Rebirth Station

The small brightly lit room is just off a highly trafficked street, but it is late night and the cars are no longer passing by with their screeching tires and rumbling engines.  The pedestrians have all long gone home and the street is almost eerily quiet. 
The room used to be a store front of some kind, but those days are long gone and now it stands almost devoid of personality.  The walls are white and bare- the overhead lighting is blunt in its effectiveness, just bare bulbs screwed into the ceiling.  It is basic at its more stark- like a prison cell.  There are bars over the front plate glass window, which in theory protects the inhabitants from any wandering predators outside.  The window is blocked from the street not just by metal bars but also by a large single piece of white painted particle board. The room is rectangular, efficient in its size. 
Half a dozen people fill the room, all of them sitting in cheap cushioned chairs that are decades old.  There is a heavy set young woman sitting on a chair towards the back left corner,  she has a crocheted multicolored blanket across her knees.  Her skin is pale and her hair is dark and stringy- she looks sixteen or seventeen and very small.  She looks lost in the expanse of the room, lost even though I can see her and she can see me. 
Five feet away from her is a man in his 20s, he has a scraggly blond beard and a tiny pot belly covered by a blue tank top with orange edging.  Next to him, his 2 year old son sits happily on a chair.  Almost all the eyes in the room are on the boy, a somewhat happy and clueless child who does not seem to mind being in the white vacuum of the space.
There is a young woman with dark hair closer to the door.  Her arms are on her knees as she leans over, looking into my eyes. Her face is desolate, her eyes dull and without any expression, like she has seen a thousand horrible acts and closed herself off to all of them, resigned to her fate now.
In front of me, the only thing on the wall, is a cardboard cutout of a TV set.  It is designed to look like an old fashioned analog TV with two knobs that were once used to change channels.  It looks like something left over from an art class, perhaps a project critical of the media. The screen area is grayed out and the entire thing is two dimensional.
It is silent in the room.  I can’t even hear the buzzing of the lights.

Angular Tube

It is an angular tube made of slick paneled walls brought together by plastic joints and hidden metal screws that evade detection. It is a long tunnel in the shape of a hollowed out rectangle stretching at least a hundred feet, curving ever so slightly in the middle towards a goal I cannot see. On both sides the walls are shiny gray plastic without reflection or texture. They are simple, sterile. If needed, they could be disassembled in a matter of hours.
We wait in a single-file line within the tube. I cannot see the beginning, I cannot see the end, there are bodies in each direction. Most are dressed in long-sleeved dress shirts that button to the neck. They are men of all shapes, sizes and skin-tones. They all shoulder either a black computer bag or a small black suitcase with wheels and elongated collapsible handle. We wait, each facing forward, just a few inches from the person before us.
The man in front of me taps the plastic wall with his finger impatiently. He is tall, reaching nearly seven feet. His outstretched arm, covered in a cotton pin-striped plaid design, can reach easily from one side of the corridor to the other. He rests his right palm on the wall and taps his index finger in quick agitated bursts.
The dull sound of strangers is all around, the sound of communal silence unbroken by questions or laughter. We stand, waiting, all looking forward towards the corridor’s curve into a future which cannot be seen.
Overhead are evenly spaced strips of florescent lights that glow through narrow plastic frames embedded in the ceiling. There are lights every five feet, providing the plastic tunnel with rays of yellow illumination in an otherwise dim, windowless chamber.
The black plastic floor below my feet is covered in a pattern of raised circles the size of silver dollars. Somewhere behind me a small suitcase rolls relentlessly over the plastic bumps, thunk thunk thunk thumk. The rhythm adds one more layer to the soundscape. On both sides of the ground where the walls and floor meet, stretching the length of the tube, is a foot-wide striped yellow and black plastic sticker indicating a warning of some kind.
Close by, an idling plane hums, its roar finding us through the plastic walls, its constancy unable to drown the silence of strangers.

