• Lucid Dreaming - Dream Views




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    Carabas

    1. Fragments

      by , 09-05-2015 at 05:16 PM
      I'm on a lake. In the lake, there's a small island; there's an enormous tree whose roots cover almost the entire island; at the base of the tree, there's a standing mirror, silver in color this time; and in front of the mirror, there are two steel bars. There's a steel vine covered in thorns that's wrapped around the bars in an arch, serving as a lock. I unwind the thorny vine and remove it. The mirror's open now.

      Traveling through the basement of a ruined mansion, where the walls have crumbled so much there's a sense of open air and greenery, there's a painting of Joan of Arc commissioned by the woman who used to own this estate, and I'm pleased to see she had it painted so that Joan resembles the commissioner herself. This would be considered disrespectful, which is why it was hidden away in the basement.

      I'm in an open, airy, bright library where some event is going on, some new release that's drawn in a lot of upper class, scholarly types. It's interrupted by a woman who's some kind of monster I'm familiar with, delivering a hostile message to me and leaving again. She frightened most of the people into backing away. I'm thinking, although these things are hostile and my automatic reaction to them is equally hostile, they only exist because of my "tainted blood," which was what originally created her kind, generations back; thinking about that, there's a shift in attitude, I start to pity them. They're essentially my responsibility, though they're not aware of it.
    2. A black river and a yellow wreath

      by , 05-02-2015 at 05:04 PM
      I'm wading through icy water, tracking someone down. It's dark, the water looks black, and there's this mist in the air, I can't see very far. There's bodies floating in the water, wrapped in cloth. There's another man here with me, he calls me by the name of Logan. I'm focused on the dampness in the air - it caused problems earlier when we couldn't get a fire to catch.

      Thinking about fire makes me see another time, standing in a large stone hall, standing off to the left of the woman presiding over some ceremony, having to remain still throughout her speech, wearing armor, uncomfortable. There were rows of people arranged in front of us, and as she called each of them up she'd hand them a lit candle, symbolic, but I was looking at those candles and thinking of them as never enough to hold off the chill.

      Back in the icy water, we've found the person we were looking for in a little area surrounded by bare trees. He's standing off to one side and watching an old woman perform some kind of ceremony, something like a funeral for the old ruler here - I have a vague impression of something strung up among the trees, either the last ruler's bones themselves or at least something representing them. She knows who we are. She tells me that just because I've killed the old ruler, that doesn't make this place mine. The territory is passed down through the blood, and there's still someone with the elf blood to inherit it - the man we've been tracking down. He's not related to the old ruler, and he's more human than anything else, as is she, but that doesn't matter; this territory will remain in the hands of his people, not mine.

      The man in question objects to this - this is a situation being forced on him. He tells me he's sorry. The guy who'd tracked him down with me makes some sarcastic comment, telling him to quit the humble act; but I believe him, this isn't something he'd wanted. Nonetheless, the old woman's in the right; there's nothing I can do here, we've lost. I tell him it's all right. It's only when I speak and hear the tone in my voice that I (the dreamer side of me) realize he and I (the character side of me) had been sleeping together; we're most likely going to have to end that now.

      The old woman resumes her ceremony, now involving him. It doesn't take long, just a few words. There's a wreath of pale yellow flowers which he accepts from her; as soon as the ceremony's done he drops it and it falls apart in the water. I'm thinking of the moment I first met him, when he'd been locked up in a cell.
    3. A quick trip through a mirror

      by , 03-26-2015 at 12:15 AM
      I came across a mirror lying on the floor, remembered the TOTM and went lucid. The mirror's rather small for this - I take hold of the edges and pull it wide enough to stretch out on top of it. Initially, unusually, the mirror showed me my reflection - I focus on the background behind it, and it goes black. I briefly imagine stars in that blackness, but don't actually see them; that acts as a trigger, and I sink into the mirror as if it's liquid.

      On the other side, I'm walking out of an apartment building into an alley. I have a thought that this is supposed to represent somewhere in Wyoming; but looking around at the buildings, the vending machines, this definitely looks like Japan. I wonder if that's just my mind filling in the setting with familiar memories, or if this is actually meant to be Japan; I keep walking, figuring it'll work itself out, and I had no particular goal here anyway.

      I cut through a shopping area where people are eating, listening to them talk, no one saying anything particularly interesting to listen in on. I'm uncertain whether I'm visible to others; my initial impression had been that they couldn't see me, which is how I preferred it, but there do seem to be a few people here and there who notice.

