Carabas

A false awakening during which I tried to write down the previous dream. The dream I was writing down was a Rumpelstiltskin POV, and I'd written that in Belle's version of their shared dream there had been no corresponding scene with Bae. When Rumpelstiltskin found this out from her, he had a sort of bitter "aha!" reaction to it, as if this proved him right in doubting something. But now that I was 'awake' and writing this down, I thought he was mistaken in that reaction. There was more I wanted to write, but my pen ran out of ink. I went to fetch another and was distracted by various things.

(Woke up for real. Back to sleep.)

There are four servants in a mansion, one who's getting ready to serve guests. The other three have to stay out of sight of the guests, and two of them have stepped out a back door to talk about something.

The other one of those three servants, the only woman among them, finds those two standing around the open door and is very upset at them for leaving it open. They have some reason for it - but while doors are open, the spell that freezes time inside the mansion weakens. Allowing a few minutes to pass here and there means very little to them, but that fourth servant, the one currently serving the guests, is human. He only has so many minutes in his lifetime. She wants to preserve that limited life of his for as long as she can, even if it's only a few centuries. She's furious at them for allowing any of it to slip away.

(Woke up. Back to sleep.)

A car crashes out of a portal onto a hill. The woman inside is unconscious, and when she wakes up, she gives the name of a flight that crashed with her and her husband on it. She believes that she's just woken up after that plane crash; she doesn't remember the car or the portal. That plane crash happened days or weeks ago. But she's taken to the hospital where her husband is still staying.

When her husband sees her, he's shocked to see she looks much younger than before she disappeared. He takes out her compact mirror from her purse - he has all of her things that were found at the plane crash site - and hands it to her. As he does so, I see an image of her at three ages. Her appearance now is a young woman with strangely large eyes, blonde hair worn straight back under a headband, neatly dressed. But I'm also seeing a version of her several years older, with long wavy hair and a loose dress; and at the same time, a version of her that's about 5 years old. I realize that she became younger while she stayed in that place on the other side of the portal, and if she'd stayed longer she would have reverted to that 5 year old image.

I'm a man in a room full of people. A woman's being escorted into the room to pick out two of us for slaves. She's known for her harsh treatment of her people; she's got a shaved head and has two servants behind her. I'm standing a little apart from everyone else - there's something different about the way I got into this situation compared to how everyone else got here, most of them came from the same place. The woman looking us over is disappointed by us, says we don't begin to compare to the ones her settlers captured in the wild. We're a group of people selected by Dorothea, and this woman makes plain her distaste for Dorothea's preference for "pretty pets." She declares she doesn't want any of us and leaves again.

As Kang Chi in modern times, I meet Yeo Wool. She remembers me. We're both shocked. I have a false awakening in which I try to tell IRL friend S. about that dream, and then go on to a few IRL-based scenes - trying to find a place to park in NYC, and trying to form words out of a jumble of letters.

(Woke up. Back to sleep.)

In the past. Kang Chi and Yeo Wool are meeting up in this hut in the mountains outside of town. They have to separate, and they're being very loudly upset about it. It's just before dawn, and as a 3rd person observer, I'm thinking they must be waking people up in town, they're so loud.

Kang Chi's lying on his back in that town at night, looking up at the full moon. It looks massive, taking up most of my field of vision. He's meant to be meeting Yeo Wool soon and traveling somewhere together, but he's convinced himself she won't come anyway - there's something that's happened between them or something she's involved in that's on his mind, but he's not thinking about it directly. He's talking to himself out loud, convincing himself that she won't come and he should just leave on his own.

(Woke up. Back to sleep.)

Kang Chi's delirious, standing outside somewhere on the edge of that same town and calling for someone he calls brother - not a literal brother. Yeo Wool's trying to get him to move, but as he starts talking like this, she remembers a time in the past when they were in trouble in this same place and Wol Ryung had helped them. He and Kang Chi had called each other brother sometimes - it's partially a reference to being the same species, and partially acknowledging each other as close while sidestepping the complicated family issue. So she realizes that, delirious, Kang Chi's calling Wol Ryung for help. Wol Ryung's dead.

