All DJ Entries

Dune-based, a Fremen leader has just died and everyone's chanting the name of someone they're choosing for the new Naib, a well-respected middle-aged man known for being level-headed. But they're interrupted by Paul and Jessica, performing some Bene Gesserit trick with light that makes them appear god-like, a move to take power over the Fremen. It works. I find it extremely distasteful.

My IRL mother weighing a desire to give up physical possessions against the potential uses for the land she owns, and considering an apiary.

A wrong number from an angry woman looking for a Melissa. (Not the one from the myths specifically, but still presumably inspired by the apiary bit.)

I'm looking at a digital folder labeled 'Eric'; none of the files inside have anything to do with him.

An earlier, lower-budget movie version of Barbarella.

A variety of nautical references: ornaments shaped like ships, a trip to the beach and a mention of pirates.

A painting of pale, black-haired elves with ravens on their shoulders, in a park.

Two homeless men, one with a dog, the other a preacher standing on a wooden crate, arguing about Jesus and whether or not he spent a lifetime as a cat.

"So ever shall be considered the gardens of Biblios."

There's a woman having a sort of Cinderella transformation - rags to ballgown - but she doesn't seem in the least bit impressed by it. I'm vaguely annoyed at her lack of reaction, but on with the show. She enters a throne room and asks something of the king, who says "But first answer me this. When did you become the Evil Queen?" She doesn't know what to make of this. She says, "I'm not a queen." "Your father is dead," says the king - her father was also a ruler, she became queen the moment he died. The king here holds out a collection of brown papers. He says it's something her father had been putting together the night he died - last night - something urgent, something for her, since she'd been away on this mission.

I'm looking at a book containing a moving image representing En - a small boat on a river, stylized lotus flowers, a lot of gold paint. The color's faded and chipped in places, but still beautiful.

A musician's writing a letter to a friend of his, trying to comfort his friend, and he's thinking about how limited words are, how it can't replicate the sort of things he'd do if he was there in person, even the simple act of putting on a familiar tune. He goes to the gramophone and puts on the tune he was thinking of, and sits to listen to it before he continues writing, thinking that perhaps the feeling he gets from this song will come across in his words.

A couple. A blonde woman is laying out cards on the floor in five columns, representing the guy's past relationships; he's lying on his back next to her, not looking. She observes that his two longest relationships followed the exact same pattern: lasted the same amount of time, ended the same way, with the same warning signs beforehand. She says based on that pattern, if (event) happens at (time into relationship), he might as well bail immediately.

One of the shorter columns is unique in that every card represents things going well, and she wonders why he'd split up with that guy. Privately, she's realizing that he ended things shortly after he'd had some non-romantic encounter with her, and she's wondering if she was the reason for the split. But out loud she just points out how odd it looks that they broke it off considering it seemed to be going so well. He teases her, saying "yeah, I'm starting to miss a bit of swordplay" - part of the joke here is that the guy in question also did something involving literal swords - and she hits him, lightly, on the arm; then she puts the cards down and straddles him, and says something along the lines of "Not like that. I mean, you had a different dynamic than you did with anyone else. Not in a good way. I mean, I liked him, when he was alive - oh, god." He's laughing at her. What she'd been trying to say by 'not in a good way' was that although the two of them clearly got along, they hadn't seemed really emotionally attached, but she's stumbling over this conversation. He assures her, yes, the guy in question had indeed been great when he was alive - teasing her about her reluctance to sound disrespectful of the dead - he was lovely and wonderful and all that, and she's also lovely and wonderful and all that. There's a lot of laughing from both of them over how ridiculous this conversation is.

A fragment in which I'm waiting for someone in a subway station and meet an android, though they've been banned. She looks human except for her eyes: they're filled with a constantly-moving white light, and her eyelids are covered in jewels.

Utena's dueling someone, and her clothing's changing as she does so. Other duelists are running up the stairs and arrive just in time to see her win, and Touga says something complementing her on her confidence, that she could trust that the changes going on around her would serve her.

He goes on to say something about those changes reflecting past eras, which transitions into images with some vague connections - something about a limousine, and then something about flight patterns with an image of a witch flying on a broom, which leads into the next scene:

A guy who's just now become a witch is looking out the window at the approaching dawn, and he wants to go flying and feel the world wake up around him; but he has responsibilities to attend to, keeping him here.