      Out of the shopping area and onto a main street, there are Christmas lights in the trees here. I cross the street and find the sidewalk's lined with little garden plots, blocked off by ropes - some kind of display, or some kind of competition maybe. One such plot holds a tree that fascinates me - it's white, not much taller than I am, gnarled, no leaves, and covered here and there in pale green moss with small blue flowers. Very beautiful.
    4. Portal jumping

      by , 01-16-2015 at 11:30 PM
      I walk through a portal that takes me up to this stone island floating in the air. Mostly it's this pillar of rough stone but the top, where I'm standing, is level. I walk around the tree in the center and through a second portal - this one takes me back down to the surface, just a few feet away from where I started. Superficially, it doesn't really seem like I'm doing anything aside from walking around - but the act of someone passing through the portals in sequence is leaving a mark, setting something up. I think of stitching a thread through fabric.

      To get to the next portal I have to swim across a river. As I'm swimming, I think briefly about growing gills and just walking across the bottom, it might have been more pleasant. I decide to stick with what I've got.

      The next portal takes me to an almost identical stone island, except this time there are five portals up here. I step through the first one, and it takes me only a few feet away, in front of the next portal. I'm exasperated by this setup, but I go with it, passing through each portal in sequence. But before I step through the last portal that should take me back to the surface, I step to the edge of the rock and look down, curious about where I am exactly.

      Far below, I can see a mountain range. There are two rows cut into the side of the mountain, one on top of the other, with closely-spaced openings for doorways carved into the side of the rock. There are rooms inside - I walked along those paths on my way here. I remember looking up and seeing these two floating islands, and wondering how to get up there. But something occurs to me - I look around for the other floating island, the one I was on just before, and confirm it. Yes - it's still floating upside-down, with the flat surface and the tree on the bottom instead of the top, like an Escher sketch. When I was standing over there, I must have also been standing upside down, at least relative to here. I feel dizzy.

      Updated 01-17-2015 at 01:11 AM by 64691

      Categories
      non-lucid
    5. Sympathy

      by , 11-16-2014 at 11:29 PM
      As Rumpelstiltskin, I'm singing a verse of an old song from my son's childhood, quiet and bitter and angry. I'm in a room that looks like a private gym - not the sort with weight machines, a room for other kinds of training - and I've been talking with a woman about my son. After singing that one verse, I say that the only thing he'd ever wanted back then had been simple things we already had, things like the sound and feel of the wind through the trees.

      The not-Rumpelstiltskin part of me wonders why I'm telling anything personal to this woman - as Rumpelstiltskin, I don't like her or trust her, though we're working together. But I'm so full of rage about my son and the people who've influenced him, and I can't take any sort of action about it right at this moment. I sing the next verse from that childhood song, and that woman puts her arms around my neck, leans her forehead against mine. I'm too focused on my rage and that song to pay much attention to what she does. I don't mind her getting that close to me, but I'm aware any expression of sympathy from her is just an act, not something she's really capable of, any more than I'm capable of feeling sympathy for her.
      Categories
      non-lucid
    6. Semi-lucid chase scene

      by , 05-16-2014 at 07:57 PM
      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.
    7. A row of spears and three peaches

      by , 05-02-2014 at 08:30 PM
      Fragment involving Odin and Thor. And later a fragment involving Persephone, which referenced an older dream where the McKittrick had been a journey to the Underworld.

      I'm hanging from a tree, holding onto a branch with both hands, dangling above rows of spears planted in the ground. I believe I've been slipping in and out of a dreamworld, and I need to get back, there's something there I need to accomplish. I consider that this place might also be a dream - but whether it is or not, I still believe I need to get back to that other dreamworld.

      Below me, just beyond the rows of spears, there's a woman who reminds me in some fashion of a lizard. If she'll do me a favor that will help me get back to that dreamworld, I promise her a jar of three peaches. Someone else has promised her two peaches to do something different - that someone else is a good friend of mine, but we haven't been able to consult with each other recently, so we've accidentally wound up getting in each other's way. Now the lizard-woman's torn, deciding between the two offers, but I'm thinking it'll work out well for her whichever way she goes.
    8. Metal ornament

      by , 04-26-2014 at 08:07 PM
      (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.
    9. Corvo

      by , 04-11-2014 at 03:34 AM
      Shortly after passing a man whose head is a snake, three creatures are presented as things I'm meant to fight. But they seem harmless, and when I walk up to them, they disappear. Past them, I walk into a hidden door set into a tree, and spend some time walking through a series of rooms. The passageway I'm walking through makes a large circle, and when I get back to the start (there were a lot of scene changes along the way, so this "start" wasn't actually the same place as the tree-passage from before), I notice a flight of stairs heading down that I hadn't seen before, with small, glowing blue arrows hovering just above the floor, pointing down.

