Recent DJ Posts

From a disembodied perspective, I'm watching my IRL self. He's looking for something in this room, currently looking at an illustration of Loki hanging on a wall. The disembodied version of me is curious about the IRL version of me, and I've set up this space in order to observe his reactions. There'd been some previous incident where he'd taken on a sort of ritualized trickster role and unintentionally drawn my interest; he's not aware of me. (Though trickster's not the word I would have used in the dream and it kind of irritates me to use it now, but it's the best way to put it - a sense of something in common between the Loki illustration, the devil statue, my disembodied perspective, and the role my IRL self had played.) I've just now come to the conclusion that the thing that originally grabbed my interest had to do with taking on different roles rather than something inherent to him. This doesn't make me any less curious, but it alters the situation. He's now looking at a small black and white sculpture of the devil, and I switch to his perspective while he's holding it.

As my IRL self, I'm interrupted by the arrival of several IRL people. Eventually I wind up standing over a large pot with one of the women, and she's stirring whatever's in it. She calls me by the wrong name, and I correct her, annoyed. She repeats my real name, and makes a promise involving it, talking about dire consequences for anyone who violates this promise. Afterwards she describes the pot as holding the curse she's just spoken.

There's a group of people camped out in a field. One of them's a veteran of multiple wars, very old now, and she's berating a young man who wants to leave. He's frightened; he's heard of traps, innocuous-looking pieces of paper which will curse the reader to be killed, or else to kill others until you die.

(Woke up. Back to sleep.)

A mother and daughter in the center of a crowded throne room, with a royal baby (not either of theirs) in a basket. The daughter quickly steps to the basket and announces that like a sister she'll tend to the child with loving care. This is a calculated move. She wants it to appear to the crowd as if she's being a good loyal subject, and to appear to her mother as if it's part of their secret political power grab. The truth is closer to the former - the daughter has no interest in ruling and is trying to spare the child's life without making her mother suspicious of her.

Fragment - I'm someone describing the differences between those who fell more recently, the Grigori, and the first fall "for pride or love or whatever we're calling it now."

False awakening. I'm writing down a previous scene. In it, I'm someone in the lobby of a place where I work, and Satan's just walked in to see me. There were a number of things I wrote down as being off about his appearance - the last thing I wrote was that there was snow still on his shoes - he'd become human. I'm kind of torn about how to react to this. On the one hand, this is bad news for me - whatever happens to him affects me too. But on the other hand, this is hilarious.

(Woke up. Back to sleep.)

I'm someone in an abandoned warehouse, talking with a fallen angel about his plans. We don't get along. As he's talking, a portion of the roof caves in, and through the hole I can see a human woman up there who's been listening to us. He knows her; she's part of his plan, but she's been opposing him. They have a brief shouted conversation; he says, "You won't hurt me, Jane."

I'm with a group of people looking around the ruins of this small castle or fortress. I'm trying to track someone down - I don't expect her to be here, but I know she was here sometime in the past.

Switching to third person view, there's a hidden room in the ruins somewhere below us. There's a kid inside, a little boy, the son of the person I was trying to track down. He's been a kid for 170 years. The spell or curse or whatever it is that keeps him frozen in time also means he can only speak for one day in each year. He's listening to us move around over his head, and thinking about how he's saved that one day of speech so he can give us a message now.

That same boy is walking down a suburban street, and he's spotted and recognized by a young woman in a passing car. She tells the driver to pull over, and he does. Her name's Giselle, and though she's a vampire she's never killed anyone - she's been kept away from people by the man driving the car and his wife, her sort of self-appointed guardians. They feel some kind of personal responsibility for her, but they're very nervous around her. They're looking particularly nervous right now, as she gets out and talks to the kid. She's very friendly, she's delighted to see him, but without really thinking about it, when she gets close enough she bites his throat. She can't help it. As a disembodied observer, I'm thinking that she's going to wind up serving as a sort of adopted mother to the kid, and it'll work out well for both of them as far as that goes. But I'm also thinking that this is a sign that our - her, me, the kid, the kid's mother, some other people - our window of opportunity to become human is closing for this timeline. Once we've missed that opportunity, we'll inevitably wind up dying off one by one - the timeline wrapping up loose ends.

There's a frozen lake with a hole in the center of the ice, and a school building at the bottom that's an exact duplicate of a building on land. As Dean, I'm remembering fighting Sam in this lake sometime in the past, when he was trying to stop me from taking something out of it - I'd been filling a canteen from something at the bottom of the lake. Now we've come back to that same lake, and I'm thinking out loud about the "misfortune" that "follows" people who steal from this place. I point out that we didn't take anything back then. Sam pulls out that canteen, revealing that he'd secretly kept it. There's blood inside it - I'd gathered it for him - and it's a neverending supply, so if he relies on that canteen, he doesn't need to take it from anyone else. But it's still cursed. So he says to me, I might as well go ahead and steal what I need from the lake; the misfortune has already been following us anyway.

(Woke up. Back to sleep.)

There's a man talking to a woman just outside the door of a church, saying "What have you done to your hair?" He knew her in the past, but she's meeting him for the first time in her lifetime. I see images of him as one of six brothers who'd been cursed lifetimes ago. The images are like photos moving against a black background; he and his brothers give me an impression of being arrogant, self-centered, maybe not deliberately cruel but thoughtless, a vague association of violence. But the modern version of him had been very different, and I'm thinking about that change in him while I walk up my IRL street, into my IRL home, and start making tea. Standing over the stove, I'm thinking, "the debt has been paid" - the man suffering now has little in common with the brothers that the curse was originally placed on.

There's this strange, vaguely canine creature with a head almost completely covered in bony ridges, giving the impression that it has a skull for a head. It changes shape, sometimes looking insect-like, a vast serpent thing with many legs, and very rarely, it takes the form of a woman. It serves a certain human man who found it on a cliff, and the first time it changes into a woman it freaks him out immensely - he's wondered if maybe the creature is actually a person under a curse, but he's not at all sure which is the true form. At the moment, he's thinking "(creature's name) is the answer" - the moment he thinks that, something else bursts into the room and the creature leaps up to fight it.

(Woke up. Back to sleep.)

A narrator of a play saying "Young Romeo spies the young witch Barathia in the woods, but..."

A person I know IRL is annoyed at me over a misunderstanding, and posting passive aggressive messages about it online. I wonder whether I should correct the misunderstanding or just leave it alone.

I'm standing on a street corner with someone, waiting for the light to change, when I see two people walking towards us, including that IRL person from the previous scene. The light changes just then, and I know I should probably wait for her to catch up, but I hurry across the street instead. I follow the guy I'm walking with down onto the railway tracks, and there's something I really enjoy about walking along the tracks at night. A train goes past.

Still walking with that same guy, we've reached the trailer where his mother lives. When he knocks on the door, this guy he dislikes answers, some bigot his mother's dated in the past, but last he knew it was over between them, he wasn't expecting him to be here. They say something to each other I can't hear, I can just tell the guy in the door looks angry, and then the guy I'd been walking with turns around and leaves. He's really upset. I tell him to come back with me, we can go spend the holiday at my mother's place, she'll like having us over. At one point he decides to go back and kick that guy out of his mother's house and I physically hold him back.