Santa Cruz Theatre

A small rectangular room is tucked just a couple feet from the sidewalk. The walkway in front of the room is covered in semi-shiny squares of tiles, marking the space as uniquely different from the dull pedestrian sidewalk a couple steps away. The lower part of the wall is decorated in the same shiny tiles, the upper walls of the room are made of Plexiglas, their opaqueness reveals the three uniformed attendants inside the space. They wear matching black pants and pristine white collared shirts. Above the shirt is a maroon polyester vest and at the collar line is a shiny black bowtie. They are sitting in a row a foot away from the glass wall, a small blue tiled ledge in front of them acts as a table. Each person sits on a black padded chair, spaced in precise intervals. A small bendable microphone on a metal chord is connected to the glass in front of them and the microphone extends from the clear wall to their mouths and stops just an inch away from their lips. Before each uniformed attendant is a large computer monitor and beyond the glass wall are three lines of people that extend to the pedestrian sidewalk.
On either side of the glass room are two double glass doors, on the left are the exit doors, on the right is the entrance. A uniformed gatekeeper stands behind a blue tiled podium just a foot behind the open door. He is a big man and wears the same outfit as the people in the glass room. Resting on the podium’s flat surface is a list of the nine cinemas and the times that each movie will be playing. Past the gatekeeper is a flat surface of shiny tiles that stretches four feet and then abruptly ends at the flight of stairs.
They are smooth, shiny stairs, made of the same tiles that decorate the outer plaza and the gatekeeper’s podium. There are at least 100 stairs and they reach from wall to wall, at least fifty feet across, and rise to the upper level. Directly in the middle, breaking the lines of the continuous smooth stairs is a softly humming escalator which has one rotating flight of metal stairs going up and another beside it, going down.
At the crest of the stairs is a smooth, wide open floor covered in maroon carpet. The soft flooring is accented in squiggly lines of royal blue and yellow and punctuated by fluffy kernels of dropped popcorn. The upper level is shaped like a square donut, the wide open area of the stairs resembling the square donut’s middle. Except for the opening to the escalators and stairs, a four foot Plexiglas wall rings the large open hole. There are four leather benches placed against the Plexiglas railing on each of its three sides and people sit there, popping kernels of popcorn into their mouths while staring at the advertisements that line the walls.
The overall lighting is dim, there are carefully placed spot lights around the periphery of the large room that shine on the cardboard cutouts of an upcoming feature, and there is some wandering light from the neon signs of the concession stand, but there are no large chandeliers or grand lamps, it is just slightly brighter than the subdued cinemas themselves.
At the far end of the wall and directly in front of the stairs, is the long concession stand. Neon lights advertise popcorn and soda. There are eight different lines with a couple of people in each, each line ends at a thick Formica countertop, a tan cash register and a uniformed teenager. The wall behind the attendants is covered in glass and in front of the wall are 3 Plexiglas cases of yellow popcorn, made brighter with the accented yellow spotlights that shine upon them. Soda machines spurt and wizz in carbonation and a hotdog wheel spins endlessly on the far right side of the counter.

Wait and Rest Room

Plush maroon carpeting spreads over the floors like the spilled and drying blood of some regal jungle animal. Neither too red nor to brown, its shade is deep and warm, and creates the illusion that one might be standing within the soft heart of an enormous elephant. The walls are paneled with sheesham veneer, a rich chocolate brown wood swirled with even darker lines. They disappear into anonymity behind the array of fine art hung over their deep complexion like multicolored veils over the faces of exotic but somber women. Many of the frames are gilded with 24 karat gold.
The art itself is so exquisite in detail as to appear more vivid than life. Creamy skinned women stand with blue skinned lovers at the mouth of roaring seas or lay in the arms of furry white beasts playing wind instruments upon stony cliffs or dance in groups upon mossy embankments overlooking misty water falls. They seem as if they might step out of the frames at any moment, or as if perhaps theirs is the real world and the room with maroon carpet is only a crude painting. Antique lamps of fine polished brass, some adorned with tiffany lampshades and dripping with glittering lead crystals emit a warm glow. Scattered throughout the room, they stand upon sleek end tables fashioned of polished dark cherry. These rest near couches, divans, and love seats like faithful dogs at the feet of their masters.
The couches themselves are upholstered in darkest brown suede and some in pomegranate hued velvet adorned with gold embellishments in the baroque style. Many of these are planted so that their occupants might face each other and engage in intimate conversations. All are equipped to function as toilets as well as seats. The soft sued or velvet cushions need only be lifted to reveal the gleaming white porcelain of a toilet seat and bowl. Dainty little handles for flushing rest nestled among the at the back. Some have been neatly worked into the baroque embellishments. The din of idle chat fills the room like the bubbling of hot soup in a black kettle. The mob of individuals crowd together on the love seats, women sitting in men's laps and youths with tousled hair perched upon the arms of the couches. The scent of perfume mingles with that of after shave and the baser smell of hot human breath and urine. The laughter of the women rings out shriller than the baritone he-haws of the men. The smoke of a cigarette drifts along the ceiling, among the crystals of a chandelier and on past the mist seas of a painting. Coughing and nose blowing accent the general hum of unending conversation.
The men wear tuxedos, many have taken off the jackets and have loosen the bow ties and dab at their perspiring brows with embroidered handkerchiefs. The women don tight fitting evening gowns to reveal their bosoms and wear glistening earrings, and pearl necklaces. They grip satin and bejeweled clutches in their delicate and neatly manicured hands. A few fan themselves, the spaghetti straps of their skimpy gowns hanging off of their freckled shoulders. One woman in a clinging blue dress is using one of the toilets while the others around her continue to talk. Perched as she is, she endeavors to keep herself covered with the skirt of the gown, but it is too form fitting to accommodate her much, and her pale thighs and dark curly pubic hairs are apparent to all, while she wriggles like pate trying to go back into its shorn wrapper.