ASOIAF-based. Jaime's face is covered in burn scars on one side, recently healed; Cersei's pale and has something wrong with her skin, grey spiderweb patterns in small patches on the sides of her face, wearing widow's black with a high collar. Jaime's sitting down next to his uncle - whose face is also scarred, on the opposite side from Jaime, from a cut from a weapon that left a permanent hole through his cheek - and he's saying "Look at us. Three grotesques." He's not including his uncle in that; he means the three siblings, specifically in their role as Tywin's heirs.

He folds his hands on his chest, and something strikes me as odd about this; I focus on his fingers and feel like there's too many of them. (For reasons that were obvious once I woke up.) He says, "We remember (name of some famous military tactician)" - and then says some quote relevant to their current situation; as a disembodied observer, I'm less interested in the quote and more interested in why Jaime's saying it. I'm thinking that this time period, immediately after all three Lannister siblings had become disfigured, ended up being when they really started to come into their own; that Jaime specifically became serious about various responsibilities that he'd had little interest in up until now, became more philosophical, and wound up distinguishing himself as a tactician.

Jaime's still talking - he's just mentioned a prophecy which includes a mention of monogamy, and he sneers at the reference, and says something along the lines of 'if only I could get me a good prybar' - he's stuck in an engagement he desperately wishes he could get out of, but which he's resigned to.

I'm leaning against a wooden fence, wearing a heavy fur coat and digging a bullet out of my side with my fingers, blood all over my hands. It can't kill me, but it's unpleasant. I'm saying to someone, "Wish you hadn't come." Didn't want them to see this.

(Woke up. Back to sleep.)

Fragments: A photo of a small island containing 6 towers arranged in a hexagon, with a wall around them so that they can't be seen from the water; the photo's accompanied by a note mentioning Florida and Puerto Rico. A girl with a shapeshifter for a brother. The word supranatural. Song lyrics: "Feed on the sickness." Dialogue: "You're familiar. I'm just glad to see familiar-"

Five teenagers heading to an abandoned playground; three of them are aliens in human form, and they need to go somewhere isolated to temporarily drop the disguise. The other two are humans, their girlfriends, in on the secret. One of them has seen this before, but for the other, Laurie, this is new; although she knew her guy was alien, actually seeing it is a shock. She sits down on a bench attached to a picnic table, and she's thinking about when she slept with him. The other girl, the one who's seen this before, is watching her and feeling sympathetic. The boyfriend comes back over to her and asks what's the matter, except English isn't really compatible with his mouth in this form - he's something vaguely like a very large spider - so "What's the matter, Laurie?" sounds more like "Wassama'ar? Lau-rie?" The other girl comes over and puts her hands on Laurie's shoulders.

Rumpelstiltskin/Gold has a daughter. She's building a snowman in a park with her mother, along with a large group of other parents and children doing the same thing; Gold's not there, but he's using magic to talk with her from a distance, now and then. She's named her snowman Lefty. It has 3 left arms, one of them with a hook. But while she's not paying attention, one of the other mothers breaks Lefty and uses it as materials for her own kid's snowman. This doesn't come as a surprise. Gold's daughter isn't treated well in this town, she's always ostracized. Gold, hearing about this, starts to encourage her to (do something I no longer remember.)

While he's encouraging her, Rumpelstiltskin has a flashback: in his castle, with Regina in full Evil Queen mode. He's ranting about some Council which he blames for manipulating him into becoming the 'evil creature' he is today, and which he's now turning against. The rant has a reap-what-you-sow kind of theme. Regina had been on that Council up until very recently and is encouraging him in this; she's the one who informed him how he's been played.

Someone's telling me that two serpents, one that spits fire and the other water, have gone missing from their shrine. I say they're taking a trip, "naught to worry."

Rumpelstiltskin's hit upon a new-to-him form of magic, something that appears as a white light when he's working on it, and it's some major revelation - but he can't pursue it unless he cuts himself off from distractions like 'the boy.'

Grayson's come across Mina and Harker in some danger and got them out of it by offering them a ride home in his carriage. Now they're discussing a message he's sent someone to deliver, and Mina's objecting to sending this messenger into danger on their behalf. Grayson asks what danger she's referring to. Why, the war, of course. They're not far from the battlefield; that's part of why they were so grateful for his rescue. Throughout this conversation, Harker has become increasingly uncomfortable and is beginning to regret accepting the ride. Mina, sitting across from the other two, is noting that Grayson's in shadows so dark he can't be seen.

