| The Martini.
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| In movie terms, directors use this phrase to describe the last shot of the day
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| while on set.
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| The stories you are about to hear are true.
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| The names have been kept the same to reflect the Strange.
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| This is the Martini…
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| This is Sam.
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| He was so in love with her, but she was young,
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| So that put her off in a jam,
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| Though, she was sweet as a yam,
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| She wanted to explore other options with her man,
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| Straight sending Sam into a rampage,
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| And no matter what his fam says,
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| He’s lost without this woman,
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| And don’t wanna live any damn ways,
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| Now he’s thinkin', that he ain’t gon' live,
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| She ain’t gon' live,
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| And the other man’s mercy, he ain’t gon' give,
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| This what love do, it cops a .38 snub to,
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| Knock on ya door, and take somebody that used to love you,
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| Rub you the wrong way, then it’s blood true,
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| Love through, she’s slug one and he’s slug two,
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| Then on a rainy evening, with a panicked feelin',
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| Went to her home and looked through the window and Sammy sees them,
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| The door’s between her and the Necromancer,
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| And what you think is gon' happen if she answers?
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| Take a drink,
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| It’s more than what you think,
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| I gotta let you know,
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| Don’t plan on letting you go,
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| But if you have to leave,
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| That’s where we’ll end the scene,
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| This is the Martini.
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| Last shot’s for you or me…
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| Yo, This is Isaiah,
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| I guess he was aight, say a,
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| Lady’s man, all the women used to call him the KCI Playa,
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| Flying multiple chicks in, give the stick then dismiss them,
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| But somethin’s gonna happen that’ll twist him,
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| He fell in love with a beautiful black woman,
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| But he ended up having a couple problems with that woman,
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| Talkin' to other men, did it behind his back on 'em,
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| Facebook, Computer love, crept on the Mac on 'em,
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| Now he’s salty, cause he found the woman he loves is faulty,
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| He told her at the very beginning 'Don't You Ever Cross Me.'
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| Now that she did it, he plans to do something unlawfully,
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| Get a gun off the street, because he was treated so awfully,
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| One bullet for her, one bullet for him,
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| Crimes of passion, ain’t no more pullin' for them,
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| And the worst way, we broke apart, it really hurts lady,
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| I’ve gotta go, but yo, you gotta go first baby.
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| Take a drink,
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| It’s more than what you think,
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| I gotta let you know,
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| Don’t plan on letting you go,
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| But if you have to leave,
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| That’s where we’ll end the scene,
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| This is the Martini.
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| Last shot’s for you or me…
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| This is Brian,
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| He was a rebel and stayed on another level,
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| And had no intentions of dying,
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| He loved Kim a lot, above them was not,
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| But a jealous ex-husband would love them to rot,
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| I guess he loved kim still,
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| His only thoughts him, them, kill,
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| 'Cause he a coward motha fucka,
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| On Christmas Eve he broke in and waited in they house for hours,
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| Crazy mother fucker!
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| Brian pulled up with Kim and little Alissa in the car,
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| Saw a shadow in the house from afar and said 'Wait!"
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| Got out the car, opened the gate, walked in the house,
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| And her fucking ex sealed my nigga’s fate.
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| That was my best friend, Bitch Ass Nigga!
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| Walked out the house and shot Kim right in front of Alissa,
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| Then he saved the last shot for him, blast!
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| Now you better hope I don’t go to hell, because I’ma be on your ass!
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| Take a drink,
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| It’s more than what you think,
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| I gotta let you know,
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| Don’t plan on letting you go,
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| But if you have to leave,
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| That’s where we’ll end the scene,
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| This is the Martini.
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| Last shot’s for you or me… |