• Lucid Dreaming - Dream Views




    View RSS Feed

    Carabas

    1. Fortune telling

      by , 11-16-2015 at 10:05 PM
      There's a grand performance starting, but I've seen it all before, so I ignore the main plot, move past the crowds and deeper into the building where it's being staged, watching the parade of characters emerging to take their places. The very last to emerge is the witch queen, behind her two enchanted attendants. Since I'm the only audience member here, she takes me aside to tell me my fortune.

      As she talks, it becomes clear that she's mistaken me for a woman, and that she might not have taken me aside if she knew otherwise. When she pauses to give me a chance to respond, I keep my mouth shut to avoid spoiling the illusion; she's clearly not pleased with my silence but she goes with it. She takes a needle and draws lines of thread through the skin on the back of my hand, talks with thees and thous, and pronounces 'clan' like 'clin.' She asks whether I'll play the role of part of her 'clin', and I agree, which requires a verbal answer. Her attendants take out instruments to arrange the ends of the threads.
    2. Romanticization and ugliness

      by , 02-27-2015 at 11:01 PM
      I'm in a garden, speaking in Russian with a very old human man in a wheelchair. We have an arrangement. I'm to kill him, but as he puts it, without ugliness. That he wants his death to be smooth, I have no problem with, but this ugliness he's referring to isn't about his own death, it's about preserving his image of me, or rather what I represent to him. He says I'm a man who should understand this, unlike that brother of mine - he uses a word that my dream doesn't bother to translate aside from noting that it's uncomplimentary. The old man wants to believe in the existence of a creature that's above all the things he dislikes in humanity, an embodiment of death without ugliness. I'm disgusted and feel illogically betrayed by hearing this from him, a man more intimately acquainted with violence than any human I've ever known - he of all people shouldn't have any illusions about this. It's hypocrisy.

      As he talks we move indoors, to a dimly-lit room that's kept very cold. He has a selection of alcohol lined up before a mirror, and I go to pour him a glass; as I do so I see a small portrait of a blonde woman, which I pick up. A woman who works for him, who's been pushing his wheelchair, urgently asks me to be careful with that. I recognize the image as his granddaughter - she's how I met him in the first place, years back. He laughs and corrects me, and he says this in English: "Vivian. Her mother." This startles me, and I examine the portrait again - I would never have guessed they weren't the same person. Her mother had died before I met her.

      (Woke up. Back to sleep.)

      While using a spell to pull out some relevant books and scrolls from a collection, one of the books that comes to me is titled "The Unbeauty of Life," by a Japanese author.

      I'm running up several flights of stairs, spiraling upward through a ruined building, piles of rubble around; I should have fled the building with the others when I reached the first floor but instead I kept going upward, thinking of the woman I'd originally come here to track down. As I reach the upper levels I find her laboratory, with her books scattered on the floor, sarcophagi in rows. The next level above that is devoted to "the theatrical vampire," complete with red stage curtains hanging on the wall, full of what I think of as romanticized images from stage and screen, and as I look at it I remember the sound of her laughing. There's one more floor above this.

      Updated 02-27-2015 at 11:10 PM by 64691

      Categories
      non-lucid
    3. Death in a theatre

      by , 02-04-2015 at 09:43 PM
      I'm at a formal party midway through the 20th century, and everyone's talking about the mysterious disappearance of the leading lady during intermission tonight. I'm as baffled as anyone, though in a slightly different way - I killed her, but I left the body in her dressing room. Someone else removed the body, and I need to find out who and why.

      We pair off and start to dance, and I focus on a man who's not dancing, just watching the rest of us - he's in some position of authority in the theatre. I switch to third person, and now I see the scene as he does - he 'saw' that leading lady emerge from between two of the dancing couples, a pale woman dressed in red, black hair pulled back tight to her head, with a haughty and sort of mocking look on her face. That attitude doesn't square with the way I remember her at all; it's clear to me that the version of her he's seeing is his own hallucination, not an actual visit from her spirit.

