Recent DJ Posts

There's a kid who's gone down to the docks and started talking to a homeless woman there. He's already seen the events that are about to happen, and he wants be sure he's near her at a certain moment. She's fishing with a stick with a string tied to the end of it. She says to the kid she's "not fishing, just putting out bait."

There's a private party, all women, that's rented out the restaurant at an inn. There's some drama going on and the cook got stressed out and overwhelmed, he took a break in the garden out back and someone else, the former cook, is filling in. He's not human; he's something large, bulbous, vaguely frog-like. At the moment, the human girl acting as a waitress is standing in front of him saying "Um... um... um..." and he suggests what she's trying to say - that the other cook's just about recovered, so it's okay for him to go now - and when she nods gratefully, he takes off his apron and lumbers off. The boss, an elfish creature, walks over to him. In the boss's POV now, I say to him, "You knew staying here would change the way she sees things." That is, the illusions that make the humans see us as human were bound to eventually stop working on her. "Why didn't you say something to her before now?" He sort of grunts.

(Woke up. Back to sleep.)

There's a little girl who's seen a glimpse of a woman in her house that no one else saw. As a disembodied observer, I'm thinking she reminds me of the faceless old woman who secretly lives in your home, although this one's not particularly old, and she may or may not have a face. I like her. Now the girl's in the bed that she shares with her sister, both of them under the covers, except for her hand. She feels a touch on her hand, snatches it away under the covers, and asks her sister if that was her. The answer is no. The girl peeks out from under the covers and sees that there's no one there. But the moment she puts her head out from under the covers to look around, the rest of the covers are ripped off the bed, and the woman, who was standing by the head of the bed out of sight, says "Finally."

(Woke up. Back to sleep.)

A man's holding a vial of some kind of virus. He's meant to add a second vial holding some blue liquid to it for some plan that's about to be carried out, but there's something wrong - this isn't the fake that had been prepared, it's the real virus. What happened to the fake? The scene changes briefly to show it back at the lab, where the real virus should be. I switch to the POV of that man with the vial and decide we're going to have to go ahead with the plan, it just means that what we're about to do is less of a bluff than I'd like. I add the blue substance to the vial. Something red like blood forms on the top as the two substances mix.

In a scene I think of as "Five days in," a man is meeting up with someone named Hugh. Hugh's sitting on a dock with blood around his mouth, one arm slung casually over his dog, greets him with "Hey man," and generally is completely relaxed and sees nothing wrong. The man meeting him is bothered by seeing 'immortals so much older than me' losing control.

A fragment involving a city made out of pieces of every road built in the past century.