Kristy Hookstra

Watch movie run this town video. I know what the end of the world sounds like, I was there. By the turn of the millenium, the paper industry around Kalamazoo, Michigan was a wasteland of gigantic buildings, superfund sites, and rough neighborhoods. Even a small paper mill employs a few thousand people, and the area had lost seven of them in the past few decades. Every one of the “Seven Sisters” had died with a whisper. If it wasn’t for the university, the town would have dried up entirely. As it was, most of the area, and especially the smaller towns, were hanging by a thread. The city motto should be “Kalamazoo, a great place to be from! ” The mammoth GPI paper mill was less than a quarter mile from our workshop and had been sitting abandoned for years. Thanks to some local support we got permission to “Take anything but the paint” provided we could haul it out within a two-week window before the demolition crew began their work. We literally signed our lives away on release forms, and the security guard shook his head and smiled when he gave us a key. For half a month we backed up a twenty-foot long aging box truck with a questionable transmission, and sucked the marrow from the dying bones of industry to feed our little community makerspace. We had a blast. For a team of young nerds and engineers this was like Mardi-Gras and Christmas combined. We explored every inch of the half-mile-long building and filled our truck dozens of times over with shelving, valves, Allen Bradley switchgear, metal stock, and tooling that dated back several wars. Most of it would have been worthless to the scrap companies, but to us it was treasure that would become parts for some of our most famous projects for the next fifteen years. Anything of real value had already been stripped out. The giant machines had all been sold at auctions years ago. The meth-heads took most of what was left, stripping the wire from the walls. Every conduit was empty, pigtails only a few inches long left hanging out. Tens of thousands of dollars in copper, all to feed someone’s addiction. The facility was a cavernous, post-apocalyptic wasteland. It’s the kind of place they use for movie sets and photography shoots. There were jagged pipes and conduits, razor sharp and jutting out at odd angles. There were holes large enough to drop a city bus through that went down three floors, where gigantic paper machines once sat. The entire place was festooned with “ankle-breakers”, sets of four bolts, sticking up from the concrete floor where some control stand or grinder or something was once bolted down, waiting for the next person who didn’t pay very close attention where they stepped. In a world where everyone has turned into a pussy, with people making careers out of being offended on the behalf of other people, and with lawyers having worked with insurance companies to take all of the good honest fun out of getting your hands dirty and doing something dangerous, this was heaven for a twenty-something country boy. My weirdo friends and I were having the time of our lives. We wandered, shopped, and explored for a week before we noticed it. I was fifteen feet in the air, trying to unbolt an old electric fire alarm horn from a steel beam, and just by chance happened to glance to my left. There, nestled in between a pair of I-beams, was what looked like three large 4-inch pipes. Only the ribbed texture gave it away. I rubbed a small spot, taking fifty years of paper dust and pigeon shit off with my thumb, and showing a beautiful, faded, red jacket underneath. It wasn't a pipe; it was a cable. It was gigantic cable! It was copper cable. I followed its path and saw that it went up to the very top of the ceiling, across the roof struts of the main gallery, down the other side and vanished through the floor. The room that I was in was forty-feet high, and it was easily two-hundred feet across the gallery. The only reason this was still there was because it was so well hidden, tucked away in the beams and camouflaged in the grunge. The meth-head scrappers were so caught up in the half-inch and other small EMT conduits they’d never thought to look for the main power feeds that supplied whole sections of the plant. The problem was, how in the hell were we going to get it down? This stuff weighs about fifteen-pounds to the foot. It’s thicker than my arm, and comprised of three stranded cables, each over an inch thick, entwined in padding and insulation, and all wrapped in a metallic shell with a red plastic outer jacket. It’s tough, heavy, and worth several dollars a pound..... is if you can