I swear when I told Pretty-boy Pete
this, he nearly lost his shit.
My dad’s all stern—he’s got those
frown lines pronounced so you know he’s
serious—and he says to me, “What happened to you? You were at the top of your
class in high school. You were always on honor roll. You were always on the
dean’s list. And now here you are, drinking, drugging, driving drunk. What
happened to your brain?”
I smile—I can’t help but smile—and I say, “It drowned in bourbon.” And I just
laugh my ass off. My dad keeps trying to lecture me and I just laugh louder and
louder.
So when I tell my buddy Pete this—I
always do—he busts a big old gut and he says, “Ain’t that a fuckin’ hoot.”
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That’s what it was—our catch phrase.
Any time we found something entertaining, the phrase ‘Ain’t that a fuckin’
hoot’ was sure to follow. It had such a dirty twang to it. It sounded like one
of those phrases that some greaseball says in some old-time seventies or
eighties movie. So it just kind of stuck. You know those little inside jokes
among friends. Try to explain it to someone else, and people will look at you
all mouth agape and stupid; but say it to your best buddy, well, you two will
be rolling on the floor.
You see, we were able to see what
nobody else could see. Pete ain’t too bright, but he at least accepted this
truth: the world’s a fucking joke. Nothing more. It’s just a joke, and if
you’re not laughing, then why the hell even come to the comedy club. You stop
laughing for more than a day: well, you oughta end it right there. Slit your
wrists and exit stage right.
You see, Pretty-boy Pete got his
nickname for his looks, if you’re too stupid to figure that out on your own. He
ain’t got a lot upstairs, but his looks were enough to get his dick wet. And
that’s where he got his laughs. Find one slut, do what you need, then move onto
the next. I swear, he went through more cases of chlamydia than one of those sniveling
twerps with bad allergies goes through tissues. He used to have the nickname
‘Penicillin Pete’ for a while, but he didn’t like it. So I had my laughs and
then backed off.
See, I wasn’t so lucky. Sure, I
wasn’t fuck-ugly or anything, but I had to work for it. I’ve had a couple of
fine pieces of tail, but I really had to work the game. It’s hard, but a little
manipulation goes a long way.
So another night I come home so
shitfaced that I bump into my pop’s car. Rich schmuck paid for a brand new one,
so you bet your ass he’s fuming. He’s shouting at me, “What the hell is wrong
with you?! Are you fucking dense?!” It took all I could muster to stifle my
laughter.
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So then he calms down, and begins
his old lecture again. “What happened to you?” He’s all nauseatingly sincere
about it too. I can’t decide whether I should bust a gut or spew. “You were at
the top of your class in high school…” You know where this is going. He must
have given me this speech about a hundred times, so I zone out until it’s my
turn. Then he says my cue, “What happened to your brain?”
“It got lost on its last acid trip,”
I belt out and roar another round of laughter. Man, I had a new response for
every time.
Then he starts slapping me, but I
can’t help it. I can’t stop laughing. And his feeble attempt to stop me only
adds to the hilarity.
I tell Pretty-boy Pete that one and
he laughs so hard, the bourbon shoots straight out of his nose. Then he says,
“Ain’t that a fuckin’ hoot.” And we laugh some more.
I’m twenty-four and I see what
nobody else sees. Everyone’s breaking their backs trying to put food on the table.
Dipshits who forgot to wear a rubber have children to feed. Everyone’s wasting
their time working and growing up, when they miss out on the fun. Meanwhile,
I’m cruising down the road with a bottle in my hand laughing my ass off.
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So this one time I’m in the car with
Pete. He’s got one spliff in his mouth and one tucked behind his ear, and he’s
taking huge rips off it. The road’s hard to see with the smoke accumulating on
the dashboard. So I roll down the window, take a swig of Jim Beam, and press
down on the pedal.
“Hey,” I say to Pete, “hold this and
give me a hit.” I hand him the bottle and he gives me the joint.
I take a good long rip. Then I take
another. Then another.
“Quit fuckin’ hoggin’ it,” Pete
complains.
“You got one tucked behind your
ear,” I tell him.
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“Yeah, but it’s my weed,” he says.
“Oh, who gives a shit?” I say.
“Give it, man,” he says.
I blow out a cloud and concede,
“Fine, you fucking fiend,” then I hand him back the joint.
We drive a bit longer and I feel the
cold wind whip my sweaty scalp. The pot blows in my face as if Pretty-boy Pete
is trying to tempt me with it. Fucking asshole. I take another swig of bourbon.
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“Say, know what we should do?” I say
to Pete.
“What?” he says.
“Let’s go fuck up Ron’s car,” I say.
You see, Ron’s this asshole we used
to know. He always used to pick fights with me for no reason at all. He just
had some grudge against me. I don’t know why he singled me out, but I ain’t
somebody who forgives easy.