      She puts a hand on his shoulder and begins to dance along to the song with the rest of us, though he's not moving with her. She circles around him, saying that she knew from the start that this wouldn't work. She sings along to the music: "-won't let me leave you, but amore, that's to blame."
    4. Faust and a god's tower

      by , 01-31-2015 at 08:21 PM
      A production of Faust, I'm going over a written list of the scenery needed for each scene. One scene is described as the Altar of Hell, and I have a mental image of Faust being pinned to a circular stone by two demons; that's the contract signing scene. The next scene is set in a field surrounded by trees, and my perspective changes so I see this as the audience would.

      Curtain rises on Marguerite and women of the chorus in the field; shortly afterward Faust enters from the right. In response to what the women had been singing, he sings something satirical about the dangers of love and the unfortunate fools who are caught up in it. This annoys Marguerite, and she turns away and pointedly ignores him. The women of the chorus exit, and Faust realizes how angry Marguerite is, so he jokes around in the hopes of getting back in her good graces, teasing her by singing a humorous song that starts with a verse about roosters and hens. She forgives him easily, and by the time he gets to the chorus she's joined in the song, flirting right back at him. The second verse is about deer and hunters, and she playfully leads him on a chase around the stage. As they exit, laughing, Mephistopheles strolls by in the background, keeping an eye on how things are playing out.

      (Woke up. Back to sleep.)

      There are four men, or people who were once men and are now weapons, kept chained up in their sleep. Two 'chains,' really - the collars around their throats, but also something much deeper that's never meant to be removed. I'm removing that second 'chain' from each of them. They wake up as I do so, and their first reaction is to moan about the pain, but gradually they regain a sort of awareness. It's interesting to watch - they're becoming aware of how much of their personality has been stripped away from them, but without actually regaining that personality they lost. Their master arrives then, and I expect them to attack him in revenge - that's the whole reason I freed them - but instead they cower in the corner, just looking at the pair of us.

      Memory gap. Next thing I remember, I've gone semi-lucid in order to pursue that master of theirs. He's closed himself off inside a tower where I shouldn't be able to follow, with an irritatingly arrogant attitude about it - he's essentially the god of this place, it won't allow me entrance if it goes against his will. Or at least it's not supposed to. The tower's a sort of futuristic art deco confection, lots of spheres and glowing purple lights, and I'm flying around it, demanding that it create an opening. With my next pass around the tower, I find an entrance has been created, opening onto a single room containing an elevator. It signifies that this place is as willing to depose its 'god' as I am. I take the elevator up to that man's private sanctuary - the elevator doors open to show me a vast pool lined with twisted white trees without leaves, and quite a lot of statues, including some of himself. This guy is unbelievable. There's a mansion at the far end of the pool, and I expect his mental trail to lead me there, but instead it leads me off to the right, to another body of water, and I focus on a light at the end of a pier.

      Updated 01-31-2015 at 09:59 PM by 64691

      Categories
      lucid , non-lucid
    5. Games with Dru, Ravenscar, Lilith's song

      by , 01-14-2015 at 10:08 PM
      From Buffy, I/Spike am meeting Dru for the first time. Found her lying in an alley, looking unfocused. In this version of the story, the William the Bloody nickname doesn't come from poetry. Scene changes to present-day, transitioning with Dru describing that last scene, clearly fond of the memory; she says she liked seeing that sort of initiative in the living. She's putting it in terms that are disturbing the woman she's talking to.

      Nearby, I'm also reminiscing about Dru to someone else. We used to play this game with the people who'd hunt us. Scene changes to show the game - I'm running into a churchyard, holding a cross or something like it in one hand and some weapon in the other, run up to the hunter all wide-eyed. Make like I'm volunteering to join his hunt, country kid all full of admiration, or like the monster's right behind me - either way, the point's just to get in close. Not challenging enough to be called a game maybe, but we still thought it was fun.