move it, if you can cut it, and if you can get it out of the ceiling without killing yourself. I got on my radio and the whole team assembled. We all had a quiet freakout when the team realized the gravity of our discovery, and also how hard it would be to get it out of there. Certainly, this was a great place to have to push, pull, lift, and haul tons of materials at once. The problem was that none of the old material-handling equipment was there anymore, and we didn’t have any kind of power to use tools as it was. The building was a long dead carcass at this point, and we were the absolute last team that would be in there before giant machines turned the whole place into tidy piles of steel, concrete, stainless, and glass. We needed a plan, and one that would work on human power. We all headed back to the lab and assembled every harness, rope, comealong, and sling we could find. I pulled out my climbing bags and non-industrial harnesses as well. The next morning we all met at the lab, and then headed over to “Site-T” as we had come to call it. Now, we had a whole new mission. This old abandoned building was about to become fundraising for our little nonprofit and help us keep the heat on all winter. We set to work with slings and come-alongs. A come-along (pronounced without the hyphen and in three smashed together syllables while holding a Vernor’s and smoking a Camel), is a lever-actuated ratchet and pawl winch. Smaller ones have a piece of aircraft cable that winds around a drum, and larger ones use a chain and cog mechanism that can let an average man rip a tree out of the ground. They’re small, portable, don’t require electricity or gasoline, and are incredibly powerful. They’re also dangerous as hell if you don’t know what you’re doing. If an attachment slips, if you overload one, or if anything lets go they can slingshot the tail and that piece of aircraft cable moving at Mach speed will slice you to the bone before you even know you’re bleeding. Stupid hurts and scars carry lessons. The cables ran in a metal tray for most of their length. The tray was steel, and looked like a ladder with flat rungs. Like everything else in the whole place, it was covered in eighty-years of paper dust that formed a hard, grey shell on everything. The parts up in the main gallery had an extra layer of pigeon shit, just for flavour. It was slow work with hacksaws and flashlights. A single piece, about three-feet-long was about as much as you wanted to carry at one time if you had to walk any real distance. In most cases, it was about a 2-city-block walk back to the truck. So we worked in teams, some cutting, and most hauling. It was filthy, grueling, exhausting work that went on for days. After getting all of the low-hanging fruit, it was time to get the main runs down from the ceiling. We’d cut the ends back at the switchgear cabinets free as high as we could reach while standing on the cabinets. But that still left about twenty feet of cables hanging from the ceiling. From there they ran all the way across the gallery and down the other side. They went through a hole in each floor with a bunch of other pipes and conduits. At the bottom they made a bend in the lowest floor, a sub-basement about seventy feet down from the top of the run up in the roof. The bottom run was suspended in a tray along the ceiling of the basement and ran through the maze of pipes that fed the old mill. We’d gotten everything we could easily reach, and now it was time for the hard stuff. With a hodgepodge of slings tied to everything we could reach that was solidly bolted down, we hooked up to just one of the three cables. The plan was to pull them out, one at a time, and let them just pile up on the floor. We’d cut it, haul it, and then pull the next one down. The only thing left holding the cables in place at this point was gravity, but there was a hell of a lot of gravity in one of these cables. There was also, we learned quickly, a lot of stretch. We were spread out along the length of the run. A small group was working the winches in the basement, the rest were stationed in ones and twos strung from hell to breakfast. We all had our radios and were in communication, but for the most part it was a nearly silent process that involved a lot of standing around and smoking a cigarette while watching nothing much happen. I was up in the ceiling, sitting on a pair of old steam pipes that ran parallel to the cable tray. I was at the top level, about ten feet from the last bend where they dropped down to terminate at the switchgear cabinets. My job was simple, report when it started to move. Once the end of the cable passed by me, my job was to inch along with it and give progress reports. We knew it would take hours to pull it out of there. I got comfortable and listened to the cable tick quietly as they slowly worked the ratchet a quarter-mile away from me. The basement team worked slowly, a synchronized team all working their levers together in time. I could hear the sound of them ratcheting their come-alongs as it echoed up from the depths of the mill across the cavernous gallery where I sat. The quiet of the mill was awesome. Every few seconds I would hear the cable tick off in the distance ahead of me. They were pu