“Ron?” Pete asks and I nod. “Why Ron?
I haven’t heard from him in years.”
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“You got something better to do?” I
raise an eyebrow.
He shrugs and says, “Whatever.”
He didn’t seem too enthusiastic at
first, but the moment we took the baseball bats out of the trunk, he looked
like a kid in a candy shop. We fucked that car up: broke his tail lights,
busted his hood, shattered his windows; ain’t nothing in that piece of shit
mobile was untouched.
We start driving back fast, fleeing
the scene, just cracking up. “Ain’t that a fuckin’ hoot,” Pete says, and we
laugh some more. We haven’t laughed that hard in a long time. So then the
laughter dies down, and Pete says, “You sure that was Ron’s car?”
I look at him, then start to grin,
then we both start laughing louder than ever. Was it? I thought it was. But I
haven’t seen or heard from him in almost five years, so maybe he moved. God
damn. Ain’t that a fuckin’ hoot.
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So we’re feeling that nice
crossfaded buzz—just cruising with the pedal down—and damned if we didn’t
finish that entire fucking bottle of Jim Beam. We must have also killed an
eighth of bud too. We’re all numb and tingly and warm and fuzzy and not entirely
sure if we’ve pissed ourselves or not. But one thing was for sure: we were
laughing our asses off. That’s the way we were: always laughing.
So then my song comes on: it’s “Blinded
by the Light”. God, I love that song.
So I turn to Pete and I say, “Roll
another joint; this is my smoking song.”
“We’re out of bud,” he says.
“What do you mean we’re out of bud?”
I ask.
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“I mean just what I said,” he says.
“We smoked damn-near an eighth.”
“Well give me a cigarette,” I say. “I
need to smoke something.”
So he hands me a cigarette,
and—you’re gonna love this—I’m so fucked up I light the filter. What a fuckin’
riot.
So I get another one and succeed
this time. I tell you, lighting a smoke while driving when you’re seeing double
is no small feat. So I spark the square and keep driving with my eyelids at
half-mast.
Right when we get to my favorite
part of the song, it happens. Right after Paul Jones tells his momma where the
fun is for the last time, and Manfred Mann starts his iconic keyboard solo, our
car comes to a violent halt.
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We smash right into another car; I
have no idea how many miles per hour we were going. Pete wasn’t wearing a
seatbelt—I told you he ain’t got a lot upstairs—and he goes flying right
through the windshield. Can you imagine that? Just broke through the glass
headfirst and flew through the air.
The airbag explodes in my face, and
the car crumples and shatters my leg in three places, and the empty bourbon
bottle shatters and imbeds itself all throughout my busted up leg. I mean, what
are the fucking chances, right?
So when I finally am able to drag
myself out of the car, I see Pete lying twenty feet in front of the car dead as
a fucking doorknob. I walk up to him, crying my eyes out, dragging my bum leg,
and he smells rank. And—get this—he literally shit himself. I’m not making this
stuff up! A complete bowel discharge! I’m screaming in tears. I’m devastated. My
only friend is lying there stone-dead. I mean, what are the chances?
So now I’m sitting in a courtroom
before a judge. I’m facing vehicular manslaughter, reckless endangerment,
driving under the influence, and the prosecutor is pushing for life. You see,
the car that I crashed into was carrying a husband and wife and their only son.
The mother is still in a coma, the father only suffered a few broken bones, and
their son died in the accident.
And—this is the real kicker—they
were celebrating their son making honor roll again. Get a load of that! He was
honor role, dean’s list, top of his class, just like I used to be. What are the
fucking chances?
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My mother is clinging to my father,
and in both of their eyes it’s Niagara Falls. They’re sobbing and holding each
other for support. My only real friend is now being turned into soil by hungry
worms.
And then—get this—the judge, he
leans over and asks me, “What happened to your brain?”
Now ain’t that a fuckin’ hoot.
Liam Moran has been published in Coffin Bell Journal and Ripples in Space and his novels, ‘Saving Fiction’ and ‘Love is Delusional’, are available on Amazon. Originally from Levittown, New York, he now resides in the suburbs of Chicago. He invites fans to follow him on his Facebook page @LiamMoranAuthor or on his website at amazon.com/author/liammoran.
Those religious icons really get around. This time it’s a journey to visit the Deep Ones. And Dracula’s Castle. Because everyone has to be a tourist now and then, and what’s the point if you don’t pick up a souvenir or two?
This was a gift for a friend for their sea life monster theme bathroom. It started as one of those old school wood plaques where the picture is waxed on. And the eyes were originally that creepy – all I did was add the tentacles. So don’t blame the overall weirdness on me, it wasn’t all my doing.
Oh, and apparently Mary wanted in on the action, so she’s gone to Dracula’s Castle for a bite. She even brought back her own religious icons souvenirs…
So this one isn’t as old, nor is it real wood. But it still totally goes with Mary’s journey. And it’s also a little blacklight reactive with the flowers.