      The first run-through of the scene, I 'won' the game easily, but then I'm remembering a second one with this weathered old woman who was suspicious of me right from the start, didn't buy the act. Circling around her, I wound up climbing further into the hills covered in graves, and as I climb I transition partially out of the Spike character. I'm hearing voices up here among the graves, not from the graves themselves but still tied to this place - three men who were here a long time ago and moved on, people I've been looking for traces of for a long time. I can't hold on to what they're saying.

      (Woke up. Back to sleep.)

      From Hellblazer, I/Constantine am walking out a back door into a narrow courtyard and out a large gate, then turn back to look at the building I've just left. Ravenscar. The image is distorted - I'm looking at a long wall with a gate in the center, one tower visible over it, and a few windows opening onto that courtyard, letting you see a little more of the building, and that's all fine enough; except it looks impossibly tall, and at strange slanted angles, and the views through those windows are showing me more than should be possible as I look up and up and up. I catch glimpses of the moon through those windows sometimes. In a stunning lack of lucidity, I think of this as "the place that haunts my dreams."

      Scene changes. I'm still looking up at that extreme angle, but I'm looking at a different place, focusing on this life-sized stone statue of a woman high above me in the moonlight. I have a sense of something religious about it, like she's meant to be praying, though there's nothing about her position to suggest it, or like she's meant to be an angel, though there's no wings. I think something along the lines of, "Of course, it would be her," with a sense of resignation.

      (Woke up. Back to sleep.)

      There's a man begging me for something, and I'm tired of this, bored. I tell him, life, death, pick one, plead your case, make it convincing, you've got one minute, go. It takes him a moment to process this, but then he starts singing.

      I recognize the song from a theatre show I enjoy about Lucifer, but can't place the scene immediately - at first I think it's Lilith's song. I'm amused - you think reminding me of her will make me more sympathetic to you too? I like the inspired emotional manipulation, but that's not going to work - she moved me, he didn't. But then I recognize the actual song. It's from the story of a woman who had to choose between love and advancing her career as a dancer - she chose dance. The song is about her calling herself foolish for causing pain to them both, her and the boy she loves, but ultimately defending her choice as a valid one.
    6. The Goblin King, Orpheus, and tracking down roses in China

      by , 12-09-2014 at 08:11 PM
      Speaking with Jareth, I end a sentence with "god!" A general exclamation, but that's not how he takes it. He replies, entirely serious, "Don't call me that." I didn't, but good to know your arrogance has some limits.

      I'm singing the title role of Don Giovanni, wearing a mask that covers my entire face, even my mouth. Reminds me of the McKittrick. While on stage, I switch places with someone else, identically dressed.

      (Woke up. Back to sleep.)

      I'm swimming in a pool with a woman who's offered to grant me a wish. To do so, she tells me I must go to Thailand and walk into the jungle in a certain place until I reach an abandoned building. Here, I must draw one of two specific symbols in the dirt. It doesn't matter which one I choose, what matters is the reasoning behind my choice. Whichever I choose, she'll draw the other. She'll stand at my back, using those two symbols in some way, during which time I must not turn to look at her or communicate with her in any way. Success depends on her understanding why I made the choice I did.

      A young man runs out of a house, pursued by several women wearing black and red. Shortly afterward, inside that building, I come across three young men, and I ask, "Which one of you sprinted out of here looking like Orpheus with the Bacchae on his heels?"

      I'm looking over some photos of the new cast at the McKittrick. (Side note - last time I dreamed of Orpheus, he was in the McKittrick-as-underworld.) A new storyline has been added in. The photo I'm looking at now shows the woman at the center of that new storyline, sitting on a stool at a diner counter - sad expression, short wavy blonde wig, purple dress, purple purse on the counter. The character's female but always played by a male actor. In the background behind her, there's a man in a suit slouched in one of the booths, watching her. He's a sort of sycophant character, sleazy, untrustworthy, but entirely loyal to her in his own way.