A Place to Rest

It is enormous. Much larger in the inside than it appears from the outside. And it does look large from the outside. It sits next to a forest, or within it. A road leads to it, curving through the trees like an extended thick snake made of dust No city is close by. Some people stand outside, waiting to be go inside, trying to decide what to see, waiting for others to arrive, looking at the schedules, discussing the possibilities. The walls are thick and at least 3 stories tall. They seem ancient yet show no mark of age. Nothing is falling apart. Everything is just in the right place. The whiteness of the walls is pure and shiny. There are 3 entrances, each able to fit 20 people or more at a time. The sides of each entrance are adorned with multiple markings, strange symbols, magical hieroglyphics, mysterious sigils and Soda announcements. There is a constant rumble of echoed noise coming from inside. A vast conversation that never ends.
Inside, the lobby is covered in wall to wall red carpet. If the walls outside seemed three stories tall, inside the ceiling is so high it can’t be seen. There are stairways leading down and up, and to the sides, away from the lobby. The stairways divide and subdivide going to the inner doorways within. There are also transparent elevators that climb up to unsuspected heights and open up to further stairways. People walk back and forth in all directions. They hold things in their hands very tightly: food, brochures, jewelry. The crowds are coming up from the stairways, walking into the elevators, walking out of the elevators, walking down stairways. A long concession stand stands in the middle, selling all kinds of junk food along with strange artifacts. People stand in long lines waiting to buy at the stand. Each one alone or in a very small group. The echo of conversation rings loudly throughout the space, but with it come waves of isolation. Each one, each group, is by itself. Even the staff seems to be alone, lost in a vast complex structure that has no internal hierarchy. The manager, if there ever was one, has long been gone.
The stairways lead to enormous theaters where movies play continuously. The seats are arranged in layers of balconies, which extend so far into the back that the end can’t be seen. There are many empty seats but the place is so huge that it still holds a vast crowd. People are constantly moving, even while the movie plays. They move from seat to seat. They encounter others, then sit somewhere else, then go back out to the lobby. The light coming from the screen lights up their faces. An overweight girl working away at a large bucket of popcorn. A skinny young boy slurping Soda from a straw. Two young lovers caressing each other surreptitiously in the darkness. An old frail man bending over towards the screen, his eyes barely registering any kind of awareness.
It is easy to get lost in here. Everything that came before can be forgotten so quickly. There is a need to sit down and watch the movie. Lay back. Rest. Stop worrying. Let the movie play and be content in the darkness. Nobody will bother you. Everybody stays to themselves and there are plenty of empty seats between the patrons. There is no end to the movies, so there’s no need to worry about going home. No need to remember where or what home was. The movies will play forever. Maybe it’s many movies. Maybe it’s the same one. Every once in a while you may need to visit the concession stand, but even that can be rare. The seats are so comfortable. They fold back and cushion your head. Your eyes can focus on the movie and you can set aside all distractions. In the middle of the vast crowd, you are now finally comfortably alone and without any worry.
People scurry from one hall to another. Never content with their choice of movie. But you can sit easy. Relax. You made it into the theater. Now you can rest.

Something Lurks

The ground is littered with leaves of brown and gold. Knotted oaks snake upward, their bodies fat and twisted.

One is missing its canopy. It has a gaping black opening in its trunk. This tree, or remnant of a tree, is to the left. It seems to offer both protection in terms of a place to hide and pose hidden threats of it’s own.

The landscape is uneven. There is a creek bed up ahead. I have advanced on this place repeatedly. Sometimes I find the creek full, other times at a trickle or bone dry.

Something lurks out here. It has taken someone I know.

I am almost in the creek when I catch a glimpse of it beyond the opposite bank. It is quick, running up right like a man, a blur of thick orange fur. I have not seen its eyes, but its mouth is black and has teeth for tearing flesh. It disappears amid the distant trees.

I begin to climb the bank and head in its direction.