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3rd person, there are two people looking down at a body lying face down in the mud, in the woods, pine trees, not a lot of underbrush. They're just barely out of sight of the road, although it's night and it's raining so no one's likely to see them anyway, and they're both wearing dark rain ponchos; the body on the ground, a middle-aged man, isn't dressed for the rain. They're talking to each other, the one talking right now's a woman, saying something about a bike, and about getting his fingerprints on the shovel. There's another body deeper in the woods, and they're making sure this guy will be blamed for that murder.

(Woke up. Back to sleep.)

HP, as Draco, fragments mostly - the new DADA teacher is suspicious (how unusual); running into Snape in the hall and feeling relieved; overhearing Weasley complaining about feeling 'used' by Potter, I'm surprised and pleased.

I'm someone who's just moved to America, or possibly just temporarily staying there; either way, my parents have a somewhat distorted idea of what that entails, they seem to be expecting a great deal more muggings and car chases than are actually happening, their letters keep giving me advice on same.

(Woke up. Back to sleep.)

A man who's been traveling for a long, long time and wants to rest is given a mission which is described both as a task and a reward for him, saying he'll be "the Copernicus of" the place he's going. The actual Copernicus also appears on the scene, except 'actual' Copernicus is a woman disguised as a man, and also from outer space.

I'm floating in the sea with a small oxygen tank and no other equipment. The water's clear and empty - I'm wishing I could be snorkeling on a reef (unusually, there's no visual image to go with this thought; it was blatantly inspired by this site, though) and thinking about freediving (this thought did have images to go with it). Back on the shore, I get into a hot spring with some IRL acquaintances who are talking about drinking, and about a storm coming.

'Julia' has reshaped herself into 'Jules' and I'm meeting him at a university cafe. He tells me he led a rebellion. They all died. Now he's lost his taste for bloodshed, except in the comfort of our own bed. I tell him he's much better at this than I am - whenever I've tried being female I've wound up overcompensating with strange obsessions for guns or fast cars.

OUAT's Rumpelstiltskin, Belle, and three fairies are sitting around a cramped table discussing storming-the-castle plans, theoretically - but the conversation defaults to the fairies badmouthing him for screwing things up in their absence. Belle leaves to go speak to two people locked up in a dungeon, at least one of whom she'd put there herself after he tried to attack her, and her attitude towards him has an odd lack of awareness of being locked up as a bad thing; she's spent so much time locked up in one way or another herself she sees it as normal.

Setsuna/Alexiel speaking to Sara/Belle, saying that after freeing her from 'beyond the end of time,' why do you think of death.

A vague fragment about the three main characters of Zelda leads into me being told by a girl (presumably representing C., this dream is blatantly inspired by her, I've never played this series) that normally she'd recommend someone start with a different game, but for me, the characters and storyline in this one are perfect. On screen, the villain closely resembles Rothbart. The game so far has been one long cutscene, to the point that my IRL sister watching with us (who presumably appeared because of Rothbart - I associate that movie with both her and C.) is surprised to be told it's a game and not a movie. When I look back to the screen again, it looks like a Disney movie.

PSoH setting, following Leon. He puts out messages searching for D. Meets up with fellow 'searchers' - for various things - some of them more useful, or sane, than others. He's sleeping with one of them, and at the moment sitting up in bed next to her, saying "don't look at me."

A boy who leaves something broken with friends or family and is surprised to find they've fixed it when he returns, he hadn't asked them to do that.

A wrong turn leads to a dirt road, and then to a moss-covered graveyard, where I get out to walk. My IRL sister L. and I find ourselves stuck with a tour group.

Bela Lugosi as Dracula, waltzing with a woman in a long pale dress. I'm seeing them in black and white, like a movie.

A late-for-school dream - usually for me those are about feeling unprepared, but this one was much more positive. IRL setting, I'm outside when I see the bus pull up, and while most of my school supplies are inside, I have a few necessities with me, a notebook lying in the snow, so rather than go back inside for all my things and miss the bus for sure, I grab what I have and sprint for it. I miss it anyway, but the bus for the middle school pulls up behind it and they're heading in the same direction, so as it pulls away, I jump on the back and hold on, intending to switch to the high school bus when there's a chance. We hit a fork in the road and we lose the bus I want, but I'm confident I can meet up with it later.