      (Woke up. Back to sleep.)

      Edwardian England, there's a heavyset, motherly woman gently pushing a sick young woman back down into her bed, over the young woman's protests - she's feeling much better but she's having a hard time thinking straight enough to make herself understood. At this point she's just saying, "No, no." The light from the window is hurting her head, it's much too bright. I'm sympathetic about that, but mostly I'm relieved to be able to see her like this at all, relieved that she's all right and that the connection that lets us see what the other's doing is now working. I haven't seen her in some time.

      I see images representing all the other people I have those connections with, with an image representing this woman now added to the end of the line. There are maybe two dozen images here, older connections as I look back farther. The most recent image, aside from that Edwardian scene, represents someone I just saw recently in person, pleasant feelings. As I look farther back, there's one image that instantly brings up feelings of irritation - we don't keep in touch, we've never been able to understand each other, and just this brief visual reminder of her brings up that old frustration. There's a few places where an image should be there but isn't - the woman whose death I dreamed of recently, the roses that turned to ash. And at the other end of the line, the very first two: the first, a woman with a long red braid, a sword in her hand, standing in a snow-covered forest. The second, a more symbolic image - a variety of colorful butterflies hanging in the air against a dark background, two trees just barely visible in the darkness. And a little bit apart from the last of those images, a simple black image to represent me.

      (Woke up. Back to sleep.)

      I'm lying on my back in a field hospital in 20th century China. There's a young woman treating me, wearing a uniform, with her hair tied up in two braids. I've been enjoying speaking with her. I haven't been enjoying whatever's in that IV. I'm thinking about the woman mentioned in that previous scene, with the roses turning to ash.

      Still in China, I'm in a small boat that a middle-aged man is steering by pole. I've hired him to take me and an old woman back to her hometown, though it's been flooded and abandoned for a very long time. The old woman doesn't live in the present anymore. Her hometown is the place where I last saw that woman with the roses, though that was a long time ago and I don't know if I'll be able to find anything useful there. I haven't been back to this part of the world since before this area was flooded. I focus on the ruins of a building I recognize, as the boat passes underneath.
    7. Mirrors in an opera house

      by , 12-07-2014 at 07:48 PM
      I've been following something in the form of a child through a place that reminds me of the Flavian Amphitheatre, though I'm aware this isn't Rome or any other physical place; I'm climbing a spiraling staircase along the outer wall, with the arena far below to my left, and arches to my right looking out onto water, and I've just gone lucid in order to focus on remembering what I'm seeing through those arches. The sky is dazzlingly bright.

      As I climb higher, the water is replaced by images of another place. I'm seeing an opera house sometime in the early 20th century, but at impossible angles - I see the audience in their boxes, a row of tables outside the theatre proper, a strip of grass and hedges from the little garden outside the building, all at the same time. The effect is something like looking through a faceted gem or a kaleidoscope, with images from different angles jammed right next to each other. Instead of seeing the walls, I see mirrors reflecting nothing, just bright, shining glass. I spot a man I think of as me, though he looks nothing like me - a young man with white hair, sitting at one of the tables outside the theatre proper and smoking. And as I continue climbing, my perspective moving along the audience, there's a woman in one of the boxes who catches my attention - a young black woman with her hair pulled back tight into a bun, in a pale purple gown. It strikes me as very important that I'm seeing her here in the audience, not on the stage.

      I looked around for text in order to get some context, but while I found plenty of writing, it refused to cooperate, even swirling into spiraling shapes before my eyes. I don't normally have trouble reading while dreaming, lucid or not, so I thought of this as being deliberately evasive.

