends of Flavor, I plan on hosting it on my personal site, the Kat's Muse. I have advertisers who have long expressed interest in helping me launch my own videos, but I've been reluctant to take any of FoF's thunder. I would feel obligated to make it clear, though, that I was only hosting the series because this channel had rejected the proposal." My jaw drops along with Katherine's figurative mic. She kept that little contingency plan from us yesterday, but damn. Of course she had a secret weapon in her back pocket. Lily pipes up, "And if you all didn't know, men do not make up half of Friends of Flavor viewers. More like thirty percent. Meaning women are seventy percent. Maybe worth looking at who's really getting alienated." Well okay, Lily. For someone who spends so much of the time off in her own mental universe, she sure knows how to pop back down to earth and spit facts when needed.