So I just keep on going… Here are some more repaint porcelain figurines and other madcap painting. OK maybe some of them aren’t porcelain, but still totally redone.
This Pennywise clown started as some plastic figurine from Italy. I was drawn to this because of the pretty marble base. It’s a nice touch, don’t you think? I’ve seen others in this series and honestly they’re all kind of creepy to start with, so they really lend themselves towards repaint prospects. Perhaps I’ll pick up more to redo in similar ways later on… Oh, and the eyes are blacklight sensitive, in case he wasn’t creepy enough already.
With all of the new movie hype, I couldn’t resist a throwback to the classic Beetlejuice, and this little bride figurine and teddy bear were just too perfect. Featuring more blacklight sensitive accents, like her veil flowers. And I don’t know why she only has one glove, I blame it on the 1980s… Or maybe she was just that drunk (you’d have to be for that wedding)…
So yeah, all those preppers ready for the zombie apocalypse – you know some of them are gonna get bitten. It’s in the script, what can I say? More blacklight eyes, cause why not?
I admit I haven’t seen this film, but it sure looks fun. Mathilda, eat your heart out. Literally.
OK so this isn’t a repaint. Nor is it porcelain. What is it even doing here? Well, she’s cool and ready for a party and kinda reminded me of Abigail, so she sort of just tagged along. Sexy Sadie started as an Avon perfume bottle with a fragrance I didn’t care for (I think it was called Head Over Heels). Because honestly the bottle topper was all that mattered. And now she has her own disco dancing platform. What more could a vampish vixen want?
I wrote this script for Beyond the Veil awhile back, exploring the bond between two twin sisters, Edith and Edna, who had lived their lives together. There was a terrible car crash and someone didn’t make it. The other is trying to contact them beyond the veil…
Beyond the Veil Setting:
Two women reach out to one another individually in a séance setting.
One sits on one side of a dining table. The other sits at the other side. Each studies a candle just beyond her reach; there is darkness between the two candles. The long table is barely hinted at in the interstice between the two but it is clearly present.
The camera is stationary showing both in profile staring through each other.
The women are both portrayed by the same actress who is also the voice of the narrator, who is unseen. All three voices are identical so that it is impossible to tell which of the two women the narrator is supposed to represent.
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Both women are spliced into the same scene. They are together but apart. The two candles remain for the duration of filming so that the two halves of the film can either be overlapped (so that both women appear incorporeal) or cut and sandwiched in the middle between the candles (so both women appear physically present). It is possible to set the scene thusly using both methods in different parts of the story, with both women seemingly flickering in and out of being, both individually and apart.
Script:
I. Black, audio only.
Narrator:
I was riding with my twin sister.
We were in a terrible car crash.
The car drove over the median and rolled.
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It spun off the road where it caught fire.
There was smoke everywhere.
My sister didn’t make it.
II. Fade in to the long table with two lit candles; flames flickering.
Two women are just sitting at either end.
They stare blankly through each other.
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Call and Response
Edith: Now I’m trying to contact her…
Edna: …beyond the veil.
Simultaneous:
Edith: Edna, do you hear me?
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Edna: Edith, do you hear me?
Together (In Unison):
If you hear me, knock three times.
Narrator:
Knock.
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Knock.
Knock.
Call and Response:
Edith: I miss you terribly.
Edna: I miss you so much.
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Edith: Do you remember…
Edna: … the car crash?
Edith: We rolled…
Edna: … over the median.
Edith: There was fire.
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Edna: There was smoke.
Edith: I could hear the sirens.
Edna: They were coming…
Edith: … to rescue us.
Edna: But they were so far away.
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Edith: So far…
Edna: … away….
Simultaneous:
Edith: Are you okay?
Edna: Are you hurt?
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Together (In Unison):
Knock three times for yes. Knock once for no.
Narrator:
Knock
– pause –
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Knock
– pause –
Together (Syncopated):
What’s it like, on the other side?
– long pause –
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Simultaneous:
Edith: I miss you, Edna.
Edna: I miss you, Edith.
Together (Syncopated):
It’s so lonely here.
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Call and Response:
Edith: There’s no one here.
Edna: I’m all alone.
Edith: Without you…
Edna: …the spark of life…
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Edith: …is gone…
Edna: … so far away.
– pause –
Together (Entirely Out of Sync):
It’s so dark.
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III. Fade out to black
Narrator:
I was riding with my twin sister.
We were in a terrible car crash.
The car drove over the median and rolled.
It spun off the road where it caught fire.
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There was smoke everywhere.
I didn’t make it.
I had planned to actually turn this into the video for which it was written, but quickly discovered that my plans for recording required a space that was too drastically different from my new house (and new large gaming table) and that my vision for filming could not be well-fully executed or realized. So now it exists as a script only.
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