      Updated 12-07-2014 at 08:01 PM by 64691

      Categories
      lucid
    8. Lohengrin and an escape by sea

      by , 11-29-2014 at 09:45 PM
      I'm standing on an empty stage, going over some papers for the show currently in rehearsals. My soprano calls down to me from one of the boxes - she calls me Mr. Bevelle or Deville or something similar-sounding. She's got black hair done up like a Gibson girl, and an unusually high speaking voice, but in a way that I find pleasant. However, we're both aware her singing voice isn't going to last - she's only going to be able to perform in a few more shows. Because of that, she keeps coming to me like this with demands on how to run her last shows.

      Scene changes to show her at rehearsal. I'm disembodied this time, without Deville's sense of background information, and I only catch three notes of her singing - lovely clear tones - but I recognize Lohengrin.

      (Woke up. Back to sleep.)

      I'm disembodied and observing a setting based on China some centuries ago. Literally just observing the setting - I'm outside of the timeline. Nothing is moving, not even the waves, and the colors of everything are incredibly saturated. I'm on a path with the sea to my right after a long drop, a long single-story house directly in front of me on this path, and several two-story buildings off to my left, among green fields. Far off in the distance I can see the shine of a building decorated in gold. Following the path, it curves to the left of that long house, and off to my left there's a man and a woman standing in a field, embracing, yellow flower petals frozen in the air around them. I know of them, though I don't know them personally. There's something secret about their relationship.

      I retrace my steps back to the entrance to that long house, where those two live. I look in briefly, noting the room where she stayed off to my right, with a window looking out to the sea. I leave the house again and circle around to the right, hovering over the sea, sticking closely to the side of the building. There's a door hidden here - she escaped through here, sometime after that embrace in the field among the flowers. It becomes difficult to cling to the side of the building. I float above the water, following the path she took, until I come to another building and look inside - there's a pallet on the floor where she stayed for a while. A doctor looked after her here.

      Updated 11-29-2014 at 09:50 PM by 64691

      Categories
      non-lucid
    9. Death and roses, out of the past, froggy trees, broken wrists

      by , 11-23-2014 at 07:59 PM
      I'm walking in the garden, mentally composing a letter. When I'm ready to start putting it down, I go to where I've left my portable writing desk. There are a few bees hovering around it, interested in the vine I left it under. I'm thinking about moving it somewhere I won't disturb the bees, but then I see an envelope that's been left on top of it.

      The letter inside is written in classical Chinese. I have no difficulty understanding it, but rather than actually reading the letter, I'm thinking about the woman who sent it - even without seeing her name, there's only one person who writes to me in this language. I'm seeing a mental image of the two of us walking through a rough stone tunnel next to water, with light reflecting off the water, rippling patterns reflected on our faces.

      That was a memory, but the next image I see is the present, through her eyes, something that can sometimes happen when I'm thinking about her. She's looking at a painting of a woman I think of as a saint, with an image of a dragon behind her; then her vision moves up to the ceiling, as if she's falling back. I see an image of a pile of roses turning to ash, and my connection to her is gone - not just this vision, but the connection of our blood is gone. She's dead.

      (Woke up. Back to sleep.)

      There's a man who's been sent back in time, and now several other people who've gone back to rescue him. He'd been involved with the woman leading the rescue team. They've just met up now, and very nearly attacked each other - both of them sneaking around a fortress, trying to avoid being seen. Having sorted it out, it seems he's working together on a mission with a woman from this era, and fallen in love, and has no interest in going back to his original time period. He's just broken her out of a cell in this fortress. The woman who came back to rescue him is thinking it was foolish to chase his spirit into the past when she had his (something) in the present.

      The scene transitions to a modern-day park; that man was brought back to the present against his wishes, but so was that woman from the past. They're spending time in the park with their infant son, distracted and unhappy.

      My attention shifts to other people in the park, a group discussing magic, specifically one man mentioning a "listen and learn" spell with leaves, as a second step for those just starting to work with trees. He describes trees in general as "a bit froggy, though."