Lucy in a different carriage, with Lady Jayne riding outside. Jayne says to her, "Don't you think you had better go?" "No. My choice is to stay." "Atta girl."

(Woke up. Back to sleep.)

A species of small creatures which, as they grow up, take on masters and will instinctively fight the servants of other masters if left alone together - which often results in fighting their own siblings, sometimes to the death. Later, when they grow into masters themselves, they see the other side of that, with the responsibility and grief of killing. (The dream logic was inconsistent about who was actually the one doing the killing, the servant or the master. The main point was violence without thought of consequences in the young, servant version, contrasted with the grief, guilt, and sense of responsibility in the older, master version, and a sense of circular time or mythic time, coming back around to the same event but from a different perspective.)

I'm breaking into the ruins of an old and isolated church, with a cat, carrying a candle; I climb up the stone wall and up onto the second floor, which is mostly open to the sky. However, just as I get there, I see the property owner returning home across the fields in the distance, in a dogsled. I extinguish the candle I was carrying, but it's too late, he's already spotted the light and is turning this way. I climb back down the wall and run for it. However, I'm on foot and he's got dogs; my odds of outrunning him aren't good.

We cross a river, and the scene changes to 3rd person; now it's a group of children who are running from him, and they dive beneath the water and stay there. As a 3rd person observer, I'm thinking about legends of creatures that can't cross running water, and about the way the scene changed when I hit the water, the river acting as an event boundary.

A party where I've been looking for a woman, a dressmaker, known for a dress that resembles the sea. I find her, an elderly woman, and I ask her about that dress, which pleases her, but which isn't the subject I really want to talk to her about. We're interrupted by another woman, someone I know, and the two of them go off to talk in another room, behind a closed door. I eavesdrop from just outside. I hear them mention a Joanna - a dead woman who I keep hearing about, someone who left a widower behind, someone powerful. I'm caught listening, and so go away without hearing the rest of the conversation.

Rumpelstiltskin. I have some guests, people here to do business, but I've just turned away from them and am talking to Belle, showing her the potion I'm preparing and saying "It's designed to attract." The scene switches to 3rd person, and I note that Rumpelstiltskin loses the showman routine he uses with the others when he talks to Belle; I'm thinking something abut the length of time Belle's been around and how they interact, which is something that Rumpelstiltskin is feeling a little bewildered about. He heads up to the tower to get in touch with someone through some magical means. "Don't go listening," he says to Belle. She's indignant - of course she wouldn't!

(Woke up. Back to sleep.)

Based on Carmen - she's dancing, I'm sitting in a chair watching her and thinking about the past, about killing for her, feeling sober. (This felt like it was a variation on the servant creatures from before - as if there was something I was trying to work out but wasn't quite getting, so the dream was rephrasing.)

Fragments - song lyrics misusing the word indigent ("all the charm indigent in you" - I assume it was aiming for 'inherent'); and later, a fragment involving a tribe called Indogen, immortal creatures that were 'judged unworthy by god' and sentenced to stay in this land (wherever the dream was currently set) instead of continuing on their 'journey to the sun.'

An apocalypse scenario; I've run through this scenario two times already and failed both times. First, I have to leave this building quickly, and avoid getting involved with this group of people; that was the mistake I made last time. Second, I can't forget to (something to do with a virus and immunity or a vaccine or similar); that was the mistake I made the first time around. Third, I have to track down three men: one's a scientist whose theories are closely related to the events that are about to happen; the second is a specific doctor.

When I leave the building through the back door, the storyline changes; I'm caught up in some kind of street performance going on just outside, and a woman in the crowd sees me and recognizes me, and comes up to thank me for something I'd done for her in the past involving her ring.

Another apocalypse scene then: a woman who's carrying her son, looks around 3, is begging me to take him with me.

Rumpelstiltskin. There's a horrible smell coming from somewhere in the castle, and finally I've found the source: there's a dead body, someone who broke into the castle and got himself caught in one of the traps designed to stop such intruders from stealing my things. Belle and I have been calling back and forth as we were trying to figure out where that smell was coming from, and I'm pleased I found it before she did. I call to her now, telling her that I've found it and am taking care of it, without letting her know what it was. I magic it away.

