I'm traveling with a group of survivors on a planet after a major catastrophe (alal Battlestar Galactica). We're talking about what a brilliant design it was to let a percentage of the human race survive & fight over the now plentiful resources. "Yeah, except we're one of the resources." Says one companion (the enemies are part Cylon, part vampire apparently). We're scaling the urban environment, trying to find survivors & forage for supplies. AJ is with me along w/ a few military men & women. We climb down from a structure & I squeeze myself through some bars. "I'm amazed my head fit through that." I say. I look back & see that one of the soldiers has bent the bars to come through. "Oh sure Bender, " I tease him, "Just bend the bars."

We enter a huge apartment and sweep through it slowly with weapons drawn. I'm holding a small Glock & I keep trying to get a small piece of paper out of my hand. As we walk slowly from room to room, one of our companions (maybe AJ) is sweeping adjacent rooms more quickly. I try to keep up & keep him in sight. I walk by one bedroom where a small dog (maybe a toy dog) is wagging & swaying. In the next bedroom a woman is standing as though waiting for us. She holds her hands up like she's pointing a gun at me and says, "Bang." I'm somehow prepared for this encounter and don't shoot at her. I call for my companions and they come running. She's trying to insist that I shoot her and I start to lower my gun (we'd talked about her type before, the despondent survivors who are trying to committ "Death by Cop."_)

I'm walking through a dark & cavernous art gallery alone. As I walk through, I turn on lights to see the exhibits on the walls. There are a few young women walking by themselves and I pay them no mind. The gallery is long & the wooden floors are old & paint-covered (it all reminds me of the Reynolds Building). I turn on more lights and begin to survey the art studio. There are huge pieces of graffiti are strew about and I begin to put some together on the walls. A young woman comes up to me to ask about the work and we talk about the days when I went to school here.

Later, I'm hauling a box od DVDs from an old closed-down store to the new store I'm opening. It's a ways to go and I take the Subway. I go back to the old store with a friend/helper and we try to figure out how to haul the rest of the DVDs over without a car.

I'm late going to pick up Sofia from my mom in the morning. I walk into her house and see the two of them asleep on the couch. I pick up Sofia who stays asleep. My mom wakes up and asks me what time it is. I tell her it's 11:30 and she's very annoyed that I'm late (I was supposed to come before 10 so she could make it to work). She starts saying how she doesn't want to babysit anymore because I've been late. I say that this is the only time I've been late and it's because we overslept. She starts making some sticky rice dish in the kitchen as we continue talking. At first I tell her it's fine if she doesn't want to and start to walk out. Then I decide to speak my mind and start talking to her very seriously, "You can do whatever you want but running your business this way is bad for several reasons: 1. You can never retire and keep the business. You'll have to either close it down or keep running it. You can't sell a business to someone else when you've spent all this time micromanaging the employees. 2. You can never hire a manager because they won't be able to handle the employees. 3. By the time you can retire, you'll be too old to enjoy it. Right now you're at an age to at least enjoy yourself. She listens intently and we decide to continue the conversation another time.

I'm in the car driving home and I have to make a few u-turns in an unfamiliar neighborhood. I can hear Susannah talking to AJ on the phone about something.

I'm going on a road trip but I need to stop by a store first. I keep envisioning a bird's-eye view of the area as I try to find the store.

Later, Andre (from The Wire) is owed some money at a casino and Marlo Stansfield pays him more than his share to help him out. Andre is extremely grateful & tells Marlo that if he ever needs anything to come by the store.

Later, it's late at night in the hood and Dookie calls Marlo over to show him some tags on the ground. Marlo sees they are from a rival gang and tags over them furiously with white paint. He's gotten some of the paint on his pants and I suspect that this may help lead the police to him.

I'm on a bus in a European city that reminds me of China. I'm a little lost & ask the bus driver how I get back to where I came from. He tells me to get off & take the bus in the opposite direction, then transfer to another bus. I get off & start walking. Along the way, I walk by a food vendor & I buy a few potstickers from him. I don't have any Yuan on me so I go back to my bags to find dollars. I'm sitting on a steep metal staircase on the edge of a mountain. An old couple are trying to secure themselves to the top of the staircase so they don't fall. We talk about how dangerous it is up here.

Later, I'm walking with an older Chinese man. He tells me he's here in Japan on business. We walk to a store where there are large sheets of fabric hanging outside. He tells me he's here to oversee their design. He leaves me & goes inside. I pull out $32 and try to figure out the exchange rate. I put back $2 and give the rest to the old man to pay him for the dumplings.

I keep walking and realize that Baltimore is a pretty big city & that it's all urban. I'm not sure if I'm getting any closer to getting back to the walkfront.

I'm walking around a Chinese street with an older male relative. We part ways and I'm looking for an electronic store to replace my camera. I hop into a cab & he takes me around the corner to a store. He pulls me up into the stairwell of the store & I get out to pay him. I dig through my pockets and only find dollars. I dig deeper & come up with a 20 yuan & he gives me 12 yuan change. My relative has caught up with me and is also looking for a camera. We walk through the dark store, trying to find point-and-shoot camera. We walk by dislays of fancy digital SLRs, including a gold-plated Nikon or Canon and a Leica covered with fake fur. We walk by some video cameras & I show my uncle/grandfather how small they've become. He asks if they take good stills and we try a few. They all turn out badly & we decide we'd better stick to a regular camera.

The store begins to look like an art gallery and they begin turning the rest of the lights out. We start heading out, walking by some art students finishing up some large installations. Hollis is walking with me and I begin getting nostalgic with her. I say to the young art students, "Make sure when you're 30, you can still remember how you were now, what you were like as an art student." As we walk out, I tell Hollis that I have a few projects going on but nothing cohesive. I'm a little angsty about my progress and she talks to me patiently.

Outside, my mom walks with us and I tell her that I need to catch up w/ Hollis. My mom runs along ahead in the street (the sidewalks are major rubble) and I yell for her not to run too close to the cars. Hollis and I cross the street to the unbroken sidewalk. We walk by a chain link gate where a man is coming out with his 2 dogs, a boxer & a pit bull. Sofia is with us and wants to play with the "puppies." The dogs are a little too aggressive and we back off. Just ahead of us, I spot Vince Barker and another UK alum and point them out to Hollis. I want to say hi to Vince but feel embarrassed that I don't remember the other guy's name. The stroller gets tangled up in the fence and they come over to help us free it. They tell us it's broken and I assure them it's okay and unfold it. I say, "You're Vince Barker." and Vince says he doesn't remember where he knows us from. I remind him that we were in UK's art department at the same time. I put Sofia in her stroller with some struggle.