Kang Chi and Yeo Wool are traveling together in a very distant place. Yeo Wool's wearing modern clothes - no one else is. They're surrounded by soldiers carrying spears and a froglike nobleman on horseback - not a human being. The two of them raise daggers to their own throats, threatening to kill themselves rather than let the froglike man capture them alive.

As Kang Chi, I'm outside and looking through a window at Yeo Wool. There's a luna moth on the window.

And then two IRL-based scenes - catching and releasing an insect, and a visit from an IRL sister's friend.

(Woke up. Back to sleep.)

In modern times, Kang Chi's at a studio where they're filming a movie or a show, and a woman is talking to him, sounding very irritated. Without naming any names, she makes it clear there's been rumors going around about someone who works here being viewed as violent, potentially dangerous. Kang Chi's thinking this is about Yeo Wool - she's recently become nonhuman, and the adjustment period can be rough. Which makes this his responsibility. Without specifically naming names, Kang Chi tries to get the woman to confirm that it's Yeo Wool she's talking about. But Yeo Wool's just appeared at the end of the hall, and the woman says to ask her himself and stalks off.

And then an IRL-based scene involving studying Agamemnon.

I'm walking through a desert at night, heading south. I was traveling with someone before, and we're meant to be meeting up again later, but she's driving and I'm on foot, and there's a lot of territory between here and where we're going. We've been heading south along the west coast, and I'm thinking of the area I'm in now as Butte County, and also the northern edge of the desert in California. This desert is incredibly beautiful by night, and there are walkways cutting through it, no roads. I come to the top of a little hill and see a large city in the distance; the walkway splits to run north and south around the edge of the city. There are a few other people walking here, and I'm putting serious thought into just walking along these paths forever. (Similar theme came up in an earlier dream this week - a girl impatiently waiting for me to wander the world on foot with her, me pointing out the reasons I couldn't just drop everything and start walking this instant.)

Yeo-Wool's blindfolded herself with this white cloth I think of as a veil - it's transparent, but it's folded over and over so she can't see through it. She's sworn to wear this until (a certain thing I can't remember is accomplished). She and some guy she travels with are stopping at this fortress, and in the halls they meet a man, someone important. Kang Chi's with the important man - Yeo-Wool, blindfolded, isn't aware he's here. Without letting her know it's him, one or the other of them (can't remember which) says something to establish that it's still not time to take the veil off yet, much as they'd like to. He's smiling as he watches her - the majority of the dream just consisted of me, 3rd person, looking at her. I wondered something about the school - it was clear she wasn't associated with it at the moment - and the dream switched over to show Gon eating in his room at the school, which he's inherited from her father.

Near Dark-based, I'm enjoying watching Diamondback as this motel desk clerk tries to fight her off. She's just come around behind the counter, and she takes out her knife and stabs the desk clerk straight through the back of the hand, pinning his hand to the desk.

FMA-based, Ed's automail arm's bothering him while he's staying in a sort of underground village, and he's talking to Al. I'm briefly wondering why Al has a human body at this point in time, but then I remember that he retrieved his body very early in their journey, and then spent the rest of the time trying to retrieve something along the lines of his mind or memories or soul.

I've just entered into some wealthy household, and the lady of the house is greeting me. She uses formal greetings that trick me into responding in a way that formally declares us to be on friendly terms. By doing this, she's effectively prevented me from being able to bring up past grievances. This is very irritating. I'm thinking about how this way of manipulating words is something that she taught her husband, and it's the main thing that allowed him to make his fortune - that and the skill of building false walls that she also taught him, both things that she learned in her time working for a kind of illusionist or something similar, before she married. As I'm thinking about this I'm seeing an image of a false wall in their house which they use to spy on visitors, and then a scene of her visiting the court of a nobleman. She's raising a glass and saying "To the ruler of the land, Sho Haoon!" Calling him the ruler of the land is sort of overstating things - it's a position that's in question. She's been flattering him a great deal in order to get what she wants.