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Yes the MV is awesome ???. サムネの涼太殺しに来てる. Θ. 」 ∠. Watch movie run this town lyrics. 4:20 i was wondering where i saw that move before and then i remembered WIN where Jackson pushed Mark while tumbling ?. As RuPaul so famously told America, "I just don't understand you young queens who don't know your references". And here we are: you've all got time on your hands, you shouldn't be going out, and you've all got Netflix and Hulu and Crave and Britbox and Pornhub Premium, so why not do some good with it? In this post, I've compiled the curriculum for Drag References 101. Starting around 1929 and coming up to about 1995, I've compiled clips from dozens of films you can watch, TV shows you can pick up, divas you can study, and specific moments which will help you go deeper into the drag world. You won't watch most of the shit on this list, and that's totally fine. But I hope you'll find a few doors you never even knew you wanted to walk through: films you'd never heard of, people whose names you didn't know, and references which you might not even have known were references. And once you know who that diva was, or what the film was called, you can read more, and watch more, and study more, until you're flinging out references like RuPaul on a podcast. Notes on the Curriculum For Beginners ?: These are the most accessible and most popular pieces of media on the list. If you just want something light and easy, stick to these ones. Divas ?: If these women didn't exist, some drag queen would have had to invent them. Camp ??: It's hard to define camp: it's very much a know-it-when-you-see-it aesthetic. But if we have to nail it down, camp embraces the tacky, the outré and the salacious. Camp is so bad it's good. And camp is, above all, a love note to whatever it's riffing on: always affectionate, never judgy. Borscht! ??: Drag humour is defined by one-liners, reads, formula jokes (knock knock... ), insult comedy, self-deprecation, wordplay, musical parody, and jokes which often go bawdy but stop just short of being merely dirty. All of these are textbook Jewish humour, of a type which crystallized on a comedy circuit called the Borscht Belt, a group of Jewish summer resorts in New York's Catskill mountain range. Understanding the genesis of this humour will help you understand why it still resonates today. Queer History ?: These revolve around the actual lived experiences of queer people in their era, while most media on this list sort of skates around it. If you actually want to see how the mollies lived, start here. Drag As Drag ?: Queens being queens. Mens dressing up as wimmens and wimmens dressing up as menseses. These treatments don't just influence or reference drag: they exhibit it. Award-Winners ?: Many of the items on this list are regarded as among the greatest visual media ever made. Follow the stars to find them. Diversity ?: This is, on the whole, a very white list: in many cases, even when minority cultures were depicted in media, this treatment was filtered through a disconcertingly white lens: the performers might not be white, but the directors, choreographers, designers and writers sure as hell were. This can make it difficult to find even halfway-authentic depictions of nonwhite experiences. This being so, I've tried to source depictions of nonwhite performers and nonwhite culture where I can while avoiding the most harmful stereotypes. If you'd like to focus on these people and their experiences, follow the globe. ??? Looking Like A Snack Don't have 90 minutes to catch a film? Here are a few snippets, as well as some odds and ends which don't fit neatly below. Some of these are short as 40 seconds, some go on for 20 minutes. Miss Ella Shields, a drag king who wowed the Music Halls as a gender-bending artist from 1910 until her death in the 50s, 1929 ? Marlene Dietrich puts on a tuxedo and instantly becomes a sex symbol in Morocco, 1930 ?? Anna May Wong