      The stairs lead down into an enormous room filled with books and a portrait of a man I recognize as someone infamous named Corvo - he's someone I've heard of often, in the context of being a doctor or a researcher or something similar, responsible for some tragedy or some sinister event; but I personally think of him positively, even though I know very little about him - mostly I feel curious. I realize this was his room, and these are his records.

      I'm standing in a city street in Corvo's POV, sort of - I'm aware that this is me going through his records, his reflections on the past. At this moment in time, he'd been disgraced, along with some other man who I'd also heard of, someone who's walking away from him right now. I have some mental connotation between this man and violence but also think of him as a better person than Corvo, someone who dislikes Corvo intensely but works more closely with him than anyone else, I have the impression Corvo somehow forced him or manipulated him into carrying out a lot of dirty work for him. Now Corvo's looking at the open gates to the city, looking at the crowds of people entering, aware that they're unknowingly carrying some danger that others refuse to listen to him about, and feeling powerless. With the knowledge that this is a flashback, he's feeling an incredible amount of pain over this moment in the past and whatever it eventually led to, and I feel that same emotion so intensely that I have a false awakening or something similar and spend it looking for some space to just calm down from that scene.

      Updated 04-11-2014 at 03:43 AM by 64691

      Categories
      non-lucid , false awakening
    10. The sea and languages

      by , 03-15-2014 at 12:03 AM
      I'm driving through a familiar IRL location, semi-lucid - aware I'm dreaming but still just automatically following the dream storyline. While thinking about this being a dream, I go fully lucid and remember a lucid goal, one that involves traveling to a particular building, so I set out to find it. I'm at a crossroads, and I think to myself, oh look, there's the road that leads to that place! I drive down that road for a while, and the scenery gradually stops resembling IRL.

      Eventually the road curves, and rather than turning with it, I drive off the road, directly through a dry yellow bush, although it gives my car no resistance at all. I drive through the forest for a while, without a road, and I pass construction crews - men in hardhats, bulldozers, and a vast number of tree stumps that they've cut down. I begin to have trouble with visuals, things start going black and I worry that I'm waking up, but I'm able to clearly see a tree branch against the sky as I drive up a hill, looking upward, and I keep focusing on that vivid image, wondering why I can see some things and not others.

      I exit the forest, away from the construction crews, and am now at the top of some rolling hills covered in green grass. In the distance, I can see a blue building flanked by white pillars, and I decide that must be the place I've been looking for. As I get closer, I see that it seems to be a school - which is not what I'm looking for - but I keep heading for it anyway, figuring it'll work out when I get there. I cross a bridge, and looking down I can see some land covered by a thin layer of water far below, a sort of web-like network of tiny streams. The place I'm looking for has a vague connection with water, so I think of this as promising.

      I park in a small parking lot, a good distance away from that building. You have to walk from here, this place is the official entrance. There are a few other people around heading toward that building too. I hear sea birds. Over to my left, the opposite direction from the building, there's a low wall; I walk over to it and look down into a bay. I can smell the sea air. The bay is filled with fish - some of them are on the rocks instead of in the water, but they seem fine with this, and I have the feeling it's a visual trick to allow me to see them clearly. Similarly, there are giant versions of some sea creatures that would normally be much too small to see from this distance. I think of this as something like an aquarium. I can hear triumphant-sounding orchestral music.

      I walk back to the entrance that leads to the building. The 'entrance' mostly consists of a large wooden message board with various things posted on it, including a place where people have left written messages about their visit to this place. I look it over briefly and continue on the path towards the building. At the other end of that wooden board, someone's left a backpack behind. As I look at it, I realize I'm waking up.


      (Woke up. Back to sleep.)

      There's a man who's conducted a study of the languages in his country, who's so far cataloged over 300 languages and dialects. He's currently walking down a dirt road with a lot of foot traffic. Ahead of him, some people are setting up a kind of gate. A man who he's meeting here arrives through that gate, accompanied by a small escort of soldiers.