      (Woke up. Back to sleep.)

      A private performance of a show based on Frankenstein. The 'bride' character speaks beautifully; the 'creation' character is silent, and his hands are bent backwards at the wrist as if they've been broken. When he'd been alive, he'd been the doctor's student or lover or something close.
    10. La'ulb, clipped wings, avoiding huli jing

      by , 11-22-2014 at 07:14 PM
      A young woman's confronting this guy, a friend of hers, though she's annoyed at him at the moment. He's arranged things so as to create this sort of antichrist kid - it doesn't really have anything to do with her, but she's angry about it anyway, and is feeling tricked and betrayed by him in general. She asks him if he's Lucifer, expecting the answer to be yes.

      "Nope. One of the major demons." He says it casually, he's smiling easily through this whole conversation. He's doing some kind of work in a manhole, and she's standing up on the surface with her arms crossed.

      "What did you (word that means both infect and possess) my boyfriend with?"

      "La'ulb. But it's clean, and I can take it off."


      There's this young musician trying to get permission to leave a royal court - he wants to travel to a different country. He has to make a plea before the king, and he's deliberately trying to emulate the speech of an older man, a traveler passing through, who'd impressed him - as a disembodied observer, I'm amused, but I think it's a bad idea; it'll just make him sound artificial. He makes a comparison to a young bird having its wings clipped.

      (Woke up. Back to sleep.)

      After a short scene in which I'm reminded that cheating on a god out of boredom is not the best of ideas, followed by a shapeshifting fox turning up at my IRL door, I've wound up in a bit of trouble.

      I'm now heading for the rear exit of a theatre, trying to avoid being seen by the group of women - not humans - who are coming up behind me; but through the glass door, I can see a pair of fox demons approaching - a pair of women all in white, dripping in silver jewelry. After hesitating, I decide I'd rather take my chances with the fox demons. There's a crowd of people, mostly girls who work here, coming in through that door, but I don't feel very optimistic about my chances of getting lost in the crowd - until one of the girls quickly slips off the blue robe she'd been wearing over her clothes and wraps it around me, and someone else puts an arm around my shoulders, pushing my head down so my face can't be easily seen.

      He pulls me over to a side hallway and gives instructions to one of the showgirls to fetch the change of clothing he'd arranged for with her earlier. I know him - he's vaguely sinister but not in a way that I consider a threat to me personally, and I generally admire his skill at getting things done. It's a bit like having Hannibal Lecter on your side.

      Updated 11-22-2014 at 08:31 PM by 64691

      Categories
      non-lucid
    11. Witches of the McKittrick Hotel

      by , 11-01-2014 at 07:33 PM
      A woman who's been flirting with me - neither of us seriously - is taking my hand under the pretext of palm reading, turning it this way and that. She'd been joking around, but as she's 'reading' my palm, she notices the tiny raised circle on the tip of my thumb that holds a retracted needle and she stops smiling, though she doesn't understand what she's looking at.

      (Woke up. Back to sleep.)

      I've been sitting in a lounge room in the McKittrick. There's a host and a microphone, allowing the guests to listen in on his internal thoughts as we eat and drink. He's been sitting in the booth next to mine, having a conversation with a woman, another resident of the hotel. But when she leaves, he comes and sits across from me. He's bewildered as to why I've spent so much time here tonight. Of course the guests are all free to enjoy our stay at the hotel in any way we choose, there's no wrong way to go about it, and if I want to just sit here and watch his story unfold, that's fine - but my stay is half over already. Why don't I go out and see the show?

      I'm thinking that I'll come back another time to enjoy the show - but nonetheless I leave the lounge and walk up to the next floor, which is in complete chaos thanks to the work of the three witches. Fragmentary memory here - I remember seeing the boy witch in passing and being annoyed with him, but no context beyond that. In a small room, I came across a woman who I realized has been/will be the next bald witch - right now she's another lost soul who came here on a mission but wound up getting drawn into Hecate's world. By the end of the night she has/will have shaved her head and altered her body language completely, transforming into one of the three witches for the next night.