Kuroshitsuji-based. I'm looking at a sort of frozen image of two people - as a disembodied observer, I can move around and look at this scene from different angles, but time isn't moving. Two figures in heavy fur-lined coats that cover them completely. I can't see their faces, but I'm aware the tall one in black is Sebastian, and the small one in white that he's carrying is Ciel and also myself. I'm focusing on the hood of Ciel/my coat - the opening for the face is completely in shadow, and something about the deepness and the blackness of that opening and the fact that the face can't be seen makes me feel sure he's a demon.

I'm about to enter a temple, together with three or four friends and family. We're standing around an outdoor sink where you wash your hands before entering the temple, and I'm looking around and thinking about the beauty of the entrance. Over to the left there's a separate building that's also part of the temple compound, but not sacred, and when I realize the others haven't been there before, I insist we go see it first. There's a line to purchase entrance - which is very expensive - and they don't understand what this other place is, so I explain it to them while we're waiting in line. This building, the McKittrick, was built by an eccentric rich man who filled it with all manner of strange collections over his life. After he died, it was bought by a woman who- (My memory's vague about what I said that woman did, but it was something to do with folklore. Elves were specifically mentioned, prompting a scene change.)

Third person, outside that building, it's night now. Three strange-looking figures that I think of as elves are standing around, agitated about something, waiting to execute some plan.

(Woke up. Back to sleep.)

A friend of mine introduces me to a woman he's in love with - who turns out to be a living weapon sent to kill me. But she herself hadn't realized that; she was a sleeper agent, some kind of machine, programmed to become a weapon again the moment she saw me. It's painful to watch her personality disappear. I'm angry at the people who created her, and also blaming myself for involving both her and my friend. I try to take care of the situation without my friend finding out what's happening.

This ultimately ends in a chase scene where I'm running from that friend. I go semi-lucid while flying to avoid him. There's a small stand of trees at the edge of the property, and as I reach them, I decide to change scenes; I stop among the trees and focus on the feel of the branches around me, trying to change the scene to a dense forest. When I stop focusing on the feel and look around again, I'm not in a forest, but the grass is much taller and the buildings around have vanished, and the friend I was running from flies over my head without seeing me.

There are these people with some psychic skills ranked on a 1-10 scale, where 10s are considered essentially monsters and hardly ever exist. A message has gone out to all these people to stay indoors tonight. One of them's being hunted down by a 10-ranked kid, and anyone else going outside now would just get mixed up in the hunt. This kid's treated like a living weapon, kept locked up aside from the rare outings like this, but he's just a kid; there's a feeling here like being let off a leash. Now he's levitating around outdoors - it's night, so he's not worried about being seen. I'm fond of the kid, and I'm aware that later he'll get away from the place that keeps him locked up, and that'll be good for him. The woman he's hunting calls her home to ask for help, but the woman who answers the phone has already got the message not to go outside tonight, and she's torn.

Sarah Connor's been running from something together with this guy who can't run anymore, and she can't carry him. She's trying to convince herself to just leave him and go, but when she tries, she only gets three feet before her knees give out. I'm aware it's because she's fighting her own desire to stay and help him. She's thinking to herself that she should have done something every day to train herself to do things she doesn't want to do.

Gwendolen Chant's sitting in her room at Chrestomanci Castle, writing. She's just gotten back from another world - she's looking for one to move to, and she's just crossed this last one off her list of potentials. She'd had an unpleasant encounter with a girl there, and she'd wound up enchanting the girl into some monstrous form. Gwen led the girl to believe she'd be trapped in that form forever, but she's thinking that actually it'll wear off on its own in about a century. And about another century after that, it'll slowly start to grow back again - Gwen's thinking the girl's reaction when that starts should be hilarious.