(Woke up. Back to sleep.)

Lady Liberty's torch being referred to poetically as the light of 2 things, one being the light of reason.

I'm John Constantine, in a bar, showing off by handing out predictions. It's a con, they're all just stuff I made up. But what I didn't know at the time was, by speaking predictions in that particular place, specifically by putting them in words, I was dooming them to come true. If I'd known, I would've come up with something nicer for myself. Made some (Hannibal-inspired) reference to a 'red dragon' I would have left out.

(Woke up. Back to sleep.)

A separated or divorced couple, the ex-wife calls her ex-husband to ask if their oldest is with him. The dream 'camera' changes to show their youngest of 3, sleeping in a crib in the father's home; he's got a vestigial tail. They intend to have this surgically removed, but it hasn't been done yet. His paternal grandmother is standing over the cradle, thinking about that tail, and holding a gun in her hand. The father comes in then and stops her; the mother, still on the phone, hears enough to get an idea of what's going on, and she thinks, 'She's not wrong. Our species is a threat to yours.'

Hypnagogia: A woman's voice saying "Run!" over and over again. Disconcerting. Woke myself right back up.

Nightmare: I'm in a dark cave full of dangerous creatures. So I decide to summon up a pterosaur to kill them for me. I hide behind a door against the wall and listen to it move around; it won't be able to reach into that narrow space, so I'll be fine. Except I start doubting whether the space is small enough, and become aware that I'm not in a narrow space, I'm in the much more open space of my bed.

(Woke up at 5:30 am, half an hour after bed. Back to sleep.)

A connection between the Palin family and a family of actors, a law that makes it possible to win an election without gaining a majority of votes, and a great deal of anger at both these things, though I don't much mind myself.

Birds flying overhead in V formation above my IRL home, thinking about luring them down.

(Woke up. Back to sleep.)

I'm the Doctor, the ninth, traveling with Rose, and trying to get into a building which is apparently strictly for the upper class and we don't look the part. The guard at the door stops us at first, then lets us in after I wave the psychic paper at him. After we're inside - looks like a casino - Rose asks if the paper made him see us as someone else, or in nicer clothes. I tell her it doesn't change the things people see, just the way they interpret them.

(Woke up. Suspect that last scene was inspired by the 'Run!' hypnagogia. Back to sleep.)

A little dark-haired girl, a relative, who hides behind the furniture and speaks quietly, tells me I should have listened to my visions. I'd just agreed to something, and I probably shouldn't have.

The lights in my IRL home won't turn on. None of them will, and I think of the darkness as a danger, which makes me wonder if this is a nightmare. I start to head down the stairs, by floating, head first. Yes, this is definitely a dream. I start to do my light-of-Apollo anti-nightmare trick, which after 2 uses appears to be my go-to way of avoiding nightmares now, but then it occurs to me that while I'm here, I could enjoy some lucid dreaming instead. I decide that there is no ceiling, so that when I look up, I'll see the night sky and be able to float up into it - and then I turn over and am pleased to see that this is so. After I've floated up into the stars, I look down to the house again to put the roof back on, and then, as if it was just a task I'd briefly delayed and had to get to now, I start up the anti-nightmare trick, and wake myself up in the process.

(5:08 am, just half an hour after bed. As I was trying to get back to sleep, it occurred to me - this has happened a few times now, nightmares with this timing and on the theme of darkness - I'm starting to suspect this is the result of trying to sleep before dawn. Possibly on some level I'm aware that it's much darker than when I usually sleep, and my dream interprets that as something wrong. Reliable way of getting lucid, though, so that's not really a problem. Back to sleep.)

Fragment: "Ancient papers, and an age a fraction of that."

I'm discussing an upcoming ball with a young woman I'm acquainted with, leaning against her desk while she goes over the invitation, pointing out the bit where they encourage everyone to dress colorfully, and she, thinking herself quite clever and looking for me to praise her, tells me about the black outfit she's planning, so that she'll stand out in a sea of bright colors, and she asks what I think. I tell her I expect that's exactly what the people throwing the ball are planning themselves, so perhaps take that into account. She reconsiders, and asks what I'll be going with, as she can't picture me in anything but black. I say not at all, my basilisk coat is blue, isn't it? - it's entirely black except for the basilisk design but that's enough, and I think about the feel of that dark blue color, the warmth of that creature's image on my back. As I think about that coat I either am or am referencing The Etched City's Gwynn.

