A surprisingly recent entry is in order, and this came fresh from the cortex last night/this morning.
'In an old tall building on the outskirts of the City. Outside, numerous fires rage, rubble is strewn across collapsed streets. I am with a group of friends, and part of some kind of elite squad trying to hold the building from marauding hordes of unknown evil. With me are real life compadres, but also several people from stage and screen whom I should recognise but do not (waking based research indicates these people to be actors Peter Mullan and Michala Banas). I have a weapon, but am told not to use it under any circumstances. This seems strange considering our role as a military unit. We are told to a) contain the threat, voice comes via an unseen radio, and b) make our way to the base of the building and meet up with a security force, which seems to be led by my real life work mate Nick, who has one purple eye. Action shifts relentlessly, I am often confused as to where people are and what we should be doing. Corridors are dimly lit and filled with smoke and illusive morphing shapes. I hide alongside my girlfriend, who I take to be Zoe but could realistically be anyone as her face is not revealed, in an office with glass walls and doors. People move outside. She wants to know why they cannot see us. I explain that I have an extra eye that hovers in front of my face and controls my visibility. Eventually we pick up the courage to leave and I find the actor (Peter Mullan) cowering in the corridor, his hands covered in blood. Without hesitation, I pull him to his feet and put a gun in his mouth. He laughs. I pull the trigger. Now downstairs I am reprimanded by my senior officer (Nick). Other military units are arriving at the building, each one disgusted with me for killing the man. I feel ashamed and walk away from my group of friends and the military men. They call after me. I walk up a narrow crumbling stair case attached to the shell of a building, a former school. Refugees and war wounded pass me as I climb.'
'In an old tall building on the outskirts of the City. Outside, numerous fires rage, rubble is strewn across collapsed streets. I am with a group of friends, and part of some kind of elite squad trying to hold the building from marauding hordes of unknown evil. With me are real life compadres, but also several people from stage and screen whom I should recognise but do not (waking based research indicates these people to be actors Peter Mullan and Michala Banas). I have a weapon, but am told not to use it under any circumstances. This seems strange considering our role as a military unit. We are told to a) contain the threat, voice comes via an unseen radio, and b) make our way to the base of the building and meet up with a security force, which seems to be led by my real life work mate Nick, who has one purple eye. Action shifts relentlessly, I am often confused as to where people are and what we should be doing. Corridors are dimly lit and filled with smoke and illusive morphing shapes. I hide alongside my girlfriend, who I take to be Zoe but could realistically be anyone as her face is not revealed, in an office with glass walls and doors. People move outside. She wants to know why they cannot see us. I explain that I have an extra eye that hovers in front of my face and controls my visibility. Eventually we pick up the courage to leave and I find the actor (Peter Mullan) cowering in the corridor, his hands covered in blood. Without hesitation, I pull him to his feet and put a gun in his mouth. He laughs. I pull the trigger. Now downstairs I am reprimanded by my senior officer (Nick). Other military units are arriving at the building, each one disgusted with me for killing the man. I feel ashamed and walk away from my group of friends and the military men. They call after me. I walk up a narrow crumbling stair case attached to the shell of a building, a former school. Refugees and war wounded pass me as I climb.'
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