The house on Kemper court has been torn down and replaced with a huge ornate Victorian abomination. I remember carved wooden Africanesque statues piled outside (one of Socrates), dirty glass picture windows set in a wall looking into an empty garden, Chris’ old remote control toy truck under a layer of dust at the end of the driveway, rain leaking like a sieve in the vast empty garage. In the garage I film a little kid (my brother Chris) who knows how to skate impressively. Later, everything in my parent’s bedroom is oddly pastel (vaporwave, I now realize), and I sit in front of an old CRT TV that previously played a specific… song? Mantra? Now it displays a number to dial.
A jar one mixes with salt, a substance Lynae doesn’t have access to, with which one can access the seraphim.
Bill O’Reilly show is taping in an elegant narrow San Francisco TV studio, so narrow that only the camera, computer, and host fit in the dusk-lit back room. Crew and visitors (me) sit along benches in main room. Cozy, intimate. Afterwards, in the backyard behind the Queen Anne building, I’m floating/flying above what appears to be a miniature forest of small bushes while a fan of mine fawns for my contact info.
Piloting a covert submarine, my team runs into an unfortunate problem… the underside of the bow has clearly been fitted with a pair of flyscreens. Ridiculous. The gathered Sub Team leave our “elite yurt” as new romantic couples, leaving only two big girls who depart proudly arm-in-arm, in good humor, to cries of “Fat Girl Solidarity!”
Near the compound with the yurt, which has a storage facility/Looney Toons vibe, I espy the face of a Bigfoot, which reveals, with continued peering, a multitude of Bigfeet eyes — an entire tribe. They line up single file along the forest hillside and play a game of passing balls with their feet in both directions, the goal of which is not to get stuck anywhere.