(Woke up. Back to sleep.)

OUAT's Belle is binding Rumpelstiltskin in a contract without realizing it. She was speaking in metaphors and he's got to abide by them literally. While the two of them were attempting to patch things up between them after a fight, she asked him to pretend she's the mistress and he the servant in their deal. He, sitting on the side of her bed, is thinking that they've done this before, thinking of a particular scene in which Julia was a princess and I was her servant, and how utterly beyond my reach she'd been then. (A scene from a dream I had years ago, accurately remembered as far as it goes, though he left out the unflattering parts.) He's been silent too long, and when Belle says something, he jumps up and makes a game out of it, addressing her as milady, going to her window and throwing the curtains open, asking what she'd like for her meal. And although she didn't at all mean that he should literally treat her as his mistress, only that she wanted him to think about things from her perspective for a moment, she's not surprised by the game and she takes it as a sign that all's well between them again, so she gets up to make breakfast herself.

As she leaves the room, she finds a strange object in a corner of the hall - a statue of a unicorn that she hadn't noticed before, with what looks like a real horn. She knows Rumpelstiltskin's been after such horns, so she's wondering why he leaves one just lying around here - unless this is what he makes out of them. She thinks it's odd, and goes on about her chores, when she finds another one, smaller, in a window sill. She knows that wasn't there before, and she calls to Rumpelstiltskin, and turns to see that he's already found the first one, and is looking at it with obvious displeasure. This is something that shouldn't be in the castle.

(Woke up. That last one was almost certainly influenced by watching Legend the other day.)

I'm in a maze full of doors that lead to other worlds. The people with me have decided to take a door that leads out onto a snow-covered wasteland, they think this is going to lead them to our ultimate destination, but I have my doubts. I'm sure they're just going to wind up back here with a lot of wasted effort. So I let them go while I stay in the maze. After the door's shut behind them, I open it again, just to get another look, and while I can see them, the dream briefly switches to their perspective, showing that they can't see me or the doorway; our realities are out of sync.

In the maze, I try to take a path roughly in line with the path they're taking through the wasteland, so that we can meet up again when they inevitably wind up back here. I check through doors once in a while to make sure we're still going the same way. But eventually I run across other people in the maze, and I discover people are gravitating towards a set of locked double doors with two keyholes to either side. This is the door my group's been looking for. But we don't have a key, and neither do any of the people clustered around. Hera approaches me in the form of an incredibly tall and slightly muscular woman, with long red hair and a peacock blue dress that clings to her body. She's looking for something too, but not a key, and she asks me why I'm looking for one. I explain to her that like the others I'd joined up with, I'd simply woken up alone in a vast, seemingly empty room, so big I couldn't see the walls or the ceiling, and eventually I'd worked my way here. As we're talking I realize that she's Roman, not Greek. She tells me she can get me through the door.

As we go through the door I'm starting to focus on how attractive she is, and I hear a warning, something I think of as a quote, about the risk for dealing with gods "to become not ascension but craving." I acknowledge this but decide to go with craving anyway, she's very attractive. On the other side of the door we're in my IRL home. However, although I didn't notice anything odd at the time, once I took her out of the maze setting the DC stopped showing any personality; I carried her to the couch, but when we sat down she disappeared entirely. The dream storyline switched to a visit from my IRL father who starts 'getting the trees ready for winter' which involves ropes and makes me feel lazy for not doing it myself, and a sitcom involving two elderly men teasing their sullen young relative about just ignoring what you don't want to hear.

(Woke up. Felt like those last scenes, my father and the sitcom, were both about me making the wrong decision with Hera. Back to sleep.)

I'm Roman from Hemlock Grove. Olivia's lying on the stairs and I've had a taste of her blood, and it's put me in something of a trance. I'm thinking about the difference between love and lust. Peter knocking at the door snaps me out of it, but I watch Olivia stand up and walk up the stairs before I answer the door. I make tea, though he doesn't want any. He's picked up one of Olivia's shoes off the rack by the door and is fiddling with it, pacing around the kitchen.

Fragments:

I'm a teenage boy who gets into fights too often, trying to explain to a girl the reason why.