(From yesterday.) There's a girl on the grounds of some large estate, talking to a boy. She's been chosen to play some role in some tradition or game or something - it's something of an honor, but she's refusing to have anything to do with it. He's trying to convince her - not with any particular effort, just an aw-c'mon kind of way.

Scene change - elsewhere on that same estate, there's a different girl, wearing a rather old-fashioned maid's uniform (this is a roughly modern setting), and she's standing against a tree. I have the impression she's tied there, but I don't see ropes. This is the role that the other girl had originally been chosen for. There's a group of people who've just found her - searching is part of the game, or tradition, or whatever it is. She's got an oval metal ornament on her forehead, covering her eyes, engraved with some scene. A boy reaches out to remove it - this is also part of the game/tradition/whatever. The 'dream camera' angle changes then, so I can't see the girl's face, but I'm aware that - and this isn't part of the tradition - it will turn out the ornament has a long, thin spike underneath, and the girl is dead. I have a brief image of blood around her eyes, or possibly eye sockets - from the angle I'm standing now, off to one side, I'm not sure which.

A man's just finished examining the crime scene, though he's not anyone official. He's feeling outraged about something else he'd found, some belonging of hers that had been put on display, hung from a tree with ropes. Standing behind him is the owner of the estate, and that's who the outrage is directed towards. Highlander-inspired then: the man doing the examining takes out a sword - it had been concealed under the grey trenchcoat he's wearing - and formally introduces himself to the owner of the estate, who also has a sword, and who simply says "Yeah" - the implication being that his name's already known.

There's a frozen lake with a hole in the center of the ice, and a school building at the bottom that's an exact duplicate of a building on land. As Dean, I'm remembering fighting Sam in this lake sometime in the past, when he was trying to stop me from taking something out of it - I'd been filling a canteen from something at the bottom of the lake. Now we've come back to that same lake, and I'm thinking out loud about the "misfortune" that "follows" people who steal from this place. I point out that we didn't take anything back then. Sam pulls out that canteen, revealing that he'd secretly kept it. There's blood inside it - I'd gathered it for him - and it's a neverending supply, so if he relies on that canteen, he doesn't need to take it from anyone else. But it's still cursed. So he says to me, I might as well go ahead and steal what I need from the lake; the misfortune has already been following us anyway.

(Woke up. Back to sleep.)

There's a man talking to a woman just outside the door of a church, saying "What have you done to your hair?" He knew her in the past, but she's meeting him for the first time in her lifetime. I see images of him as one of six brothers who'd been cursed lifetimes ago. The images are like photos moving against a black background; he and his brothers give me an impression of being arrogant, self-centered, maybe not deliberately cruel but thoughtless, a vague association of violence. But the modern version of him had been very different, and I'm thinking about that change in him while I walk up my IRL street, into my IRL home, and start making tea. Standing over the stove, I'm thinking, "the debt has been paid" - the man suffering now has little in common with the brothers that the curse was originally placed on.

A fragment about a castle where there's a bottle containing the souls of witches, kept as a historical item for tourists to look at.

Based on Legend, I'm visiting Darkness. He's going on and on about his plans to marry Lili, have her kill the unicorn and so on, gloating. I say to him, no. Her human boy, Jack, he's on his way here, and she's going to have to make a choice. She might have sided with darkness for the moment, but my side's going to win her in the long run. Darkness grants me that point - but "we don't have years." The choice she makes in the moment is the one that matters, not whatever regrets she'll have afterwards.

As Louis, I'm standing next to Lestat and looking down into the hold of a ship. It seems very dark, and I'm remembering a previous incident where he left me trapped somewhere. I tell him, "I've learned," and we're not going to go through that again. He acts exasperated, like I'm being ridiculous, and of course he wouldn't do that to me again, that was centuries ago, don't be so paranoid.

(Woke up. Back to sleep.)

