Carabas

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.

Alice (of Wonderland) kneels down and waits. I can see movement behind her, something approaching, but I can't see it clearly from this angle, it's hidden behind Alice, until it gets close enough to be standing right behind her: a man and a woman, something off about their eyes. I'm aware they're here to take her to (Purgatory or the Underworld, something like that). I can hear music, a tune that reminds me of vaudeville.

(Woke up. Back to sleep.)

Three people from a motorcycle gang, driving down an empty highway surrounded by fields of tall dry yellow grass, passing a billboard where the ad's been scraped off. I can only remember vague fragments of the previous scene, but it had been focused on the leader of these three, and he'd been trying to escape something - fate, his role in life, something like that. The transition to this scene means he's failed to escape. He's thinking something about a murder that happened in the past. There are police ahead of them, waiting for them.

POV switches to those 'police', although they look more like military. Weapons are being distributed, grenade launchers, and one of them exclaims over the model, he's very knowledgeable about it and excited to be using it - he says his father or uncle used this same model in a certain war. Another cop, one who'd been in that war himself, says something sarcastic, along the lines of "Did he? That's nice. Did he bring it home for you to play with?" The cop who'd been excited goes quiet, says "Well, no, but..." The cop who'd been in the war doesn't like hearing it talked about by people who weren't there, feels strongly about those memories being something you should keep apart, not bring home to your family. But he starts talking about it now - he says, "Good war, (he says a year). A single man could've turned the tide by pledging his country to one power or another. And even a warrior likes to hear that."

(Woke up. Back to sleep.)

I'm in the moon kingdom from PGSM. (One of my lucid goals is to travel to the moon - I suspect that inspired this non-lucid.) Chibiusa's here, she grew up here, and I'm thinking, wait, how can Usagi and Mamoru's daughter be living in this time period?

The scene changes with that thought. In the present, on earth, Mamoru's working as some kind of private security, wearing a suit, standing with other security around a limo that's stopped in the middle of the road, having some kind of confrontation. He's in trouble here, and he's aware Usagi's in trouble elsewhere and he won't be able to reach her to help her. He's holding something small and black, and he's remembering when it was given to him by a man who told him some words to memorize in order to use it, to transform. I'm thinking, the fact that he had to memorize the words indicates that he wasn't Endymion at all, he was simply playing Endymion's role, filling in for him; this was also indicated by the uniform that he transformed into, which resembled Endymion's but was much darker, almost black, unlike the real Endymion's much lighter blue. Now that he's trapped, he passes that black object along to one of the other men working security with him. He starts to tell that man the words he must memorize, but as he starts to say them, the man taking the black object finishes the words himself, he already knows them - indicating that, by chance or rather by fate, that black object has finally been passed on to its real owner. Endymion's true, light, uniform appears on him, and he leaves to find Usagi, flying through the air - which I have an incredibly bad feeling about. The real Endymion isn't necessarily a good person for Usagi to know.

The other people Mamoru was with have left the scene, Mamoru's now kneeling in the street, surrounded by cops with a misunderstanding, and a police detective is holding a sword to Mamoru's throat. One of the cops calls the detective away - there's some order over the radio that means both that they're needed elsewhere and that Mamoru isn't guilty of whatever it was they think he did and should be released. The detective is extremely reluctant to follow this order, he doesn't want to let Mamoru go. The cop relaying the orders from the radio phrases those orders in a way that praises the detective's work up until now and stresses how much he's needed, and finally the detective releases Mamoru and he and the cops all get into their cars and drive off, towards a bridge.

There's a vampire who looks like a kid, who'd been having some kind of serious problems, but is assuring a friend of his that he's past them now. He's also discovered that, as a result of those problems, he can eat solid food now, and he's trying to stay off blood. He's optimistic about it. "I've been having some sickness, but-" His friend laughs, patronizingly. As a 3rd person observer, I side with the friend - this is a bad idea.

There's a woman working at some kind of community center, and a man who seems to be drunk outside, holding a knife. She's saying to him through the door, "Go home, Ray! You're sick! You need help!" Afterwards she starts thinking about fated events, and timing.

I'm working with a team of bounty hunters to catch two people, allowing one of them to lead us to the other without letting him realize he's being followed. We catch up to them in the woods, and they're both here, but they're unconscious, and surrounded by two "Wraths" - some semi-divine role, working for Ares. They're waiting for their master, who arrives just after we do.

Three people discussing a conversation they just had with a police captain who hired them. One of them uses the slang term "NeuTrooL", a pun on "new" and "true" and "neutral", which means information given by someone who mistakenly believes their view is an objective truth, completely neutral, when in fact it's influenced by their own bias.

A woman's telling me about her dreams, with a large cast of recurring characters and ongoing storylines. She's telling me her most recent one, about "the Prince and the Magician", and says that the Prince is captive but still playing an active role in events. As she talks, I see the prince sitting in a room that has something crystalline about it; he's a fae-looking thing, and he's sitting in front of a mirror with a spell on it, talking to someone at a distance. The creature in the mirror is very large, and has fur. The woman telling the story mentions the name Ba'alrael.

A man talking about an opponent: "He had fallen on the might of (something), and he himself had fallen back and disappeared." The 'he' in question is described to me as "one of Fate's creatures," Fate being our enemy, but this guy is on a completely different level from those we've been fighting up until now. The man speaking is trying to get through to me just how serious a threat this guy is. He says this guy participated in "sanguinary" interstellar wars (that's the second time this month I've had dreams emphasize war with blood-related adjectives; seems redundant, but the dream seems to think that changes the meaning significantly), and in "civilized eras" he attached himself to prison transports, weapons transports, and managed to gain influence through this.

(Woke up, back to sleep.)

The queen of this country is always seen accompanied by three men attending her in robes, one red, one blue, one gold, all intricately embroidered in white, and I worked hard to become one of those men, but now that I've gained the position of the blue, I just feel chained down. Once we leave the Queen's presence, we're instructed by an aide to remove the robes, and with them the role we played. Such a role exists only in the Queen's presence, and it seems to me as if she exists in her own bubble, reality shifting with her presence or absence, so that she never touches the real world.

Fragments:

My roommate's watching a surreal horror movie called Repo Man starring Nic Cage and Meg Ryan. I comment that I had a dream about those two starring in a vampire movie the other night. (Which is true, I did.) I wanted to watch something else, though.

Something about David Bowie and outer space.

I'm saying "Where is all this going?" and in response the scene changes to show me and the people I'd been talking to sailing off into the sunset on a yacht.

Trying to read a document with errors in the font. When I go to change the font, I scroll past a font called 'lucid dreaming.'