I'm in a setting that looks based on the 1800's, getting into my uncle's carriage, although my uncle's surprised I want to come and warns me against it - I lie about the reason I want a ride, saying something about the walking path along the way. He accepts the lie and offers me a bulb of garlic.

There's some flyers warning about the invisible people from the community just outside of town, causing trouble. I'm annoyed at the whole us vs. them attitude people always have when they talk about those guys, just going to make things worse between us. But as I walk down towards main street, where a parade is going on, I see a few people from that community outside of town, except they're painted with this strange dark camouflage, makes them look like an oil slick. They're trashing the cars parked along the street. No one else notices. My perspective switches to third person - they're invisible. No one else can see them, the cars seem to just break on their own. Back to my perspective - in the parade, two horses are walking past us, and a camouflaged guy jumps onto one of them and digs his hands into its skull until it cracks and blood runs down. The dream switches to third person, so the guy is invisible, and the dream's focus follows the horse as it rears and falls, and the panicking people around it.

Memory gap, but with the impression that things got increasingly nightmarish from there, a fragment about a cabin with a door leading out onto darkness, until at some point I do the light-of-Apollo trick, thinking that it worked last time I had a nightmare so might as well try it again, and that clears things up, but also wakes me up.

(It had only been half an hour since I went to bed. Back to sleep.)

Fragment: OUAT's Mad Hatter chatting with "Joker," a similar Mad Hatter type character but with a playing card style red-and-black costume.

A man riding in the back of a limo is yelling at his driver to turn around. The driver isn't listening. Finally, the driver does turn the car around, and then stops it - not because of the man's threats, but because they've reached their destination. The man in the back of the limo jumps out of the car, but then realizes he recognizes the place where they've stopped.

He's at the gate to a mansion, a place he's been before. The owner of the mansion is just driving up opposite, and when the owner sees this man standing outside his home, he stops the car and gets out, pissed off. The guy who'd been in the limo has made a few comments in the past about the mansion owner's "perfect wife" which were meant innocently but were taken badly, and also a comment about how he thinks he's going to die in that mansion, which the mansion owner interpreted as an intent to buy/steal that mansion away from him. The owner only recently acquired this mansion, and this wealth.

As he's yelling, I, as a disembodied observer, am noting that he isn't looking good. His eyes are paler, he's looking a little scruffy, and in general, increasingly devil-ish - right on schedule. The rider in the limo certainly thinks of him as the Devil, exactly as we wanted, but the man himself isn't aware of the way he's being manipulated and transformed due to the Faustian bargains he's made, he's completely unaware of any supernatural influence.

A truck driving past crashes into the side of the Devil-figure's car and breaks the mirror. Attention caught, the Devil-in-the-making turns away from the guy with the limo, reaches into the truck and grabs the guy inside - a tall, skinny man with curly red hair, and a strong smell of coal. The cab is littered with cigarette butts and many, many matchbooks from the place where the Devil-figure's wife works.

Fragment: A father paying his daughter to take the boat out at a certain time, the creation of an alibi.

A setting based on ancient Rome, I'm looking up at several criminals being punished. This is my fault; I encouraged them to break a rule I thought of as minor, without thinking about what the consequences might be for them. One of them is praying, and a man with me, a foreigner, catches a variation on the word 'august' in the prayer, and he asks me in his own language, "'Augustina' - means honored, right?" He's quite enchanted by the lady Augustina, a mutual acquaintance. The man praying is being offered a deal - 30 years of imprisonment, in other words the rest of his life, but this torture will end. As this is being explained to him, I go to the others being tortured and try to convince them of a better option. Let them break your legs, then wander the world for 7 years, and at the end of this time you will be permitted to return and be forgiven.

Fragments: stumbling across a Forever Knight tie-in novel with 'amber' in the title; and a visit from a people-shy cat who IRL died when I was a kid.

A woman who used to work with some kind of 'private security company' - which in this case appears to be a euphemism for something not entirely legal - who left that job a while ago and is now a manager at a hotel, currently talking with an old friend, a woman still working at that 'security company,' about how much faster emergency services respond when there's gunfire reported.