After trouble trying to talk to my IRL father on the phone - I couldn't hear him clearly, but I also couldn't make the phone disconnect - I'm now meeting him at some event. I'm trying to save four or five seats, but that causes trouble with the people next to me; I get the seats I wanted, but the group of teenage guys sitting next to us are annoyed with me now. The one right next to me puts his feet up on the row of seats in front of us at an angle, crowding into my space, until he's practically in my lap. I call him a gay slur, then immediately wonder why I said that; meanwhile, he backs off and looks hurt. One of the other guys with him starts getting into my face, and at one point he suggests that maybe everyone here is dead - "I'm dead, you're dead, we're all dead," in a sing-song tone. I say to him, sure. Land of the dead, dreams, Underhill, it's all the same thing. Everyone around me has a rather unpleasant look on their face after that, and I think it's because I mentioned that this is a dream; then I think that this only happened because I picked up that expectation from other lucid dreamers. In any case, I get up and walk out of the room into the hall.

Thinking about that Underhill reference, I think it's important that I find elves - they're much preferable to the people who think they're dead - and I look for a door, but this building is built on an open sort of plan, with rooms opening onto each other at strange angles, not easy for me to control. I eventually come around to the back of the building and walk out a door, trying to use the door as a portal and thinking about elves, but feeling like I had only limited success. The door opens onto a stable, and there's a car parked here, and a woman in a ballgown getting into the car with a man who's wearing a uniform indicating he works here. On a closer look, he looks rather elfish. I think about hitching a ride.

Bit of a fragmented memory after that - I don't wind up getting into the car, but me and that guy walked out of that stable and into the woods, where we had some encounter with someone else. False awakening after that: waking up in an unfamiliar bedroom, I get my journal out of my backpack beside the bed and start writing down a dream about a (nonexistent) vampire movie involving that woman in the ballgown; as I was writing I believed it to be based on a real movie.

I've just started working in a shop run by two hara, training dogs, and I've been talking over a problem with the owner. The other har is someone the owner purchased, but I'm thinking you wouldn't get that impression from seeing the two of them interact; I think of him as aloof and 'leonine' and that he's 'best left to his own devices.'

There's two close friends who made some archaeological discovery many years ago, as a result of which, the choices they respectively made caused them to drift further and further apart. Now a girl's delivering a message to one of them, who has become a demon, informing him that the other is on his deathbed. He has only a mild response.

There's a woman looking at a 'falling star demon' - a spirit of a star which would have been considered simply a spirit when it was in its place in the sky, but a demon when it falls - and she refers to it as her assassin. The falling star is a sign of her own fate. I'm thinking about whether there are any choices to be made here, or which could be made at an earlier point in the timeline; any options other than her dying here and now.

As Homestuck's Dave, I've been teleported somewhere else, leveled up some insane amount due to timeline shenanigans, and then was teleported back home, to Bro's apartment, in the middle of the same game we were playing when I was yanked out. I'm really annoyed, because now I'm way beyond Bro's level and I'm not okay with that. I'm looking at some kind of selector switch, trying to figure out how to scale it back from a dealing-with-the-fate-of-humanity level to a hanging-around-the-apartment-with-Bro level.

I'm looking at six cards laid out in two rows. They show ravens and swords, black ones and white ones of each. One large white figure is flanked by two smaller black figures, and vice versa. They're labeled, and I hear the text out loud, "Light and Shadow, Occidanto et Icandis."

(Woke up. Noted that my subconscious Latin is terrible. Went back to sleep.)

A little after a scene in which L. appeared, I'm thinking to myself that I'm going to have to tell M. that she was here, when it occurs to me that that's impossible, I must have been dreaming.

Immediately after that thought, the sheriff from Twin Peaks walks in. He complains to me about this demon thing - all these people involved in recent suspicious events have been blaming it on demons, which is ridiculous, he can't figure out what's going on. He leaves the room, and I follow him. In the next room, there are two other people. One of them has something sticking out of the center of his forehead, like a horn, or like he's been stabbed with something, and I realize he's the source of this rotting smell. I also realize he's supposed to be dead, and the sheriff's been harboring him.

