| The Martini. | |
| In movie terms, directors use this phrase to describe the last shot of the day while on set. | |
| The stories you are about to hear are true. | |
| The names have been kept the same to reflect the Strange. | |
| This is the Martini... | |
| (Verse 1) | |
| This is Sam. | |
| He was so in love with her, but she was young, | |
| So that put her off in a jam, | |
| Though, she was sweet as a yam, | |
| She wanted to explore other options with her man, | |
| Straight sending Sam into a rampage, | |
| And no matter what his fam says, | |
| He's lost without this woman, | |
| And don't wanna live any damn ways, | |
| Now he's thinkin', that he ain't gon' live, | |
| She ain't gon' live, | |
| And the other man's mercy, he ain't gon' give, | |
| This what love do, it cops a .38 snub to, | |
| Knock on ya door, and take somebody that used to love you, | |
| Rub you the wrong way, then it's blood true, | |
| Love through, she's slug one and he's slug two, | |
| Then on a rainy evening, with a panicked feelin', | |
| Went to her home and looked through the window and Sammy sees them, | |
| The door's between her and the Necromancer, | |
| And what you think is gon' happen if she answers? | |
| (Chorus - Krizz Kaliko) | |
| Take a drink, | |
| It's more than what you think, | |
| I gotta let you know, | |
| Don't plan on letting you go, | |
| But if you have to leave, | |
| That's where we'll end the scene, | |
| This is the Martini. | |
| Last shot's for you or me.... | |
| (Verse 2) | |
| Yo, This is Isaiah, | |
| I guess he was aight, say a, | |
| Lady's man, all the women used to call him the KCI Playa, | |
| Flying multiple chicks in, give the stick then dismiss them, | |
| But somethin's gonna happen that'll twist him, | |
| He fell in love with a beautiful black woman, | |
| But he ended up having a couple problems with that woman, | |
| Talkin' to other men, did it behind his back on 'em, | |
| Facebook, Computer love, crept on the Mac on 'em, | |
| Now he's salty, cause he found the woman he loves is faulty, | |
| He told her at the very beginning 'Don't You Ever Cross Me.' | |
| Now that she did it, he plans to do something unlawfully, | |
| Get a gun off the street, because he was treated so awfully, | |
| One bullet for her, one bullet for him, | |
| Crimes of passion, ain't no more pullin' for them, | |
| And the worst way, we broke apart, it really hurts lady, | |
| I've gotta go, but yo, you gotta go first baby. | |
| (Chorus - Krizz Kaliko) | |
| Take a drink, | |
| It's more than what you think, | |
| I gotta let you know, | |
| Don't plan on letting you go, | |
| But if you have to leave, | |
| That's where we'll end the scene, | |
| This is the Martini. | |
| Last shot's for you or me.... | |
| (Verse 3) | |
| This is Brian, | |
| He was a rebel and stayed on another level, | |
| And had no intentions of dying, | |
| He loved Kim a lot, above them was not, | |
| But a jealous ex-husband would love them to rot, | |
| I guess he loved kim still, | |
| His only thoughts him, them, kill, | |
| 'Cause he a coward motha ****a, | |
| On Christmas Eve he broke in and waited in they house for hours, | |
| Crazy mother ****er! | |
| Brian pulled up with Kim and little Alissa in the car, | |
| Saw a shadow in the house from afar and said 'Wait!" | |
| Got out the car, opened the gate, walked in the house, | |
| And her ****ing ex sealed my nigga's fate. | |
| That was my best friend, Bitch Ass Nigga! | |
| Walked out the house and shot Kim right in front of Alissa, | |
| Then he saved the last shot for him, blast! | |
| Now you better hope I don't go to hell, because I'ma be on your ass! | |
| (Chorus - Krizz Kaliko) | |
| Take a drink, | |
| It's more than what you think, | |
| I gotta let you know, | |
| Don't plan on letting you go, | |
| But if you have to leave, | |
| That's where we'll end the scene, | |
| This is the Martini. | |
| Last shot's for you or me.... |
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