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    1. No enchanted wolves on the furniture

      by , 08-16-2015 at 05:44 PM
      There's a very earnest-looking young man scaling the tower of a magician's castle, trying to reach the window where a woman is sitting. He incorrectly believes her to be held captive against her will and is trying to rescue her. She only notices him when he falls. Sounding bewildered, she calls down to him, telling him there's an easier way to get in on the other side of the castle; if he can't find it, just watch the rabbits, follow them. The man walks off.

      Eventually, the woman comes outside to look for him. She finds him pinned between the wall and a black wolf with a white pattern around his eyes and chest. The wolf isn't doing anything particularly threatening. I'm aware that the wolf is the magician, though the man doesn't realize this, and the woman only suspects. The wolf starts acting like he's completely ignoring the man pinned against the wall and walks over to her, and she holds out her hand for him to sniff as if he were a dog. He ignores the hand and instead bumps his shoulder against her as he passes, and walks into the castle.

      Inside, she sits the man down at the table with something to eat, and he says something that makes her laugh and twirl around. She's under the mistaken impression that he's looking for the magician, so she's treating him like a guest. She's treating the wolf the same way, and asks him which room he'd like to stay in until the magician returns. He bumps his head against the locked door of his own room, and she laughs and says sorry, no, that's quite impossible - even though she's fairly certain who he is at this point, she won't have him on the furniture in that shape.
    2. Two escape routes and a rose

      by , 06-01-2015 at 07:05 PM
      I'm walking through the basement of a tower, grey stone walls. There's some kind of chaos going on on the main floors above me, a distraction while I was taking care of something in the dungeon on the next floor down - but now that it's time to go, I want to avoid getting caught in whatever's happening on the main level.

      There's two people waiting for me with two different escape routes - neither of them knows exactly what I was doing here, neither of them knows me personally, and neither them knows about the other. There's a person I work with who'd arranged for a man to meet me by the stairs up to the main floors, but I'm having second thoughts about trusting him. And there's a woman waiting by a wooden door that leads elsewhere; she's not involved at all, she just wants to escape whatever's going on upstairs and is willing to take me with her, recognizing me as a friend of a friend. I believe she would be more sympathetic to what I was doing here, if it came out.

      Deciding to go with that woman at the wooden door, I'm doubling back, passing by the stairs leading down to the dungeon. I debate whether I have time to go back down there - there had been something else I'd wanted to look into down there, though it's not a priority. I start down those steps, but it becomes so dark I can't see, and I have a vague impression of massive chains. I can hear a woman's voice crying. I decide I don't have time to be fumbling around in the dark, and I head back up the stairs.

      (Woke up. Back to sleep.)

      A man is looking at a wall recently painted green in an attempt to emulate some other place, and talking to someone about a man he knows, saying that while he wasn't looking, the man went and got married to people so unsuited - people, plural, meaning both the wife and the stepkids - people he'll have to keep secrets from.

      I'm watching light play over the features of the man in question in an interesting way. He's looking at a signet ring with an image of a rose, which he's just removed from a hiding place in the base of a lamp. I'm hearing a kind of tinkling sound like a music box repeating a single measure over and over again.
    3. The man in the glass, Hightower, chain of command

      by , 03-15-2015 at 08:42 PM
      There's a human woman who, when looking at a particular vampire through a mirror, would see a reflection of him that no one else could see - or rather a sort of different version of him, seen far off and from a distance, performing different actions. She's never been sure exactly what this means. He believes that she's been seeing something like his soul, or another side of him - he saw it as something like a hope for salvation. Right now, though, he's leaving town; he's loading luggage into a car, and both he and his sister are dressed in a drastically different, more formal style than she's ever seen them wear before - she thinks of it as out of character. But it only seems that way to her because they're destroying the personas they've been using with these particular identities and creating new ones, and she's never seen them do that before.

      She's standing on the sidewalk, talking to his sister, and she's saying, but what about those visions of "the man in the glass" - how can the two of them just leave her without finding out what her visions meant? The sister says those visions were just illusions that he's ready to move on from.

      I'm in a fortress that's been evacuated, watching a woman who's been advising me as she treats this survivor we'd found lying unconscious in the hall. Now that she's conscious again, my advisor comes to me and says we're in luck; the woman's the head of a noble house and she considers her loyalty as being to the throne itself, not to any particular claimant, so she's willing to pledge her sword to me. I'm aware that there was some previous meeting that had declared me the legitimate claimant to the throne, and that's what's determining this woman's decision, not that we've saved her life; if the meeting had declared in favor of someone else, she'd be supporting that person instead.

      The character side of me is surprised by this statement about pledging her sword; I say to my advisor, what, again? I'd had to find three noble houses to declare their swords to me, I'd managed it, there'd been a ceremony - that part's done now, isn't it? My advisor can't believe I'd say such a thing; exasperated (rightfully so, the observer side of me thinks), she explains that I need all the swords I can get, especially now as we're making for Hightower - I have a mental image of entering a military encampment and seeing the top of a round tower of brown stones in the distance. I see her point now that she's said it, and I think about the route between here and Hightower, and all the noble households located along that route. I hope we don't have to repeat the actual ceremony each time.

      (Woke up. Back to sleep.)

      I'm part of a group of people protesting some issue, focusing on a sort of police force in a particular community but with broader implications. Trying to figure out how best to handle this, I enter the mind of the man in charge of the police force, trying to see what would sway him, what approach he would listen to. I find that the problem isn't our approach, it's that nothing coming from this source is going to sway him - even if my group convinced every last person in the community to unite and speak up, this man sees our community as a problem to be solved, a situation to be managed. If the police force is going to change, it needs pressure from someone else.

      I travel to the mind of that man's superior, a political position. He's more sympathetic to the issue in the community, but he won't act just based on sympathy; it's important to him that he make "impartial" decisions about where to focus his limited time and resources. If public opinion among the area he serves as a whole was pressuring him to focus on this issue, or particularly influential groups or political powers, then he would focus on it. He considers this the most responsible approach.

      Following the trail of political influence, I eventually come to the ruler of the country. He would be surprised to be asked about this issue at all; he considers it outside of his jurisdiction. This is the church's responsibility.

      I come to the leader of the church, the equivalent of a pope. She also believes this isn't up to her; this is an issue for each nation to decide.
    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

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      lucid , non-lucid
    5. Tolkien and handcuffs

      by , 08-09-2013 at 07:43 PM
      I'm traveling, spending the night in an old stone tower. Thranduil's standing watch out in the woods, I can see him through the window. The rain's coming down pretty hard, much harder than it was during my watch and I'm still trying to warm up, sitting up brewing something hot to drink. I'd like to call him back inside, let him stand watch from the window instead, but I know he wouldn't. Everyone's still on edge about that Balrog. I hear voices at the bottom of the tower, one of the Men with us calling to Thranduil, telling him to quit haring off on his own like that. I can't see where Thranduil's gone, but the two Men who'd been guarding the door are looking around the edge of the woods. Then a leather wing covers the window for a moment and blocks my view, something flapping around the tower carrying a rider, and I shout to the others to wake up.

      (Woke up. Back to sleep.)

      I'm sitting at a bar drinking something green in a shot glass, when iron handcuffs are snapped around my wrists. Some crime has been committed, something which I'd planned to do. I didn't go through with it, though. I'm innocent. But it's still my fault that someone else carried out my plan, and I'm willing to take the punishment.