and Marlene Dietrich prude-shame an old biddy in Shanghai Express, 1932 ??? Mae West flirts so hard with a ventriloquist's dummy that she got banned from the radio for a decade, 1937 ? Carmen Miranda performing her signature song, Chica Chica Boom Chic, 1941 ???? Ruth Wallis whose husband is into all sorts of "queer things", 195? ?? Eartha Kitt proves she's nobody's good girl, 1953 ???? Dorothy Dandridge sings the aria you recognize from Carmen in Carmen Jones, the first all-black Hollywood musical, 1954 ?? Vampira (Maila Nurmi) offers you a drink, 1954 ?? When Gracie Allen fails to show up for a gig, her husband George Burns convinces comedian Jack Benny to play her in drag, 1954 ????????? Josephine Baker shows you why she was the most celebrated act in Paris for nearly 30 years, 1955 ?? Tallulah Bankhead tries to order lunch at the automat, 1957 ??? Marilyn Monroe sings Happy Birthday to president Kennedy (with whom she was having an affair), 1962 ??? Judy Garland, addled by pills and booze, belts the crap out of her signature number, 1964 ??? A midcentury newsreel focuses on American drag artist Ricky Renee, 1967 ??? Pearl Bailey, who doesn't have time for men who don't have time for her, 1968 ?? Phyllis Diller and Liberace appear on-screen together, creating the gayest episode of TV until they invented RuPaul, 1969 ????? The Cast of Laugh-In crack some good old-fashioned vaudeville jokes, 1969 ???? Peggy Lee, who is completely over it, 1969 ??? Divine, starring in Female Trouble, ruins Christmas, 1972 ??? Liza Minelli, aided by Kander & Ebb and Bobby Fosse, tells you how to bag a husband in Manhattan, 1972 ??? The kooky kids of Match Game tell us what they think of Batman and Robin, 197? ???? Flip Wilson, the most successful black comedian of his generation, who rocked a drag character called Geraldine, 197? ????? The Gong Show, an anarchic, low-budget, surrealist talent show where everyone's drunk or high and the points don't matter (but do clock that live studio vaudeville band! ), 1976-1989 ?????? Madame, puppeted by Wayland Flowers, schmoozes on late-night TV, 1977 ??? The cast of The Wiz puts on a fashion show in three colours, 1978 ????? The Soul Train dancers line up and get they swerve on to some Earth Wind and Fire, 1979 ????? Danny La Rue performs a drag set in the turn-of-the-century music hall style -- and he sings live!, 1983 ??? Carol Channing, who never sang a bad song in her life, 1985 ???? Regina Resnik explains the difference between a consort (like herself) and a whore (like her daughter), 1990 ??? Lipsynka is best-known for her use of spoken-word dialogue in lip syncs, but she's really just mad about period style: here, she recreates an entire 1950s nightclub (playing half of it herself! ) and celebrates how, in this brave new world, Anything Goes, 1991 ??? k. d. lang performs in drag, commemorating the time she was actually named Miss Chatelaine, cover girl of Canada's leading women's magazine, 1992 ??? Bea Arthur pays tribute to Jerry Herman and spills the tea about the Man in the Moon, 1993 ??? Leigh Bowery, one of the most important Club Kids, has his crowning moment live on stage at Wigstock and shocks his audience, 1994 ??????? Selena communicates her heartbeat and shows you why Valentina's so obsessed, 1995 ?? The Big List Early (1940-1960) ? His Girl Friday (1940 ??), a classic screen comedy with all the fixings. Rosalind Russell, a hardboiled reporter, leaves the newspaper (and Cary Grant! ) to move upstate with an insurance agent. Grant does everything he can to thwart her, and when the story of the century lands in their laps, the shit really hits the fan. Widely considered one of the greatest comedies of all time, and Ros Russell's performance is 80% of the reason why. Watch it for: 90 straight minutes of rat-a-tat-tat non-stop dialogue delivered by actors with incredible timing. You Bet Your Life! (1947 - 1961 ??????), a thin quiz-show pretext for Groucho Marx to be Groucho Marx. The Marx Brothers were a legendary vaudeville act who successfully transitioned into pictures: Groucho, the star sibling, was so successful that his iconic moustache and glasses remain symbols of comedy to this day. In You Bet Your Life, he literally just riffs on whatever the hell the contestants say: he's quick, he's dirty, and he's good. (You should see the outtakes! ) Watch it for: observational, wry, smart, irreverent and damned fast comedy; those eyebrows, man. ? All About Eve (1950 ????), in which Bette Davis basically plays herself. A beautiful script about female friendship and rivalry, several actors giving performances of a