This is my dream from this morning. Note that when I use brackets [ ] this means I’m making commentary after I’ve woken and am recording the dream.
Vampire Hunter (a dream segment)
I’m on a bus with other people. I seem to be seeing this scene from the front of the bus, then switching between this perspective and that of a young woman sitting at a front seat. The central character is this young woman, athletic-looking, quiet and intense, dark hair, probably in a braid or short. She’s wearing a leather jacket and maybe matching leather pants. The jacket is dark reddish-brown, the color of dried blood. The bus is driving through a city. She sits at a front seat, opposite side to the driver. [This needs to be the driver’s side for a story.] There’s an older woman, a kid and a man on the bus too, maybe 3 or 4 other people besides her.
The bus stops to let on another passenger. He gets on at the center door instead of at the front. [This is on the driver’s side but would be opposite the driver in real life. The woman needs to be behind the driver in order to have the best view of him.] She watches him carefully. He’s youngish, tall and thin, wearing nondescript clothes, maybe a T-shirt – black, not white – and dark jeans. He’s white with short hair, looks dangerous, like a potential trouble-maker. The other passengers don’t pay much attention to him, but she does. She watches him intently.
He doesn’t seem to notice or care. He doesn’t leave the steps by the middle door as the doors close and the bus moves again. He looks toward the driver then changes his demeanor, like a predator about to strike. He looks like a vampire now, and is about to attack the closest passenger. He’s planning on killing everyone inside the bus and feeding on them. He’s part of an vampire gang. This is a world in which gangs of vampires have become a constant danger.
The woman quickly takes out a weapon and fires it at him. It’s not a gun, but fires a wooden or metal bolt into his chest. Then she leaps over to him and finishes him off. The other passengers are all panicking and screaming for a few minutes, then they’re in shock, then the driver is thanking the woman for saving them. She doesn’t stay around to wait for the police or other authorities. She gets off the bus and goes out of the city.
She goes to a camp outside of the city. The ground is flat, a clearing with oak trees around it and a few big boulders, like in the California foothills. There are other people here too. One is a man who is her friend and a fellow fighter. He has short blond hair and wears maybe a white T-shirt and jeans [and probably boots too]. There is a white awning over one area that could be a kitchen or other work area of some kind. There is also a small pen, man-sized. [It would have to metal to be strong enough.] There are also a couple of tents.
The woman goes over to the pen first. Is there a male captive in it? Maybe she puts a man in it? Maybe she didn’t kill the vampire on the bus and puts him in it?She says something to the man, who is angry and combative.
Then she goes to her friend and asks him how things are going. He says they’re going good and he invented something new for their fight. Maybe it’s a new kind of weapon?
[I’ve known since I first saw the vampire on the bus that she’s a vampire too, but nothing yet makes this obvious. Her friend the inventor is also a vampire. They’re part of a group that’s fighting the bad vampires who are attacking people. My point of view is partly as her, but keeps shifting to outside of her too.]
A middle aged or older woman has followed me up here. I keep thinking of her as my mother, but maybe she just reminds me of my mother? She doesn’t know that I’m a vampire, that some of us in this camp are vampires, and that we’ve been fighting the monster vampires. I’m going to have to tell her soon, but I want to wait until she can tell we’re the good guys. I tell her to stay away from the guy in the pen. She’s too curious for her own good and not careful enough. She doesn’t know yet how dangerous he is.
Now my consciousness moves out of the woman and I seem to be watching from the middle of the camp, at a spot where I can see all the characters. I say seeming to another woman, ” I love how I’m watching my characters and paying attention to what they say and don’t say. She hasn’t yet said anything to the woman about the captive guy being a vampire,…and that’s important.” I linger here at this perspective and wonder which character I’ll find myself inside next. I think I could enter the perspective of any of these people if I wanted, but right now I’m enjoying watching them and not actively directing them. I watch as the central character woman walks out of a small cave that functions as a shelter for their people, then down a short dirt path into the middle of the camp, a little ways in front of me. Then I feel myself back inside her.
I’m talking with my friend the inventor. I look at a mountain in the distance. [This is what I’d call a small mountain, not like the Sierras.] It’s brown like dry dirt and shaped kind of like an upturned tea cup, but a little pointier. My friend says the bad vampires are there on that mountain. I say, “But it’s diurnal.” I think maybe those vampires don’t go out during the day and only hunt at night. Yet we’re obviously out during the daylight even though we’re vampires. I’m trying to sort out how a “diurnal” mountain is important, because this seems important somehow. Did the attack on the bus happen at twilight? Do the other vampires hide inside a cave during the day? I’m starting to adjust the story so the other vampires are not active during the day, but this doesn’t really make sense and may not be necessary.
I wake at this point.