Vague fragments involving combat, next scene I remember clearly the combat's over and that hotel manager's picking up her dog, Max, from the dog daycare service - but both dog and daycare service had been involved in that combat scene and the woman running the daycare now refuses to allow Max to come back there again. The hotel manager protests, saying that "We're doing really well," and the daycare woman hesitates over that 'we', highlighting the parallel between dog and owner here, then stresses 'he' - he, Max (and by extension his owner), may seem like he's doing well on the surface, but he has these undercurrents, things that are always going to come back to the surface eventually, and because of that she can't have him around. The friend from the 'security company' is there throughout this scene, petting Max and not saying anything.

(Woke up. Back to sleep.)

Fragment: "Covered in ashes, the boy king Yuuma."

(Woke up. Back to sleep.)

Fragment: A party at my IRL home, some people have passed out, someone suggests putting on a Terminator movie and asks whether I've seen them. I point out that the last thing I need is to see those movies again after dreaming about them for a month straight. (That's actually true, except IRL it was 2 months.)

A man, a professor, is having an affair. He'd planned to meet his mistress today and finally leave his wife - but at the last minute he's realized this was all a terrible mistake, and he's confessed everything to his wife, Julia, who already knew. (Despite the name, the wife here is not the same as my recurring DC Julia.) She insists on meeting the mistress, and he agrees, taking her to the place where he and the mistress had planned to meet for lunch.

As they park across the street, the mistress is just leaving the building, and he points her out to Julia. At first Julia doesn't believe him. She'd expected some silly college student, the midlife crisis cliche. The woman across the street is beautiful as a movie star, long blond hair and dressed smartly and conservatively in all black, poised and polished, everything about her indicates power. Julia suspects her husband just pointed out a pretty woman in the crowd to throw her off from meeting the real mistress, it's so unbelievable that her husband could be with this woman - but he's gotten out of the car and ducked into the woman's taxi, talking to her. He points back to his wife, and the mistress, confused, looks right through her, saying, "Where?" She saw Julia and immediately dismissed her as someone this man would be with. (Julia is thinking of herself as a plain middle-aged housewife in comparison to the mistress, but in actuality she's quite stunning herself. Short curly red hair, wrapped in a white fur coat and gold jewelry.)

The professor goes back to his car and the scene switches to follow the mistress as she arrives at her destination and gets out of the taxi. The professor stops her in the parking lot - he followed her taxi. He says to her, "Maybe I slept with the body of the garden, but the meat of it hardly tasted." He means by this that throughout their affair he never really got to know anything about her beyond the surface, and that he'd like to. Nonetheless, he's going back to his wife. He doesn't like the way he's dressed, in the nice suit and white scarf he'd put on to meet his mistress, as if to keep up with her pace; he feels quite ridiculous. Rain is beading on the top of their umbrellas, but it's red, and I, disembodied observer, wonder whether that's the rain itself or a trick of the light, a reflection of something I can't see.

Near Dark, back when Homer's actual age was close to his apparent age. He and Jesse are in a motel room with a guy who appears to be a friend - not like them, exactly, but not someone they intend to kill either. This guy's offering to teach Homer to play poker, and Homer says he already knows, but it's no fun because he has to give Jesse all the money he wins afterward.

(Woke up at 5:51 am, after going to bed at 4:30. Back to sleep.)

A young man has somehow traveled to another world, one populated almost entirely by vampires. They subsist off each other's subpar blood, donations are required and a vital part of the economy. Unaware of any of this, the guy from another world has walked into a store run by this world's equivalent of a friend of his, the magician who sent him here. She isn't a magician in this reality, and can't help him. It takes her a while to realize that he's human, they're so rare and unexpected, but she can smell his blood and when she figures it out, she has him in a trance before he realizes he's in danger. At that moment, her equivalent in his reality pulls him back to his own world - but the vampire follows him.

(Woke at 7:37. Back to sleep.)

A fragment of a scene involving Dracula, theater, and mythogenesis, using that term specifically.

A woman genetically engineered as a mate for a certain clone. The clone leads a double life, with a job and a wife who is unaware that he's anything other than a normal human, but he's also in close contact with the doctor who created both him and his 'brother', who he is somewhat obsessed with, and he suspects his genetically-engineered mate is secretly in love with that 'brother' - the brother is entirely unaware of any of this and believes himself a perfectly normal human, although the genetically engineered woman has recently appeared in his life and dropped some cryptic hints. The clone pulls the genetically engineered woman into his lap, which she tolerates, and demands that she tell him why she likes him, him specifically, "not the other one." She, with a charming accent I can't place, says it doesn't matter, and it's clear she's bored with his insecurity and instability.