lifetime, and the direct inspiration for countless drag performers up into the 90s. When people talk about Bette Davis being legendary, they're talking about All About Eve. Watch it for: Thelma Ritter stealing scenes as a personal assistant; Bette's ability to direct the camera with little more than a glare. Strangers on a Train (1951 ?????), a Hitchcock thriller in which a star athlete gets drawn into a spoiled rich boy's murderous schemes. The homoerotic subtext was entirely intentional, and the twists are among Hitchcock's very best. Watch it for: the climax, featuring perhaps the campiest heist sequence ever recorded. I Love Lucy (1951-1957 ??????), a legendary sitcom. Lucille Ball was such a talented comedian that she could milk two minutes of audience laughter out of kneading dough and throwing it in the oven. Armed with the best writers in the business and her straight-man husband, she knocked 'em dead for six straight seasons, establishing herself as a gay icon and setting the modern standard for female character comedians. Watch it for: laying down the tropes which would define sitcoms and female comedians for the next half-century. Glen or Glenda (1953 ???????), an exploitation film in which director Ed Wood pleads for tolerance for crossdressers, transvestites, and other gender-not-normals. Widely considered one of the worst films ever made, modern audiences are often drawn

Watch Movie Run This township. Its a different mgk. This is song is my favorite. Not sure how to start. I can't make this short, and it will be graphic I guess.?I'm really sorry if this is triggering for anyone. One day when I was 12 and my sister was 15, we were home by ourselves. We usually were on weekends, no biggie. My sister was downstairs in the living room and I was upstairs in my room. The house we lived in was older, and it had an odd design where you had to walk through one bedroom to get to the door to the back bedroom. The back bedroom did not have it's own door from the hallway. Well my room was the front one, and my sister, I'll call her Lauren, always had to walk through my room to get to hers. I'm explaining this because I was reading on my bed when suddenly my sister came in followed by a guy who was very well known in our small town. He was known for different things, but what mattered here was the rumors that he had raped a girl from school. So the second they entered my room, I was not confused, I knew this was a bad situation. I stood up and said "what's going on? " and the guy, I'll call him Collin, told me "nothing, leave the room. " I said no, and then he walked over to me, grabbed me literally by my left breast and dug his fingers in to pull me. He pulled me to the door then shoved me on the ground in the hallway. To be frank, I grew up being abused by my father and brother, and I was certainly no stranger to being physically assaulted. So I tried to get back up right away, but he stomped my chest and the pain was so bad and I couldn't breathe. My sister acted very calm during all of this (I understood why more as I got older. ) Then, in a very calm tone, she told me to just go downstairs and watch TV. I was scared, I was struggling to breathe, so I did. I don't know why I didn't call the cops. I should have and I didn't do anything but go to the living room where the movies Jaws was playing. Some time later Collin came down and walked through the living room to the front door. He looked at me but didn't say anything. I went upstairs to Lauren's room, and it wasn't good. I didn't know how to comfort her, she's not a touchy feely type of person. She made me swear not to tell anyone even though I really wanted to, so I just took off her sheets and washed them for her as she went to the shower. She had been a virgin though she had been sexually abused by my father for years. Only a couple weekends later, he came back which we weren't expecting to happen. This time both my sister and I were on the couch in the living room, and Lauren saw him coming from the window and shouted he was here. I was closer so I jumped up and ran to the front door and locked it. He then went around the side of our house. We realized he was going to the back door, and I was so afraid as I was running to try to go lock it. We were stupid for not keeping them locked. But I promise you that has changed, this has caused a lifelong issue where all my doors have to be locked 100% of the time and I freak out if someone leaves a door unlocked. It wasn't a straight shot from the front to back door- I had to run from the living room, through the dining room, then the kitchen, then to