wolven7 | Dreams. Food courts, movies, flooded hallways, time loops.

WAlking through the Mall in My Head, with a group of people, wanding through the foodcourt for snacks.

Food court is level three and basement level, across from the movie theatre.

I'm going to the movie theatre, with the above-mentioned group. I know that I know them, but I don't know who they are. We go into the theatre and sit, and the film is nothing but a list of animals that weren't saved from The Flood and which won't be in Heaven, after the "End of the World," because they're unclean, unfit. It's a very long list, and elephants show up on the list, under two different names. The theatre itself is one of the Big Ballrooms, in which the Need Coffee.com Gonzo Movie Film Festival would be help, if it still existed. They've put in actual theatre chairs. The house lights come up and the people start milling around; this film has made some of them question their beliefs about the nature of the Apocalypse. Donna, from "That 70's Show" is there, but with a personality impacted by a more modern up bringing, I walk after her, as she's heading up the aisle, to the door, and I tap her on the shoulder, as we cross the threshold.

She turns and looks at me in the hallway, outside the theatre, which is also the downstairs hallways of several schools. We start talking about the movie, and I notice that there is flooding, knee deep, and also steps Up to get into the classrooms. We wade past several rooms, in one of which I see Tim Crews-Anderson, teaching a philosophy class, and we find an empty classroom. She sits down in one of the chairs by the door (to the left of the door), and I stand, leaning against the back of the chair in front of her and to her left. We sit there, smiling at each other, and trying to catch our breath. I look at her and say "You know, I've never asked you what you believe about all this weird shit. I'd really like to talk to you about that, some day soon." She looks up at me and says "I'd like that." I leave the room and walk into the hallway.

The hallway isn't flooded, anymore, but you can tell that it most certainly used to be. The carpets squish underfoot, an everything smells damp, dank. I'm looking for the stairwell Up; after the conversation, I know I need to get upstairs. I find it, and it's also a darkened classroom, with someone sitting in the room and crying, or at the least holding their head in their hands. I look, and I think it's Dr Almeder, but I have to keep moving. I have to get upstairs.

Upstairs is a house, with hardwood floors, and french doors, between major rooms, all closed. In addition to that, there are simple halls and doorways with no doors, around the rooms, so one can always get into a room, by another means. I have to leave. I know I have to leave, immediately, and I know what's happening, downstairs, but I have to make sure the people on this side of the house don't see me, or they'll devour and kill me. I sneak through what is the living room, on their side of things, only to see them engaged in the worship of their payments. There is a man with long, greasy black hair, squatting next to, holding and rocking a giant monkey-face statue that's about as tall as him. I keep seeing a line of light flash through his upper torso area, from left to right. Everyone else has bits of treasure, like the ground, the rug, the very darkness around them, to keep them occupied, and I sneak past to the door, which sticks. I force it open, re-lock it, from the inside, and tell it that it was never unlocked, never open. It now opens In to the Rest of this side, but not Out, From the side i just escpaed. They cannot leave.

In the hallway, looking at the doors and light sources, I'm reminded of the front lobby of the school from Donnie Darko, while I catch my breath and have flashes of driving to the various places I am. The Mall parking lot; the School parking lor; this House's driveway. All the same place. I talk to a woman behind me, about what I've done, but I can't remember what she says.

I'm outisde. There's a man with hawk, teaching it to hunt. The man is old, and has eyes that are almost as crazy as the hawk's, but more mean. He's supposed to be Cort, from the Gunslinger series, and I'm viewing the whole thing from the perspective of Roland. I have to take a very specific whip around to the side of a very large pilllared house. I have to walk up about twenty stairs to get to the raised stone platform on which the building was erected, and around which there are gardens, and a back courtyard area. Walking around the side of the building, and having severe psychic flashes of things that happened in the past. Memories of a pregnant woman, carrying this same whip. The woman is Native American, and I/Roland know/s that this is my/his mother. This also means that Cort is my father.

There is a narration to the psychic flashes, as mother and son travel the same area of land, and the flashes become so swift, and so violent, that it becomes difficult to tell one time from another, one experience from another, one encounter... They are searching for answers. He for what his mother is doing in this terrible place. She for how to remove the child from her womb, how to make it never be. She is seeking the one known to the whites as Satan or Lucifer. First Angry Coyote. She is seeking him in his exile, and she finds a universe

the universe is held within a small sun mask, the rays of which become spinning blades, when approached. If the blades touch you, and you don't have permission to be there, they will devour you, destroy you, erase you.

The boy is seeking understanding. I see him talk to a tall man with greasy black hair, sitting next tto what at first is mistaken for a campfire. We then realise that it is a sun mask, with one blade missing. It begins to spin, slowly, wildly, out of control. Drunkenly. It has become derranged.

She talks to the mask, the bladed and spinning sun, pleads with it, tells it what is at stake, and Lucifer denies her, tells her that what is inside of her is necessary for the proper order of events.

I realise that it is the man with the black hair who is telling The Boy all of this, now, and has been, from the moment of the first flash. The sun seems to look at us, ask us for help. We ask the man what he wants, and I have a flash of the events that have gone before, for me, that will never happen to the Boy, but who must hear them, to set them in motion. The man with the greasy black hair says "When I have the monkey mask, the one in your deepest basement, and hve been cut in half, from here" he indicates the corner of his right ribcage, "to here," his left, "then I will count my role in this as complete. The mask, and cut in half, width-wise." We nod, and I look at the spherical sun mask, one more time.

The boy knows who his father is, and that his mother tried to uncreate him, because of it. He knows that his life of nobility and luxury is a lie. Understanding is crystalizing in his head, as he walks back around the side of the house.

I know, now, that by being cut him from left to right, the man with the greasy black hair has been doomed to a meaningless madenning half-life, where he can only think of his stupid fucking monkey face statue. Lucifer's universe is repaired, and righted. I wake up

After I woke up, I had to sit there, and hold on to those pieces for dear fucking life... I would be very angry with myself, if I'd forgotten those. The building described, in the last sections, was pretty much the inverse of the grounds for the place that