Carabas

I'm walking through a party full of sleeping people on couches, looking for a free space to lie down. This place belongs to my family, but at the moment I'm a guest like any other. One of my sisters notices me and gets up from her space, leaving it to me; the man she'd been sleeping with gradually curls up around me in her place. It's comfortable. The part of me that's aware this is a dream appreciates how realistic he feels.

Outside a window, the scenery is moving. I decide this is because we're on a train, but I'm aware of the rationalization. I become semi-lucid and enjoy the scenery for a while. There's a great cloud funnel something like a tornado, but rolling along the ground like a great wheel stretching between heaven and earth. It's very beautiful. But now that I've thought of it as a tornado, it stops behaving like a wheel and behaves like a tornado instead - which is less interesting, but still very beautiful.

I watch one tornado after another moving in the distance, growing closer, passing in front of the train, until it starts to feel like a danger, and I'm aware this could become a nightmare. I speak a prayer to a goddess until it stops feeling like a nightmare. This causes the man who'd been sleeping to take notice of me; he's aware I don't belong in his dream.

He starts talking, asking me questions which I don't answer. He's pleasant to listen to, and I'm a little annoyed because I know I'm not going to remember anything he's saying to me once I wake up. I make the effort to focus on his words to try to memorize something, but I only end up hearing the sounds instead of the meaning behind them. Eventually he stops speaking. He's left; his body's still here, but nobody's home, and I believe the dream will get rid of it at the next opportunity. The train passes through a tunnel, going dark, and when the room lights up again his body is gone. I leave the train and continue with non-lucid dreams.

Fragments, one involving finding an old sketchbook with an image of a character I haven't drawn (or thought about) in years; another involving a song called Sleepwalker.

A man and a woman in an old abandoned house, the woman's become possessed by the spirit of her ancestor who'd lived there. She says she's hungry, which I, 3rd person observer, am certain is a lead-in to her doing something unnecessarily creepy. She catches a rat and starts chewing on it. I mentally compare it to evil overlords using skulls as building material, too over-the-top and nonsensical to actually be creepy. The possessing spirit knows this man, and she's saying to him, "I will say, however, this is the first time I've seen you in anything but pain." When she says that, he thinks briefly of a relationship he has with someone, but he says, "Come on, be serious -" He then deliberately misremembers her name, trying to downplay the authority she has over him.

(Woke up. Back to sleep.)

FMA-based, Al is on some huge vehicle, like a train but so large it has a deck like a ship. An old man wearing armor and automail is introducing him to what appears to be a little girl, introducing her as a 'mechanist' who works on the human soul, something that's commonplace here, and which Al's been researching and is excited to finally get a look at. There's a good chance that she's not human but some kind of automaton, that's often the case for mechanists; Al isn't aware of this. She's thinking the same thing about Al, she expects the inside of his armor to be full of bolts and springs.

The old man who'd introduced the two of them gets his automail caught in some piece of machinery, which is dangerous. Al and someone else, a large man, work together to free him, but in the process the machinery pierces a hole through Al's armor, allowing the little girl to see inside and realize it's empty. Al is very self-conscious about this, but the girl's thinking something about how impressed she is that "he'll continue investigating the secrets he was investigating, not the secrets of his body" - the research he's been doing has no bearing on his own problem.

Ed is on a different train. Kimblee, a prisoner, is being transported in the same car, it's a car for military personnel, and Kimblee's saying something about whether (something happens) or (something else happens), he just doesn't care; this annoys Ed. He gets off the train and heads for a stadium where he's supposed to meet Mustang, and he's supposed to make it look like it's a coincidence that they both happen to be there, since they're being watched.