      Now that they've met up, the soldiers move on ahead, leaving the researcher and this man a little separate. One of the soldiers says something to the man, and he starts to address him as 'my captain' or something similar, a title involving rank, but he catches himself after the 'my' (or the equivalent rather; this wasn't in english). This man isn't his captain (or whatever the rank was) anymore. Both the soldiers and the man are a little sad about that, though none of them show it, but walking together with the researcher rather than with the soldiers sort of rubs it in. He'd served with this group of soldiers for a long time, and he was just recently forced to resign from his post due to something that was revealed about him. It wasn't any action on his part; it was some inherent quality that he had been unaware of, something he thinks of as something like a taint, although as a disembodied observer, I believe it's not actually a bad thing in itself, whatever 'it' is.

      Addressing the researcher, he identifies himself as 'language group 246' - that is, although he doesn't expect the researcher to remember him, they've met before, when he'd participated in that researcher's survey of dialects. He takes some food out of a bag - a corn cob sliced into halves - and he offers one to the researcher, who's surprised but accepts. The man is reflecting on the opportunity for conversation with this researcher now, versus with the soldiers he used to command.

      Updated 03-15-2014 at 02:36 AM by 64691

      Categories
      lucid , non-lucid
    11. Only fragments today

      by , 12-15-2013 at 11:40 PM
      Just a bit of scenery: I was flying through a forest by a river, with a road running through it. A few of the trees had formed something like natural nests in the places where their trunks divided: wide platforms ringed with thick branches and covered with moss, out of sight of the road and with a good view of the river. They looked like they'd make a nice place to rest, but I was in too much of a hurry to stop.
    12. Unyielding witch, and returning a dog

      by , 10-24-2013 at 10:33 PM
      A teenage girl with long red hair is standing in a field at the foot of a mountain. The image changes to show her standing in this same field when she was younger, standing under a tree while her father spoke to her with his hands on her shoulders, while the rest of the family walked away into the woods and left her there. She was known as something like a witch. She shouts after her family not to leave her, and when she tries to calm herself down some sympathetic man - also present in the scenes where she's a teenager - tells her no, go ahead and shout that if it's what you feel, call what you see, refuse to be quiet, make it your power.

      She's older now, and as a disembodied observer I'm watching her walk across that field towards the mountain, watching her from behind and I'm struck by the vivid colors of her now compared to when she was younger - the red hair in a thick braid now and down to her legs, the vivid blue skirts. She's walking past a wooden house with something going on in the woods on her mind, something urgent, possibly dangerous, her thoughts feel very determined and she's intercepting a group of people walking across the field towards that house - I think of them as the Freyhella (name taken from Wraeththu, but the resemblance stops at the name). As she walks towards them she takes a knife and cuts off her hair, right to the scalp. "With shorn hair," she says to them, the first words of a ritualized phrase, citing her right to be heard as one of them, as their neighbor, and as a 'witness' - a reference to whatever it is that's going on in the woods that she was thinking about earlier, and that she needs their recognition for. She ends by saying "Turn, and you can't yield to this," and she gets this hard expression I fall in love with.

      (Woke up. Back to sleep.)

      Her again, in the woods, walking a path around some people at a distance far enough that she won't be seen, forming a protective symbol around them.

      I'm walking along a road and find a dog walking around on its own, separated from its owner. I read the owner's name on the collar, and I bring the dog back into town with me, ask around after the owner and almost immediately find her apartment building. I ring the buzzer and ask her to come down.

      When she comes down, she gives me some water to carry. The plotline's changed: there's no dog, we're going somewhere together, two distinct groups traveling together, I'm in one group, she's in the other. I can feel the added weight of the water in my backpack and am annoyed at having to carry more than I'd originally packed. Some of the people in the other group stop to get some water from a stream, and most of the people in my group find this disgusting. My IRL sister L., with my group, says there's nothing wrong with it, running water is clean; the rest of us disagree with her, saying that's not exactly wrong but not exactly true either, and then saying that it's a matter of belief. IRL sister S. says that's why she and her friends have agreed to stop believing in anything, it affects too much.
    13. Ouat

      by , 10-08-2013 at 07:53 PM
      3rd person, Rumpelstiltskin visiting Belle in a dream, he's smiling and she's saying, "I know you, don't I?" She doesn't remember him, and when she wakes up from these dreams she usually doesn't remember dreaming them; even when she does, she believes he's just an imaginary character in her dream.

