The idea of doubles and non-originals, pirates, scavengers, genetic replication, was heavily written into a script that announced the agency of a super-confederacy, an Ark, whereby the foreign Hollywood cartel of imagery uploaded a sequence of media representations in which their ethnic tokenism was more important than the Laws of Congress or the Bill of Rights. They used an infamous office called Amnesty International for rape, torture, murder, bombings and mayhem, laughing their asses off with an impacted carrot tape extrusion made for the Green Party in Seattle by Penis Shell of Carnegie Mellon, working for the hustlers from Warhol and Jack Ruby’s carousel club coalition.

Oswald the rabbit had made his case at CMU from Pentagon Disney. They indexed the remark, “this is a very old letter,” to Toffler’s Future Shock and embarked on a billionaire feeding frenzy controlled by Trump-Gabriel liaison Amanda “the totality is greater than the sum of the individuals at risk” Harcourt, putting har har on trial.

The Killers were blurring the line between Hollywood and reality, making a killing on the de-marc-ation.