Julia's ranting to me about something to do with the news, full of righteous anger. There's some important event going on in the world, some tragedy or disaster or outrage, and she doesn't feel they're covering it well; she's specifically talking about CNN's failure to report on real issues. I'm happy about all this - happy about her righteous anger, that is, not the tragedy or whatever it was - I love how she cares so deeply about these events that I've come to see as commonplace.

There's a girl, a witch, stopping in a school hallway to stand before the memorial to a recently-dead classmate, covered in flowers and candles. The dead girl was also a witch, although this isn't common knowledge, so although she didn't know the dead girl well, she takes this very personally. She's thinking about how she has something that belongs to the girl's killer, and about the girl's mother, and about poison. The candles burn down to stubs as she looks at them, and various other things around her start to catch fire; a boy who was close with the dead girl had been watching nearby, and when he sees this, he starts to run away. She stops him, corners him. He asks what she is; she says he'll never know, but that since he failed his friend, now there's someone else he has to protect - her.

A woman is introducing two of her friends to each other outside a mausoleum, introducing one of them by the nickname she calls her, "Little N." It's N's family mausoleum they're standing in front of. N introduces herself as "Anekhet (last name sounds something like Sastemony) - or Little N." From her tone, which is pleasant, it's still clear that the Little N nickname is a name for only this particular friend to use, not the man she's being introduced to. The man introduces himself with a bow as her ancestor and the founder of this town, and a "comocido" - which in the dream seemed to be a word related to suicide or homicide, a word that indicated the specific way in which he was killed, hundreds of years ago. Anekhet is surprised but not particularly thrown by this.

Integra is watching a map showing enemy vessels approaching England, trying to calculate how much time she has left, torn between two objectives, and finally she dispatches Alucard to a certain ship, to destroy it if he doesn't hear otherwise after a certain amount of time. Alucard drops out of the sky onto that ship, and in his head he's intensely focused on the form he needs to take at any given time, it's almost like psyching himself up, or like playing a role.

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.

An advertisement for a Christmas event called the Forest of Lights; Christmas shopping in a small store that has cookies out on display, someone exclaims over them, saying that they're just like the ones his grandmother used to make, which he hasn't been able to find since she died, not knowing what they were called.

A grandmother talking to a baby which is also herself: "You're going to be just fine." She's a woman who grew up in the present era, then somehow mentally time-traveled to the past and became trapped there, and wound up living out the life of her own grandmother. She's at a family gathering now and talking about a business she owns, when she has to sit down abruptly, and then holds out her hands and comments on how they're shaking. She's sure this is the moment when she dies. She's very calm about this, to the point that the people around her think she must be joking. There's a narrator then, saying something about how a part of her always expected that when she died, she would simply wake up back in her real body in the present. But she doesn't. It was a mind-soul transfer, the narrator says. When she died, she died. That was it.

(Woke up. Back to sleep.)

I'm looking at a grave marker in Erana's garden, and examining the spell on it; and then admiring the spell over the rest of the garden that makes it a sanctuary, and noting how even the water of the two rivers which flow around it are affected by the spell when they come into contact with it. Looking at all that running water, I'm having doubts about whether this will be the best place for Olivia to stay over the next few days, even though we're on her native soil, and even though it's otherwise ideal. The river running under the bridge at the entrance to the garden is just a trickle at the moment, but there's an image in my mind of that river growing wider, turning the garden into an island. I start to walk into the woods, and I pass Rogerian coming the other way with an animal he's caught for the two of them to eat. Olivia wakes up and says something about the meal, sounding delighted.

Me and Erana (of QFG) are in a cave we believe to be the entrance to hell. I'm looking at something in a glass case near the entrance, she's looking at things hanging on the walls. We found this place by chance; we were supposed to be heading somewhere else, but I believe that other place would have wound up being a dead end, and this cave is our best bet. There are these blue butterflies that live here that are known for flying against the wind. The opening that we believe to be the entrance to hell is unreachable for us due to the wind, but these butterflies can go right in, and as I watch them, I'm planning out how we can use that.

(Woke up. Went back to sleep.)

