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Dabney Coleman Strikes Again

Morning of May 17, 2014. Saturday.

Dabney Coleman owns a company called “Dreams Inc.”, which at first seems to imply he can travel in the manner of the characters of “Monsters Inc.” to assault females as they sleep or to whisper rather bland suggestions into their ears to win their favor, but this is not directly observed, and he is in a sort of character mix of Captain Yardley (from “I Dream of Jeanie”) and Mark Winslow (from “Modern Problems” from 1981). He has a conference at a large rectangular table with a sort of black vinyl cover and wooden sides of a slightly atypical height and seems to be the only one speaking for quite some time. His goal is to make a movie about dreams, using all of his business associates, but they do not seem to be interested or very trusting of the concept.

For a few minutes, he is somehow seemingly making the large table rise into the air with a certain…body part…and giggles about it and slaps someone on the shoulder. However, this turns out to be a forklift at the opposite end of the table (and of course, most would see the obvious play on “f—k lift” here). Everyone else turns to each other as if to say “what was that all about?" He starts to talk about "Dyspepsia” as some sort of ideal town that the movie is set in - he moves his hands apart (when standing up) like a growing frame gesture (mirrored “letter Ls”) to emphasize this, but for a moment, is more reminiscent of a fisherman bragging about “the one that got away”. This is not as odd as one would think, as, a few years ago they were showing a television commercial which made no sense (nothing new, here). It was supposedly about a woman’s younger son who had a medical problem relating to something similar to dyspepsia and something about a medication, but the woman calls the condition “dyslexia” instead (or maybe it was the other way around). Neither I nor my wife ever worked this out, as dyspepsia and dyslexia are two completely different things (contrary to what the commercial seemed to imply).

The next scene is related to how “all door knobs” are a symbol of his…body part (some sort of twisted connection to “Monsters Inc.” I suspect). Therefore, he reasons, every time someone opens a door, they massage the body part in question. Two of his business associates get up, and instead of opening the door or touching the doorknob, commit suicide by jumping out the open window, falling about forty stories. “Okay, um, let’s move along” he says.

He eventually ends up somehow tying everyone to their chair and saying they are going to be in his movie. He “gently” stabs them with a pencil saying how calm and peaceful his movie will be and how it will bring “world peace”. After a time, it looks as if he is sawing fingers off. The more people protest, the more he reassures them, that, because they are all “crazy” it is their privilege to be in his film.

The film begins with opening credits and he goes around talking and smiling to the people, even though most are injured or deceased. However, he spends more time talking into a mirror and to a couple manikins than the people he dismembered. His movie will begin, he says to himself, as a sort of “better version” of the “Lost” television series. It will begin with a closeup of a certain body part and end with the closeup of said body part (instead of Jack’s eyes in real-life).

As the actual film begins after the last opening credits, it shows a blank screen for awhile, and as Dabney grows restless, the screen remains blank for some time, and everything seems quite peaceful. I notice that the people that were presumed “dead” are actually happily walking around now having a “wine and nibbles” party, whispering softly. Two celebrities, J. J. Abrams and David Morse, enter, and take him away in a straight jacket. “It’s time to go,” says David Morse, and does his Ted Arroway speech (quoted verbatim relative to the real one): “You’re an interesting species. An interesting mix. You’re capable of such beautiful dreams, and such horrible nightmares. You feel so lost, so cut off, so alone, only you’re not. See, in all our searching, the only thing we’ve found that makes the emptiness bearable, is each other.”

When the movie finally begins, it is a scene from “The Golem” (1920) but with the face of Dabney Coleman, who looks quite puzzled and “frozen” when the child hands him a flower (which I believe is an apple in the real-life parallel), until it looks like his consciousness no longer exists at all. (That is, his eyes look “fake” and doll-like rather than “dead”.)

David smiles at me and it strikes me, as his eyes flash bright silvery blue, that it is the Source itself. “Small moves,” he says. I wake with a sense of rushing through a tunnel at high speed and realize what an incredible event that was. There is a residual “blue flame” that lasts longer than usual, and slightly brighter than usual.

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