(Woke up. Back to sleep.)

I'm reading a news article covering ongoing research on the inside of an ancient spaceship that's been unearthed. The scientist in this article says she's discovered that humanity developed on this planet based on the human image displayed inside this ship, not the other way around. I find it bizarre that this claim is being presented in a major credible news source, as opposed to tabloids and conspiracy theory type sources. Then it occurs to me that the presence of an ancient spaceship, which the article treats as an already-established, commonly-known fact, is also pretty bizarre. I start to look up more information from other sources online, but out loud, I talk about the article with someone else, who, without reading it, dismisses it all as nonsense. I try to stress to her that what's really bothering me as unusual here is its presence in a major newspaper.

There was a royal baby, Herbert, who was locked away with his mother and a small staff in an isolated section of the castle for 8 years, after some disaster with his father. Now they're allowing a few more people to enter, including myself. They're still referring to him as "the baby", although it's been eight years, and now I see why - he's sitting in a high chair, being fed by his nurse, treated as if he were an infant in every respect, and apparently he's never been taught to walk, talk, or feed himself. The queen, clearly mad, is referring to herself as Herbert - I think of this as reflecting a desire to take control of the late king's power.

Most of the small group allowed in behave like sycophants, fawning over them, but after we leave, I speak with two of the other people who were allowed inside, both of them as disturbed as I am: two cat-like creatures, brother and sister, one a doctor, the other a scholar or advisor of some kind. They're cat-sized and they walk on all fours, but they're different enough in the face that they're not quite capable of being confused for actual cats; they're striped black and brilliantly dark blue, and they come from a place called Cheshire. They're very kind, very intelligent, very soft-spoken. The brother says that he believes the child carries some infectious disease that affects the brain, and this is what must have caused the disaster with the king eight years ago. Now it's clearly infected the queen as well. He intends to return tonight to examine the boy more closely. I'm thinking no, he's wrong, it's not a disease that the boy carries but madness, and I have a clear mental image of madness as some kind of spirit attached to the boy. I have the impression that I already know how this will end, that this is the past, I'm seeing a tragedy play out and have been forbidden from doing anything to change it. Suddenly realizing, I exclaim out loud, "the Cheshire Cat!" I'm horrified by this revelation, the idea of the madness that will take over this kind and soft-spoken doctor, and I'm so disturbed that the doctor and his sister become concerned; although I try not to say anything more, my exclamation has surprised them, and it's clear that I know something.

I'm climbing a road up towards the mountains, through a landscape covered in snow, along with the two cats and several other people, heading away from the castle. There's an announcement over a system of loudspeakers, the queen's voice stating "We order you to the tower to be arrested." The announcement goes on to scold us, alternately addressing us as if we were children or saying we've dishonored our esteemed positions, and then says "Now place your life squarely in your master's hands!" Obviously we have no intention of turning ourselves over to be arrested, but the path to the mountains takes us right past that tower.

Dean and Sam are trapped inside a house they were investigating, something to do with a piano and a song that was being worked on at the time of the composer's death. As Dean, I'd been calling someone on my phone the moment the house trapped us inside, a woman we've worked with before. She'd been having lunch when I called her, and after a while the phone is taken by some guy she was eating with, someone who doesn't understand anything about what's going on and who tells me off for being rude, insists I should "use sir and ma'am" or else he'll hang up. So I call him "sir and ma'am" and piss him off. Thankfully the woman from before takes the phone back. I have the impression that if I hadn't been on the phone already, if I hadn't already had a connection established, the house would have prevented the phones from connecting; if this call ends, we won't be able to contact the outside world at all.

I've got a creature perched on my finger that's something like a crow and something like a bat - it's furry rather than feathered, but it's got a beak. The feeling of its talons around my finger is odd - not exactly discomfort, it reminds me of holding a mouse in your hands. I raise my hand and launch it into the sky.