the laundry room where the back door was. I was certain I wouldn't make it to the door before him. When I got to the laundry room the terror was so high, I could see him through the windows (laundry room had a wall of windows in a row next to the door), it felt like a movie, it didn't feel real almost as I reached the door and turned the lock right as he was turning the knob to open it. But it had locked. He started trying to open the windows next to the door and I told Lauren that I was calling 911. I grabbed the butcher knife from the block in the kitchen, thinking I would stab his hand/arm if he got it through the window, and went to the phone. My heart was pounding so hard. Then the best thing that could of happened, did. My brother showed up on his bike. My father was usually working weekends and my brother spent all his waking hours playing video games at his friend's house. But here he came riding up to see Collin trying to get in the windows. The even more fortunate thing here was that my brother was, and is, a giant of a person. He had been suspended from school for fighting multiple times. Most people didn't mess with him. Collin was very broad and strong, but on the shorter side. My brother has the same broad build, but he is very tall and huge. My brother, even though he didn't really treat me well when we were kids, was very protective of Lauren and me. He suffered the worse physical abuse from our father as the only son, and he never fought back, (with one exception when he was scared he was going to kill my sister so he tackled my father to the ground so she could run), so his way of coping was by lashing out at others. But anyways, all I feel safe saying is that my brother took care of the situation, and Collin never returned to our house. We never told my brother that he had gotten in the house already before, even though he asked us questions. Again, Collin had a reputation that was not good. He assaulted others afterwards and one girl even pressed charges, and I have my own role that I played in that because I didn't go to the police. He was expelled from college for pulling a gun on someone. He later served time in jail for burglary, but is out now. He's married with a kid. One day a friend of mine posted about her experience with him on social media during #metoo, and all these other girls commented sharing their experiences with him, from harassment to rape, and it was horrible. My sister and I never talk about what happened. She doesn't like to talk about feelings and she likes to push down bad memories and block them out, it has always been her defense mechanism. I don't blame her, I just don't know how to approach her to talk about what happened because I really want to. To explain her personality a little for context, she has only told me she loved me twice in our lives, and she has hugged me maybe 5 times in total and it was always awkward. It's just not how she is. I'm not complaining, just explaining her a little bit. It was almost a game between us as kids where I would always be like "I love you?Lauren! " and she'd always respond with "shut the fuck up! ". It sounds odd but it was part of our relationship dynamic, and it was actually her being sort of affectionate. I want us to be able to share how we feel about it, but I don't know if she would even want that. I am so scared that she'll get really angry if I even bring it up, and that it could jeopardize our current relationship. That's why I haven't made an attempt in all these years even though it's killing me. Should I? If so, how should I do it? I've had so much guilt for so many years that I've held on to, and I have reached a selfish point where I feel it is necessary to do something about it for my own mental well being. I keep finding myself in bad relationships that I just stay in. I stay because part of me feels like I deserve it for letting Collin rape my sister and the subsequent others. In my early 20's my bf drugged and raped me with some of his friends from college that I was supposed to be meeting that night, and not only did I not do anything, I stayed with him for 3 1/2 MORE YEARS while he regularly cheated on me and assaulted me. I stayed with a man for over a year that claimed he had to choke and hit me during sex to be able to get off. He had to leave me, not the other way around. My current boyfriend has sexually assaulted me 4 different times now, and I only talked to him about it after the third time. There's more. I'm messed up in the head. I want to stop doing this but I can't. I'm 32 now and my sister is 35. What would you do if you were me?