In some small city. Erana was killed, but she reappeared in the form of a child and grew up within a few hours. This happened twice, and we think it's a result of the time she died and I retrieved her soul from hell - now hell won't take her. I'm not sure it'll take me, either, but I'm not in a hurry to test that. Sitting in our hotel room after the second time it happened, I'm trying to think up a way to use that child form to our advantage, but this annoys her.

We're in a series of tunnels, and we split up to try to work out the correct answer to some kind of game that involves finding the right combination of drinks, or in another room, the right meal. We're meeting back up in the main tunnel to compare notes - Erana's solved the drinks room, I'm still working on mine. I mention that it reminds me of kumiko, meaning that it's partially a guessing game and the solution involves rather poetic references, which amuses me; it's kind of nostalgic, even though I'm frustrated. There's a voice in the distance and I say something about how it must be the guardian of this place. I spot him standing on a balcony over a gate we've been trying to get through, a guard with a head or helmet shaped like Anubis.

A cop who'd reported various odd cases passes a strange, monstrous-looking guy driving in the other direction.

There's a car crash. This werewolf kid had been running along the road, with a couple guys from school following behind him in a car, shouting at him and trying to catch up. This happens a lot - usually the guys in the car give up, he can run a lot faster than they can drive; and usually when they give up one of them sends him some insulting text message instead. But this time, as he was running, he passed that monstrous-looking guy the cop saw, this is someone he knows and someone who shouldn't be in town; and although he's lost sight of the guys from school, there's no insulting text message this time. He's worried. He turns around and heads back, and finds the car that the guys from school were driving has been run off the road into a field, flipped upside down.

A witch, the werewolf kid's mother, walks up to the car. One of the boys who'd been driving it is dead. The other one's been transformed into a fox. She picks up the fox and talks to him a bit, and tells him she isn't going to restore him.

(Woke up. Back to sleep.)

I'm setting dreams out on a stall in two rows, they're things that look like something between a bubble and a crystal ball. I call to this guy I recognize, I call them unregulated dreams, or unprocessed, unauthorized, some word like that - the point is there's some official approval process dreams are supposed to go through before they can be sold legally, and these ones haven't been through that process. I say to him that I know he wants them for his store. He says something positive but looks conflicted, and he looks over to Rumpelstiltskin, the guy who brought me here and helped me set up the stall.

3rd person, Julia's fighting something from a distance and thinking that at this rate she'll run out of supplies. She's thinking about trying to start a dialogue.

Loosely FMA-based: I/Mustang am skimming a file Julia/Hawkeye wrote, something private or at least not intended for me to read. The text's very small and I don't bother reading it in detail, but it has to do with problems she saw in the military. There's photos with it, mostly pictures of us and someone else who'd joined up with us when we were younger; the last picture is of our whole unit on a train, out of uniform. Unlike the text, they're all positive images.

On that train, when that last photo was taken. I'm waking up and realizing me and Winry fell asleep sitting up, she's wound up leaning against me, the table in front of us is covered in papers, diagrams, there's a bowl of something next to me that's gone cold. Switches to 3rd person, showing us and the rest of the unit, some other people who've been working with us, and Julia/Hawkeye sitting a little apart. She's looking around at all of us and feeling fond but conflicted: she's always had to stay a little aloof, because she can't let us find out she's working against us.

I'm saying "Amen," the end of an exorcism. I'd been dealing with a demon and got in over my head, and I'm conflicted about whether exorcising it is the right thing to do - seems rude, you can't go around summoning people up and then flipping out at them - but either way it's been kicked out now, laughing as it leaves, which is never a good sign. I float back down the hall to bed, observing the lack of footsteps, and then get into bed, surprising the cat.

(Woke up, about half an hour after going to sleep. The cat had curled up at the foot of the bed while I was asleep.)

A fragment with a character who's king of a small people who don't necessarily want him - he's traveling.

A guy who runs a tavern screwed up a recipe, using potato instead of sweet potato, and his house elf tried to help by offering some spices to cover the taste, so the master blames it all on the house elf, starts yelling at it, then hitting it. I'm seeing this as I'm walking past the door, and I'm thinking that this is a particularly ugly house elf, only one eye and covered in bruises - but then house elves always look a little suspicious. Which makes me think - they're also very traditional, and use the term 'Dark Lord' rather than 'You Know Who,' so I wonder if maybe I could entrust it with a certain thing I need taken care of - but when I start to talk to it, it gets scared and disappears off to wherever it is house elves go.