There are two little girls, elementary school age, who are carrying out some illegal deal, weapons or something similar, something stored in the trunk of a car. They have some mentor who usually does this, he doesn't realize that they're here in his stead, he would have stopped them if he knew about it. This meeting with the customer was supposed to be an initial negotiation, a sample, but one of the girls declares that they're going to do the deal now. The customer reacts badly. The other girl gets shot, the one who'd declared they were doing the deal now takes a gun out of the trunk and shoots the customer, the cops come, they're all put in handcuffs, and the customer is bewildered, he was a good customer and doesn't understand why they tried to change things. The girls escape, go home, and try to cut the chains around their wrists with their father's tools.

There's a girl walking up a narrow attic staircase that she very much doesn't want to go up. There's something that looks like a child at the base of the stairs, forcing her to go up and see 'mother.' 'Mother' is something that this girl has fed people to before, but she's never gone up the stairs herself. Now she's failed the pair somehow. Whatever's at the top of the stairs feels nightmarish enough that I decide I don't want to see this, and take just enough control to back out of the scene. There was some resistance, and it felt like a race against time, whether I could get out before the girl got to the top of the stairs.

I'm standing somewhere airy, white walkways, a few white walls, mostly open space. There are a few pages on the ground, a story I was reading, but I feel too on edge to focus on it. I put my back to a wall, that helps.

The Magician on a city street with a little girl. He's saying, "Countless thousands of worlds, or (something, along the lines of 'a few') worlds and those you know." She asks what he means, and he says nevermind, but he's talking about the price for what he's about to do for her; something's going to be lost. He doesn't want her to feel guilty over it, so he doesn't explain the details. He raises his staff and these gold shapes form in the air around them - flat, curved, with sharp points, something like a tribal tattoo come to life, I have vague associations with wings and clockwork (they do resemble stylized wings, but no clue what the clockwork association's from) - and then their surroundings seem to shatter, taking them somewhere 'between worlds.'

Memory gaps and vague fragments after that: those same two characters standing in front of images like holograms, representing people that little girl knew, but the images are fragmentary, like they've had pieces digitally erased, leaving a bit of hair or a corner of a dress hanging in midair, but never any faces. Something to do with the importance of the little girl remembering "Rose," but there's a trick to it - she knew someone who was called Rose, but who also used another name, and it's that other name she really has to remember. Four knights, two in red and two in blue, male and female, and the man in blue has some message to do with the kid's father and something about a doll.

(Woke up. Back to sleep.)

I'm playing some kind of game based on Middle-earth - there's no sense of me physically playing a video game or the like, I seem to physically be there and it seems to be a real place, but I think of it as a game. At the moment I'm trading in some weapon and given a new selection to choose from. It's mostly swords and daggers. I choose a staff. This alters the way the game is played, although I hadn't realized it when I made that choice; it removes me from the fighting and instead allows me to travel freely, flying over the countryside, exploring the world, unlocking all the elven settlements that were otherwise hidden. I won't be able to continue the storyline this way, but it has its appeal.

(Woke up. Back to sleep.)

A movie about robots, filmed in first person POV, full of scenes designed to make you feel sympathy for the robots, even while the robots themselves remind you that they're just tools and there's no need to feel concerned.

Belle and a newly-human, rather fragile-looking Rumpelstiltskin have been traveling somewhere and are now in some dimly-lit house where they're finally meeting with Rumpelstiltskin's son. (His personality's so different from Bae's that I hesitate to use the same name for this dream version.) Belle and the son talk while Rumpelstiltskin's sort of collapsed in a chair, Belle's next to him, the son's on the second floor and looking down at them over a railing; she seems suspicious of him. It seems they've met before, in a shared dream, and something that she saw in that dream is making her suspicious of him now. He warns her not to take shared dreams too literally, as other associations tend to leak in.