(Woke at 9:40. Back to sleep.)

Three people whose lives are connected, although only one of them realizes it.

The first: A young man who recently beat cancer, legal guardian of his two younger sisters. One of them's been acting out in school recently and he's jokingly threatened her with calling in his biological mother, a woman who works with delinquents. But he is seriously wondering whether he should arrange for them to get together casually and talk - he doesn't mind her skipping classes but he's worried about what's going on in her mind.

The second: A teenage girl in a cancer ward, the same place where that man had been treated. Her death has been predicted to fall within the range of (the note said either Apr. or Aug., I couldn't tell which) 10-24. She has nightmares where this death is accompanied by a swarm of wasps. She doesn't fear death, but she hates wasps.

The third, and the one who is aware of the connection: A man who visits the hospital and watches the girl and the angel who lives there. The angel's voice can shatter glass, and it's going to kill this man someday - but it won't do anything until after that girl's death.

(Woke at 12:10.)

(After valerian root was mentioned in a previous dream, I looked it up and found it was used for insomnia, and gave it a shot in an effort to get my sleep schedule back in order - I've been going to sleep around 6-7 am, a good 2-3 hours later than I prefer. Marvelously effective tea, managed to get to sleep before dawn. Predictably, dream recall was terrible - but since I'm only using the tea to help me get back to my usual sleep schedule and don't intend to use it long-term, that's acceptable.)

Just the one fragment: an image of an absurdly beautiful man representing either St. Michael or Apollo, with a comparison between the blue of his eyes, the blue-within-blue eyes of Dune, and the blue lotus.

A classic black and white movie called Death in the Rain, with Ingrid Bergman, and a reference to Rappaccini's Daughter.

Labyrinth's Sarah falls into an oubliette, but it's a fairly large and well-lit spherical room built of pale brown stones, a few fallen leaves drifting around, and with a pale gold stylized metal sculpture in the form of a double helix rising in the center. She's just walked all the way around the circular room with one hand on the wall searching for openings, when Hoggle appears and she asks where he came from.

Playing the role of a man who lives in a major city. Two detectives have just left my home after questioning my family and everyone else on the estate, and stressed out, I go to the park for a run. The tree branches are all bare.

False awakening where I was thinking about what a great dream I'd just had and that I'd have to remember it - I then forgot it, except that it involved a demon, humanoid, sitting at a desk, wearing a scarf and hat and heavy coat to disguise his features, although his scarf's lowered so his clearly-not-human face is visible right now, rather amiable.

Dream continued from that false awakening with a trying-to-accomplish-a-simple-task-but-things-keep-going-wrong storyline, mostly in IRL settings - first about trying to record that demon dream, then briefly about trying to get some work done, then about me and my IRL father trying to meet up.

Trying to make some deal with Tywin regarding one of the men working under me, I'm seeing Tywin and Joffrey in the same place for the first time since Joffrey was an infant, and looking at them together, I'm trying to see some sign in Joffrey that he's inherited anything of his grandfather's character. There's nothing in common, except that in this light, they both have a sickly green cast to their skin.

I'm playing the role of Dean, and I'm tired of listening to the way the demon wearing our father's face is talking about Sammy. The Fallen, the man in the white suit - that's really the way you things see him, isn't it. That's not him. That was never him.

Different time, same character, similar rant about morality and our role in the world. Except this time I seem to have worked myself around to the opposite point, that by trying to destroy monsters we've become monstrous ourselves, and I'm tired and bitter and when I'm done talking Cas says with this look of revelation, "damn, we are evil!" He's laughing, and I agree. "Yeah, Cas. You too." And I shoot him. That's been a long time coming. The guy we'd been hunting down escaped during this, but he's arrested by the cops outside. Julia's tied to the chair where he left her, and I look at her and wonder if we can still separate her from the evil thing possessing her - I think of it as a part of her.

Earlier dreams and fragments: attempting to get to a Halloween event and running into one problem after another, with a few IRL people and places appearing; and a protest or strike at a memorial service.