Watch Movie Run This town website. Watch movie run this town like. どこをどう見ても亜嵐は可愛いな. Love it 2019 who still watch. I work at an amusement park where only half of the actors are actual actors. Since I touched on the one not-actor from the western section who left a lasting impression in my last post, I think I should introduce the other monster from Twin Vale Point. If you could even call it a monster. However I need to get some things out of the way regarding the pretenders' origins before I get started. None of us actors know where they come from or what they are. All of them have been here long before any of us started working our current jobs. Then again, Nathan might know something. He is the other actor from Twin Vale Point, but I'll get to that in a second. The not-actors come in all shapes and sizes. Literally. Sure, most of them share some common traits. For example, only two of them can talk, and they are extremely restricted in their ability to do so. The other not-actor from the wild west town can barely be described as a single living being at all. It's an old western stagecoach pulled by two large, beautiful chestnut stallions. The stagecoach itself does not have a coachman. That's where Nathan comes in. Nathan is the actor assigned to the stagecoach. He is the one who steers it. He sits on his coach seat all day, wrapped in an old, ragged blanket. He doesn't talk much. In fact, the only times I've ever really spoken to him, we just exchanged quick greetings. Our interactions never went anywhere past a very awkward introduction. He offered me a dead fish handshake and we just stared at each other for a little while with none of us knowing how to start a conversation and that was it. For all I know he never leaves his coach seat either. Sure, he probably goes home sometime in the evening, but I've never seen him leave. If Mitchell hadn't told me he was an actor, I'd probably think he was a pretender himself. He's sort of creepy too. I sometimes wonder if maybe the stagecoach has turned him into a part of itself... if he might be a pretender. The stagecoach only really starts getting weird at nighttime. During the day, Nathan just drives it around Twin Vale Point, much to the amusement of our visitors. The horses act really friendly around them too. However as soon as sun sets, they... change. The horses go from docile and gentle to raging and furious. Their eyes start to glow with a blinding white light, making them look alien and eerie. I've seen them buck and even wildly chase through the different parts of the park, pulling the stagecoach along with them as if it had no weight whatsoever. Therefore it is Nathan's task to take the horses to their fenced meadow in the back of the park come nightfall where they cannot be seen or reached by visitors. According to Mitchell, who apparently learned a lot about Nathan's strange occupation from working alongside him, the chestnuts refuse to be separated from their stagecoach. Whenever someone tries to take off their harnesses, they start going completely berserk. They'll buck and kick and neigh as if they were being slaughtered. Like I already said, Nathan and I don't talk much, meaning that my contact with the stagecoach is also highly limited. So most of the time, I only spot it in its normal, peaceful state. I've touched on this in my previous post, but I really love Twin Vale Point for its dry, old-timey charm. I'm a big fan of wild west movies, too. I've caught myself a couple of times sneaking after the stagecoach in hopes of seeing it do its magic, but my curiousity was never rewarded. Instead, the only times I've actually witnessed the horses act up were when I was unprepared and busy and therefore couldn't really enjoy it. I feel bad for liking to watch the stagecoach turn weird, but the few times I've seen it were insanely impressive. It really did look like something out of a movie. I didn't want to come back to the Laughing Cowboy, but in regards to the stagecoach I guess I have to. I have noticed his tendency to, in lack of a better term, mess around on it. One time, I saw him standing atop its roof. There were a bunch of visitors standing below him, taking pictures and hollering. There was a little boy amidst the crowd who seemed to be really into the stagecoach, and the cowboy actually bent down and lifted him up so he could stand on top of the carriage with him. I remember the kid being insanely happy about it, clapping and squealing like crazy. I must admit, the scene was a bit heartwarming. Other times, the cowboy will just lay or sit down on top of the roof and ride around with Nathan. Of course, the latter can't be bothered with that, although I have seen him try to shoo him off by occasionally making use of his horse whip, only to provoke signature fits of laughter from his unwanted passenger. My disadvantage in this is that the cowboy in turn appears to have noticed my own tendency to follow the stagecoach around, resulting in him staring at me from