(Woke up. Back to sleep.)

Fragment of a scene involving a teenage guy talking to a vampire woman carrying a sword. Now he's home and sitting down on the couch, and the dream switches to 3rd person to focus on his father's husband, who'd been at his desk in the same room but goes to the door now to accept a delivery.

The guy at the door is a friend, or a professional contact anyway, someone who's personally delivering a book he'd requested. It's a living book. His friend delivering it warns him that he'll need it back tomorrow, someone else had reserved it. The man says that's fine, he just needed to speak with her - the spirit in the book - tonight. Although he doesn't say it out loud, there's something going on tomorrow that he's worried about, and he wants to talk it over with her. He's also thinking about a new room that's being built. The man who delivered the book says she's been reading sheet music lately; although he doesn't need to say it out loud, it's an implied request for the guy borrowing the book to provide her with some sheet music when he's done talking with her, as she doesn't like being left alone with nothing to read.

The first of several gods is watching the first humans age, and aging himself to match the oldest of them.

I'm walking past a shrine on a holiday, and hearing kids sing a song that I recognize as being part of a game like tag or hide and seek. There's a cloud of something floating in the air, I can't tell if it's tiny petals or some kind of dust, but it floats through the shrine gate and where it gathers I see a brief image of some great horned creature.

There's some futuristic family watching a concert, wearing shoes that let them fly, but the youngest girl can't get hers to work right, can't sit still, keeps flying off in different directions. Finally her mother catches her and makes her turn the shoes off, angry with her.

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."

I'm inside a mental simulation of a memory from my past, allowing two people to go through the contents of my memory, a man and a woman. I'm lying down on the bed while the woman goes into the next room to look around.

Will Graham standing in a room, alone, but with mental images of many people moving around, he's piecing together what happened here in the past. He's watching the phantom images move, but he's mostly thinking about Hannibal and the increasing inevitability of consulting him on this case. This whole image is replaced by written words in white: "The Kingdom".

I'm a man who's been doing research into my own unknown ancestry, and turned up some info that my father was a cult leader. And while my mother's still a mystery, I'm complaining to someone that at this rate she'll probably turn out to be a goat. It's a reference to an image of goat-headed Baphomet that was connected to the cult.

(Woke up. Back to sleep.)

I'm watching three women try to recreate images from old photos of other people, dressing up like them and trying to copy their poses exactly, in order to figure out something that happened in the past, something about a girl with some sense of guilt towards another woman. Copying the photos requires one of the women to adopt some really uncomfortable looking poses, she's dressed up in a wedding gown and the angle she's holding her neck at looks like it should be fatal.

There's this guy who killed someone, and I told him over the phone 'I'm not going to come for you' unless he does something about the body himself. When I get there, I look out the back window into his yard, and see a few of those big black trash bags full of fallen leaves, and I note that there are a couple more bags now than were there when I left. I note that he split it up into several bags instead of just one.

I'm in the yard of some huge mansion with a few white tables and chairs set up for a party, abandoned now; I'm out at the very edge of the yard, near a river, standing over someone who's been shot, and I'm saying to Hannibal, "One person, you could have saved one person!" He says something disagreeing with me. I'm thinking about Abigail.

I'm standing in my IRL shower, and there's a spider in here, well out of the way of the water; but I accidentally drip some on it and it slips down into the tub, gets caught in the water and washed down the drain before I can catch it. I feel guilt about that. I didn't want to drown it. But then an insect crawls up out of the drain - a huge winged ant, and then another one - and I feel sure the spider will be able to make it back up too.

(Woke up. Back to sleep.)

I'm meeting some people in a dream. A woman and I have just arrived on a beach, bright sunny day, clear blue-green water, and we've got these dark fragments of void-stuff hanging around us from our arrival, dissipating like smoke. She's telling me about the guy she's going to introduce me to, who's supposed to guide me through something specific. He appears in a puff of darkness like we did, but standing on the water a little bit away, dark-haired guy wearing a suit, and he jogs across the water to meet us on the sand. He apologizes for taking so long to get here, and I'm thinking to myself that it only took him so long because he's accepting limitations that are unnecessary in a dream, not really a promising start. I expect him to say something else but he doesn't, they've both gone silent and stopped moving, and I realize that we've lost the connection and I'm waking up.