Blue_Opossum

Saturday morning, 29 November 1975. Age 14.

Dream #: 3,267-01.

1 minute and 40 seconds to read.

Scene 1:

Toby Taylor and I are reminiscing about the 1962 movie “Tiko and the Shark” that I had watched a few times on the “CBS Children’s Film Festival.” We talk about the idea of a remake or sequel even though we also talk about Tiko’s life as if he was a real-world person we knew.

The setting, although appearing as the El Jobean fishing pier in Port Charlotte, Florida, in the early evening, implies the location is Bora Bora to bring about connections to the movie as I push my imagination into my dream’s ongoing narrative. As I talk, I focus on my dream corresponding with my intent as I narrate an idea for a fictitious sequel called “Tiko’s Treasure.”

Scene 2:

As I think about time travel and Tiko’s village, the pier dissolves, and I fall into the water. Although I see shark fins, I am unconcerned.

Toby is “still” on the pier, but it is now far away, contradicting the first implication. The narrative ambiguously implies it has not yet been built, but Toby is still in his original location, despite me being in the water about half a city block away from it. Even so, it seems I am communicating from the dream state (as a fantasy) to his imagined “real-world location” in the “future” (from my present location). More contradictory is that I now consider I might be (or become) Tiko (even though I am also me).

Scene 3:

I find myself in an unrealistic setting with grass huts. One grass hut may be a ticket booth for the “movie” I am exploring. Other grass huts may be for tourists.

The usual factor of arm mobility associations ambiguously integrates into the narrative, resulting in self-contradicting content.

Several “bowling balls” float in the water near one hut (as I consider there is a bowling alley for tourists nearby, but the balls sometimes roll from the hut into the water). The imagery becomes more like a cartoon at this point. They may be confused with large black pearls in the region to distract treasure hunters.

Eventually, I think they are probably coconuts.

Unusual Correlation:Curiously, there WAS a remake a few years after this dream. I found myself watching it when going through channels on my sister Marilyn’s television. The remake is “Beyond the Reef (Sharkboy of Bora Bora)” - made in 1979 but supposedly not released until 1981.

Morning of May 24, 1970. Sunday.

Dream #: 1,252-01. Reading time (optimized): 2 min. Readability score: 73.



A sense of timelessness permeates my offset dream of me “sleeping” in the southwest Cubitis house’s bedroom. I see myself lying on my back (as if seeing “me” from the left side of the bed) looking up at the window (though the me in bed would not be able to see the detail of the sash window as my dream view does). Three bats flutter in and out through the missing window panes of the highest row. They move slowly and slightly erratically like butterflies more than bats. They seem to be important in a way that projects into my future well-being, many years from now.

I become aware of what I first think might be a coffin to the left of the bed. (There is a vague association with the opened coffin in the Barbara Steele movie “Castle of Blood.”) However, I then perceive it as an electric reed organ.

From the song: “Down by the river that flows by the coal yards”… “He says a girl name of Patches was found, floating face down in that dirty old river.” My childhood self (age nine) did not wholly understand the song. I knew Patches had drowned and that it related to love, but little else. Still, the magical beings had resurrected her in my dream.

In my dream’s final scene (May 24, 1970 version), I felt myself rising into the air while watching “me” walking with Patches (Brenda) down a footpath (away from my direct view). It seems to be morning. There is a winter wind implied (even though it is summer in reality) and dead leaves blowing around. There is a strange feeling of destiny as the three entities (bats, fairies, butterflies, moths, now birds) are still watching us. I see a closeup on my right of three small birds huddling together in a supposed cold breeze. Beyond, I see “me” and Brenda walking as my dream self rises higher. I wake with a sense of deep peace and even nostalgia.

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After moving to Australia, Google Maps revealed the Cubitis house had become as it was in my dream. I have included the image; top, from years ago; bottom, as it is now.

The bedroom was also as it was only in my dream years later while I was still living there. The bed would be in the same location, and my father had bought an electric reed organ (the kind of which a fan blows through reeds) and placed it in the same location.

Zsuzsanna’s father had caught three bats in a jar when she was young and kept them for a short time.

The Port Kembla Coal Terminal (near where Zsuzsanna was born) became a key coal exporting facility on Australia’s east coast.

Zsuzsanna was involved (when younger) with a church of which she did not want to be.

Brenda (Patches) was a stand-in in many dreams, though sometimes my “mystery girl” accurately appeared as Zsuzsanna long before I met her in waking life, even with the unlikely Hungarian-Australian accent.

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