      She wakes up, and for him that dream had been like taking a break; now it's back to business. He's creating a dream to send to someone else, a red-haired man; he creates it by narrating it out loud as he walks through the woods, following an image of Bae which is part of his own dream. Rumpelstiltskin can't enter the waking world himself right now, so he needs this man to act as a go-between for him; he doesn't bother meeting the man in his dreams directly, he just creates dreams in advance and leaves them behind as messages. Right now, Rumpelstiltskin's not happy with the go-between, he's screwed up one of the previous instructions, so he's making sure this dream will make him wake up crying. As he's narrating the dream and following Bae through the trees, I start hearing music, with the lyrics "After you forget."
    14. Vampires, religious debates and underground tunnels to fantasy worlds

      by , 09-21-2013 at 06:48 PM
      A newly-made vampire is sitting in a car parked in a garage early in the morning, and is refusing to get out of the car because he's afraid of the patches of sunlight in the garage, he's sure he won't be able to avoid touching them. He's a full-grown man, blonde, bearded, looks Scandinavian in ancestry. The driver, his maker, a dark-haired woman, is calling him a big baby and telling him he'll just have to take his chances.

      (Woke up. Back to sleep.)

      IRL friend S. is working with a theater company connected to a shop, which stocks videos of their shows although those videos are out of the way and most customers don't realize the shop and the theater company are connected. They're talking about having to close down (not sure if this refers to the theater company or the shop or both).

      A traveling woman reporter is commenting on some serial killer with an MO related to books, and observing that his trail coincidentally matches up with her travel patterns, she's joking about being suspected herself.

      A man and his daughter in a forest, the man had some oath with a bird, representative of the forest, and now there's a deer leg wrapped in parcel paper lying on the ground by their camp, violating that oath. He didn't kill or butcher the deer, that was someone else, but the parcel paper was his, borrowed, and this is going to lead to misunderstanding and enmity between him and the bird. The man and his daughter are leaving, she's objecting because it's not their fault but he insists that they don't argue, just go.

      I'm in my IRL mother's home, and ranting to her about that previous scene, which is now thought of as a Bible story. I'm opposed to its message - the final moral and point of the story is different, but this scene here, designating man as something separate from nature, is something I'm deeply frustrated by and I don't care that it's not the focus, I consider it irresponsible storytelling.

      My mother's deeply religious Christian IRL neighbor is visiting her with his two sons (the neighbor does have two sons IRL, but these two DCs bear no resemblance to them). Although he's not offended, he says that I should focus on the main message of the story instead. I had no intention of starting a religious debate and am happy to let the subject drop. His youngest son, on the other hand, has gotten angry and wants to prove the point to me. I find fanaticism attractive on him. I'm aware he's both attracted to and deeply uncomfortable with me, thoughts about queer issues and gender issues on my mind. He comes to the window where I've been standing and lifts a rock outside and throws it into a tree. (With his mind, apparently - there was some awareness that this was dream logic, and that if we'd been outside he would have just used his hands.)

      The conversation moves on to safer topics but I pull him aside, ask him what that was meant to prove. We go outside so he can finish making his point. He leads me over to his father's yard and shows me a hedge covered in red berries concealing a small tunnel leading underground. He seems afraid, but he says he's determined to make me a believer. He's so worked up about this I don't have the heart to tell him I'm already a believer, just not his variety of believer - this isn't the atheism-vs-theism debate he thinks it is - but that's all right. I'm still thinking about queer/gender issues when I get into the tunnel ahead of him.

      In the tunnel, I'm a girl (who, in the dream, I thought of as resembling the oldest Narnia girl - she doesn't particularly, but this scene reminds me of 80's fantasy movies in general) crawling on my hands and knees, while the boy with me is sitting on the grass outside, worrying. The dream 'camera' briefly switches to 3rd person, allowing me to see the boy, myself, and just around a bend in the tunnel, a door, open just a crack, showing a dimly lit room with a woman dancing inside, the Queen, and it's the inhumanly beautiful Queen I want to get a glimpse of, although the boy is convinced this is a bad idea. Back to 1st person, I reach the door, peer through and see an image as if the dream 'camera' has zoomed in, focused on the Queen's lips painted so dark they're nearly black, her throat, her decolletage, and an awareness of ornaments of frozen drops of water or tears, telling myself I must remember every detail of this.

      There's either a false awakening or a partial-awakening where I'm lying in bed 'recording' this dream, only to realize that I'm not physically writing anything, after which I actually did wake up and 'continue' writing right where I'd 'left off', the part where the boy threw the rock.

      Updated 09-21-2013 at 10:22 PM by 64691

      Categories
      non-lucid
    15. 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.
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