      The last of the three witches and the people under her sway are surrounded by sexual images. I only saw her briefly in passing as she led a young prince off down one of the halls. But instead I come across the naked prophetess who'll be taking this witch's role for the next night, currently in the process of transforming into that role. She puts her hands on my shoulders and pushes me to my knees in front of her, and I'm thinking that it's always a man she chooses for this part of the performance - the other guests in the room with me are all women, and they remain standing, pressing in close around us, watching her with a look of worship. She has a woman standing guard next to her during this dance, making sure none of the guests attempt to touch her without her permission. One of those women watching laughs off this restriction, and to show how ridiculous she thinks it is, she reaches out and puts her hand on the prophetess/witch's thigh with a familiar attitude. The performance comes to a complete stop. In the trouble that follows, I move away from the crowd and into the staff-only halls of the hotel.
    12. Waltz in black and silver

      by , 10-15-2014 at 04:58 PM
      A young woman stands downstage center, facing the audience; she never turns around. She's performing a simple, faltering version of the whirling, intricate dance going on behind her - contemporary ballet, the entire troupe on stage behind her. Everyone is in black and silver and painfully beautiful. This is her dream we're seeing play out behind her, her ideal. But the music is melancholy, nostalgic even - it's a waltz in a minor key, reminds me of Dvorak. Starts with just a music-box-like piano, but the music swells as the dancers behind her become the focus, all strings. I get swept up in the overwhelming sound of it and the movement of the dancers, until in the end it gradually fades away again to those music-box-like piano notes. A woman's voice from offstage calls to her to come to bed, the sun has risen. I focus on her profile as she turns to look offstage, towards that voice; when I look behind her again, the dancers have vanished. She leaves the stage.

      Updated 10-15-2014 at 09:12 PM by 64691

      Categories
      non-lucid
    13. Red Death

      by , 01-26-2014 at 10:33 PM
      A Takarazuka production of Elisabeth with a new scene, in which Death is kneeling before young Elisabeth on the throne, kissing the underside of her wrist. Both of them are dressed in red; at the beginning of the scene, Death had been disguised in long red robes.
    14. Mountain climbing, parasites and escape routes

      by , 01-16-2014 at 10:11 PM
      Started out based on the Mulan musical that played in Tokyo a few years back, but the storyline started following the general, who no longer looks anything like the actress who played him, and now the dream has lost any theatre aspect. Now the general is the emperor's son, and has a name which translates to "divine," and has been summoned before the emperor. The emperor is blind, and from his eye sockets there are two strange things - flat, rectangular, worm-like things, something parasitic or symbiotic. Each has a small, white circle with a mark in the shape of ᛣ, and the general is aware that those marks can open and extend something that latches onto eyeballs and rips them from their sockets, he's seen it done before. The dream had been in 3rd person ever since I lost track of the theatre framing, but as I examined the things I shift to 1st person, the pov of the general, who is disgusted and afraid of the things.

      When his father dismisses him, he indicates that he should leave through a door beside the throne instead of the way he came. It's a small opening, extremely low to the ground, so that a man would have to crawl to get through it; it's designed to shame people, to stress rank and obedience. The general gets down on his knees before it, then hesitates and says "Father" - at which the emperor lurches forward, placing the parasite-things close to the general's face. It's not a threat, just an attempt to get a 'look' at him using the parasite's senses, which 'taste' the air, but it's an inhuman-looking motion, and the general drops whatever he was going to say in favor of getting away as quickly as possible. But he/I have a difficult time moving through the door as quickly as I'd like, and I realize it's because I'm becoming aware of my body lying motionless in bed.

      (Woke up. Back to sleep.)

