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Murder, Intrigue, and a Perplexing 'Groundhog Day' in Space!

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Murder, Intrigue, and a Perplexing 'Groundhog Day' in Space!

Postby Subtheory » Tue Apr 09, 2019 10:01 am

I'd appreciate any help anyone can offer in terms of what this might mean or just what it makes people think about! And also, of the characters, who, if anyone, do you think I should've trusted and why? Here goes:

At the start of it all, me and an older woman who have some business to discuss enter an elevator together on a futuristic space-vessel (I can see out the window that we're orbiting some planet from a great distance, but nothing is shiny, smooth or fancy, everything looks slightly low-end like a modern-day urban environment. The aesthetic is reminiscent of the artless philosophy behind a Borg cube - tarnished, ugly, but functional and efficient). A couple flights down, everything shakes violently and the elevator stops functioning (a familiar scene from Star Trek). It seems a bomb was set off nearby by some vagabond with the intention of ambushing us. He appears and engages in a struggle with the woman; and they disappear leaving me be. I think she initially escapes, but their conflict apparently escalates over some time, with her finally being killed by him. I then spend an extended effort of days if not weeks if not months if not years attempting to locate him and bring him to justice or death, only to learn from him at the moment of confrontation that the woman had been a threat both to me and to society at large. I believe this is because of her allegiance to an ominous empire that entrusted her with a high station and her capacity in that station strongly implied that her business on our vessel had been to order it dismantled and its inhabitants displaced.

Because I have a certain 'gift,' I now am forced to return (reversing time) to the day we got on the elevator together, only it's different the second time around. This time, the man is with us as we board, and there's tension already in the air. Both parties believe each other to be a threat, but neither acts directly on it, choosing instead to recruit my allegiance to one or the other cause. The man seems to recall the future we lived and does this directly, shooting me a glance intended to convey the need for us to prepare to take her by surprise, with him creating a distraction and me assassinating her with a blade I have concealed. At first, I intend to comply. But then the woman gives me a look that seems to assume a better nature and sophistication on my part. She seems to think that our business is important and that we both have a stake in what it is she's come to discuss with me. She seems confident that it would be unwise to harm a diplomat under the circumstances, and that I have something to gain from conversation with her. She doesn't really take seriously the idea that I might be convinced into harming her. So her guard is down, but her vulnerability transparently comes from faith in my competence. If this is an act, it's quite sophisticated as it even demands - staking her life without a hint of doubt - that my powers of observation perceive all this in her attitude; my own allegiances are now very uncertain.

Given my non-compliance to the man's plans upon reaching the lower floor that was our destination, the man starts to improvise. Retaining plausible deniability of his purpose and plotting to corner her under better circumstances, still hoping to gain my compliance. As we exit the shaft and the woman begins to lead me to our destination, the man voices criticism and tries to disrupt and prevent her plans. This causes her to begin questioning him in response, with the sort of pointed eloquence one might expect of an experienced diplomat. He finds himself at a disadvantage arguing with her, but is wily. Having now provoked her, the man begins to lead the woman on a goose chase rather than allow her to question him. He walks brusquely into a shopping mall and enters a clothing store, where he begins talking to the person in charge about some article of clothing. The woman follows, taking a momentary break at one point to regain her breath as she has been trying to verbally force his attention as we've been moving (reminiscent of a reporter following someone intent on giving no answer). Wanting to keep their powers in balance until I discern who to trust, I aid the man's attempt. When she turns to me to inquire and recruit my assistance, I walk away quickly, acting as if I have some destination in mind, but simply keeping an eye on the man and looking for queues from him.

The next stage of this intrigue takes place in some building (a large manor?) with an art display in a room with a peculiar shape. It's like a large central foyer, symmetrically buttressed on all sides but one by two-walled extension-rooms that curl to share a single edge; the shape of each extension out of the foyer is (from an overhead view) like a flower petal. The three of us (myself and the man and woman mentioned earlier), each with our own 'gift' are in some sense part of a unity and ostensibly share an investigative task here. We must search the area for some sort of clues. We separate and begin looking around the room, and particularly at the art pieces for anomalies where a certain residue might be found.

As I come to one of the art pieces, the woman, whose gift is that of 'sight,' is there examining it. To speed my investigation, she offers to, by her 'gift,' let me what she sees in a painted, physically uneven canvas, and I accept: in rectangular portions, I see right through it and into a swimming pool area behind the wall, in other portions I see only that behind a layer of paint and debris there are no hidden items of note. Having checked the area, I exit the foyer into the single hallway that leads upstairs, the only access to the rest of the building.

Scouring the many small rooms of this home in which many figures live or have lived, I come across the room of a rich young man who died when he went on a public killing spree. From his novelty blades in the closet, I select a fairly short one that seems sharp and position its hilt at the waist under my shirt and blade-end in my right pant pocket. But given only a few seconds to position it first, my shirt is still twisted around the weapon when the man walks in. So I reveal what it is to him, under the understanding that we're allies. Something I'm actually uncertain about, and perhaps so is he.

Then, emerging with the man from this array of personal rooms into a new, large open room I see that the woman is waiting. She's looking out a massive (~25-ft diameter) circular viewport onto a watery blue landscape, now merely hundreds of feet above the planet's surface. She turns, and recalling now that she has a 'gift of sight,' the man in front of me to my left and looking to the left side, I take the opportunity to shoot her a meaningful glance while touching the blade I've concealed in an effort to retain her trust. If she had seen it without me showing her, she would tend to suspect me. In response she begins a series of apparently didactic philosophical observations. She says something about the substance of truth being neither singular nor dual. And then she says: "the prophecy says that the precipice is a 'come-nil' illusion". I ask for clarification: "a 'come-nil'..?"

She begins to explain more, but I wake up. The man's 'gift' is never made known.

It sounds like shes saying:

1. Death (the precipice) is experienced as nothing.
2. Determining your own allegiance as either singular or in some more complex way dual is nevertheless still operating under an oversimplification of the truth.
Subtheory
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