atop its roof with a wide smile on his face. I can't stand his gaze for long, so whenever he's around the carriage, I make it a point not to get too close to it. Speaking of things I cannot stand, I simply have to mention the other not-actor from the candy section. While the Sugar Plum Fairy is scary enough as she is, this one doesn't really have to get aggressive to make me run for it. Let me preface this by saying that I absolutely hate mimes. I don't know what it is, but I just don't like them. I don't think they're entertaining and their face paint just looks weird. Plus, their exaggerated motions and expressions are sort of unsettling to me, but it's not like I'm actually scared of them. However if there is one mime worth being scared of, it's the one of the candy-section of our amusement park. The actor assigned to him is Anne. She's a sweet, bubbly girl who I get along with splendidly. Her costume is a clown outfit, but it's really cute, pink and frilly, not one of those creepy ones you see in horror movies. The kids love her and for some reason that is just absolutely beyond me, they also love the Mime. He spends all day hopping around his part of the park, making balloon animals for the children and handing out candy to them. However, not unlike the Laughing Cowboy, the Mime has these days on which he's in a bit of a strange mood. Thankfully, one can determine what kind of state he is in just by looking at him, so all Anne really has to do is assess his behavior in the morning and then decide on whether to let him out to roam the park for the day. He's the only human-like pretender who sleeps in a sheltered cage instead of a trailer or something similarly comfortable. The Mime's shelter might have a bit of a prison cell look to it, but at least there's a roof above it and there's blankets and pillows and stuff. He is simply too dangerous on his bad days. It is very easy to tell when he's not fit to be let out. The first time I saw him like that was on a cool morning in early June. We were expecting a ton of visitors that day, so the other actors and I had decided we were going to be using our walkie-talkies. I was in my and Darius's breakroom, the latter having not yet arrived, and in the process of dressing up when to my surprise, the portable radio came crackling to life. "Hi! Anyone here already? " Anne's cheerful voice came from the small device. I grinned. "Hey, Anne! " "Glad I'm not the only one who's early, " she replied. "Hey, could you come over? I kinda need a second opinion here. " "Oh? Trouble with the Mime? " I asked. "Yeah, sort of... I'm not sure if I should let him out today. He seems fine, but I have a bad feeling about this. I can't explain why, but I'm really not sure. " "Well, okay then. Give me a minute, I'm heading over right away, " I assured her. I was not fully dressed up yet but I didn't want to keep Anne waiting, so I walked over to the candy-section in my black, frilly monster hunter dress shirt and yoga pants, a combination that caused my co-worker to laugh at me for about two minutes straight before finally getting to the point. She led me over to the Mime's shed which was hidden behind a row of booths. Looking through the bars of the cage, I found the Mime standing in there, upright and perfectly still. He looked back at us with a thin smile. He was very quiet. "I feel like he's messing with me, " she explained in low voice when we were out of earshot from the pretender again. "He's never been so calm before. He's usually way more excited. " "Yeah, but come on. You really think he's, like, smart enough to try and deceive you? " I asked. "I always thought you two were on good terms. " "Yes, but I just can't say for sure this time. Do you think I should let him out? " I frowned. "We can't keep him in there if he's not acting up. I mean, he hasn't done anything wrong. I think it wouldn't be fair. I've never seen him be hostile before, but this really doesn't look too bad. " Anne sighed. "You're right. I guess I was just worrying too much again. " She reached into her pocket and retrieved a small key which she turned inside the doorlock and then continued to unlatch the two additional deadbolts. She opened the door and the Mime stepped outside. "Hey, " she greeted him. "Sorry I kept you waiting. " He didn't react. Instead, he sunk to his knees and threw his head back. "Oh crap, " I could hear Anne mutter before he opened his mouth. A choking sound came from somewhere in his throat as his lips and then his jaws proceeded to part wider and wider. What he did next is nearly indescribable. Have you ever seen the ballet dance "The Spider" by Milena Sidorova? It's amazing as a performance, but when the Mime dropped onto all fours with the corners of his mouth stretched all the way to his ears and began to hiss at us, it was not quite as pretty. He was standing on the tips of his fingers and toes, his back bent at an unnatural angle. I cursed m

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