      I'm leading some team climbing a mountain covered in snow, explorers, the first to climb this mountain in history. But the men keep seeing something, some shadow figure, and insist there's someone already here. I dismiss this as nonsense. But now that the peak itself is in sight, I can clearly see there's somebody up there.

      (Woke up. Back to sleep.)

      For the past few dream scenes, I've been in a car with my IRL sister S. and two women, a couple, witches; and we've been lost. We were lost on the road, we were lost driving through water, we were lost and mistakenly in the wrong house, we were lost and running from that house's owner, and now we're lost and we've stumbled across a street where every house seems to be having a party, spilling out into the street, blocking our way. They invite us to join the party, and while I want to just get back to the road, the others want to stay. I spot someone in the crowd, some minor celebrity, and I'm intrigued enough to agree, we check out the party. I talk to the minor celebrity briefly and find him disappointing.

      Later, inside one of the houses where the party's going on, not much liking the company and wanting to get a move on, I've been cornered by some guy who's much taller and larger than I am and who seems to have mistaken me for a woman. He asks me if I believe in promises, and starts hinting very strongly that he believes we knew each other in a past life and are destined to be together. Yikes. I manage to shake him off and go find my sister in the kitchen, tell her that it's time we leave; the witch couple we were driving with join us and say "Um, we should go. Now." The lady of the house is in the kitchen with us and at this point she probably thinks we stole the silver, but we get out of there - through a window that opens onto the porch on the side of the house, rather than going back through that party to get to the door. As we're climbing out the window, one of the witches says something explaining to me and my sister why we've got to leave in such a hurry, something involving some guy who'd introduced himself as 'Psych', and I suspect it's that same creep.

      Out on the porch, one of the witches looks behind us and gets a horrified look on her face. My sister asks what it is, and the other witch says oh, she just saw Ben - her ex, who's dead - don't look, just go, get off the porch, now. The porch is narrow enough that we have to go single file, I'm the last, and as each one gets off the porch and onto the street and looks back, they look increasingly horrified - Ben's a minor nuisance, their expressions indicate Ben was just a symptom of something more going on here. I feel something strange on my back, at the base of my spine, and my motions seem too slow; I become aware that it's because I'm waking up.

      Updated 01-17-2014 at 06:20 AM by 64691

      Categories
      non-lucid
    15. A collection of memories disguised as history

      by , 12-20-2013 at 10:51 PM
      Two middle-aged spinsters are visiting Rumpelstiltskin/Gold just before attending some event, but he's busy with a delivery of some sort. The room where they wait for him holds a collection of various objects behind glass, and as they look around, one of them says, "Richer than the (some family name beginning with A) brothers!" The objects behind the glass are personal mementos from over the centuries, arranged and displayed in such a way as to look like a collection of history - playbills and tickets, a photo from a political protest that changed history, old forms of currency, all neatly labeled with places and dates and short descriptions. But I'm looking at the objects as a disembodied observer with Rumpelstiltskin's mindset, with fond memories of the actress depicted on that playbill, and a woman at that protest, and the profit I made when that country changed currencies. (Although I'm thinking of it as a collection of memories that stretches back centuries, the oldest items I actually see are only from the 1800s.) I think to myself, 'and I could sell it, if I chose.' As if convincing myself that I could part with it all, if I had to.

      (Woke up. Back to sleep.)

      Fragments - someone involved in some industry that's often glamorized in movies, intelligence or organized crime, mentally contrasting his actual day to day life with the ridiculous movies. A rich and powerful woman who's sleeping with the hired killer who works for her. Overdue library books, a trilogy by an author who's written 156 books, these ones with covers showing caves with stalactites that remind me of fangs. Rumpelstiltskin again, spending a summer at a country estate belonging to a brother and sister he knows, looking out the window and feeling someone's suffering, the potential for a deal; following it, and finding someone in the garden, reading a journal that had belonged to Belle.
    Page 1 of 2 1 2 LastLast