Blue_Opossum

Morning of October 7, 2008. Tuesday.



I am standing near a river in late morning. A mist begins to grow and rise from the river. Later, it seems more like early evening.

Eventually, the mist is elsewhere with an undetermined orange light within it, implied to be like a miniature sun. Zsuzsanna is present at one point and some of the light within the mist shines through and augments her beauty. (I am unsure if the setting is implied to be indoors or outdoors, a common ambiguous factor of the dream state.)

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My dream begins with the common water induction (water being autosymbolism for entering the dream state, occurring as such at least once in every normal sleeping period for over fifty years). The mist symbolizes the essence of the dream state itself, which obscures the orb of light (conscious self identity). This is very similar to many previous dreams of which utilize the same autosymbolism, typical RAS mediation of which is similar to many dreams I have had about something being wrong with the sun, which is biological autosymbolism for my conscious self identity being incomplete while in the dream state.

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(The first two episodes of the fourth season of “Supernatural” aired the night before, included here for personal date-tracking purposes only.)

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Morning of December 25, 2016. Sunday.



I seem to be in a very large unfamiliar room with a high ceiling that seems to be in a large commercial building. However, it is meant to be the inside of a helicopter (though the fact it looks nothing like the inside of a helicopter in any way does not trigger any level of doubt or any type of realization). I am apparently flying in this “helicopter” as a passenger. There are two unfamiliar male pilots (in black pants and white shirts) who mostly remain seated on the opposite side of the room from me. They face toward a wall looking at a number of monitors. At times, they seem to be typing flight instructions on keyboards as they look at the monitors. There is also some communication now and then with air traffic controllers or at least some people on the ground.

The “helicopter” is supposed to be landing somewhere soon, but it is not safe to land anywhere in the area due to a mist that remains at least six feet above the ground and is covering unseen large rocks everywhere in the landscape. Some parts of some rocks protrude upward from the mist. It seems to be part of a canyon or possibly a series of canyons, all with mist and rocks. This puzzles me somewhat but nothing about the situation seems wrong or threatening to me.

One of the pilots, while standing near the desk-like extension from the wall, seems to relate to the other that he could land without hitting a rock though no attempts at landing occur, at least any of which I become directly aware. There is a sense of movement at one point where the room seems to slowly turn in a circle but there is no disorientation or perceived danger on my part. I seem to be lying on my left side at one point though not directly aware of being on a bed. I start to think about the “helicopter” landing on the flat ground between large jagged rocks. I do not feel concerned about anything. The pilots do not address me at any point.

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This dream’s autosymbolic meaning is based on the biological nature of the dream state itself and obviously has nothing to do with waking life, especially as the autosymbolism’s phrasing in hypnopompic disclosure is known. A helicopter (which has been a recurring emergent consciousness factor in my dreams since early childhood), as with vehicles in general, is an autosymbolic extension of my physical body in REM sleep, though with a more defined subliminal discernment of the vestibular system ambiguity that occurs naturally in unconsciousness, than with similar autosymbolic extensions such as a motorcycle. This dream’s autosymbolism was based on a typical unconscious phrasing, “Although I am now sleeping, I am becoming more aware of my real environment and of my physical body, which is operating smoothly”. The jagged rocks are autosymbolic of a vague anticipation of a waking start (hypnopompic kick or other involuntary muscle event), though of which does not occur, and the mist of course is autosymbolism for the dream state itself. This dream has a curious ambiguity of taking the subliminal awareness of being in our bedroom and sustaining it with the typical return flight waking symbolism, a type of RAS mediation which has occurred in at least one dream per regular sleeping period for over fifty years. As I am already in the more defined liminal space of conscious self recognition in passive waking transition, there is no dominant RAS modulation and the pilots of course are RAS personification and the emergence of thinking skills, which typically do not exist in the dream state.

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Morning of October 16, 2015. Friday.



In my dream, my wife Zsuzsanna and I are living back on Stadcor Street in Brisbane. Our family is mostly as it is now. For some reason, my wife’s younger brother George stops by and hangs around for a long time, becoming more and more annoying. Sonny is with him, but not as annoying. Zsuzsanna is also annoyed, mostly by George as well. (In real life, we have rarely seen him).

There reaches a point where I seem to have had enough of his loud imposing nature and patronization and cause the blade of a steak knife (not the handle, just the blade) to fly through the air and lodge in his left shoulder (I am not lucid). Sonny, I do not mind at all. However, they soon leave together.

From here, I go outside and have the familiar sense of being in control and making my dream at one level, though still not lucid in any way. As I watch the truck, I am also aware of a nearby cliff (although there are certainly no cliffs near the area in reality). I get the sense that he is going to turn and drive straight off the cliff and I feel a sense of pleasant expectation. My dream is very vivid at this point with realistic imagery, sound, and distance perception.

Indeed, he turns, going faster, and drives straight off the cliff on purpose, and as he does, I sense a gasping from numerous people as the truck falls to the ground below. Somehow, I am then seeing a view from ground level near the foot of the cliff, where there is a river (as if I am standing on the water’s surface). The truck is supposedly now underwater. My wife’s younger sister Judy and numerous other people immediately rush into the knee-deep water (though unrealistically, the truck cannot be seen) from being on the sidewalks above just seconds previously (typical illogical dream shift).

Judy is the closest to where the truck apparently hit and sank and it looks like she may try to find them or try to rescue them, but my dream starts to fade from here.

Looking at this dream closely, it appears to be another variation of the waking process metaphor. Oddly, one of my last waking-metaphor dreams also involved George driving around mountains near cliffs, except that we were actual passengers in that case - though we went back to find our real sleeping selves; that is, our real physical bodies before any potential of him driving off a cliff.

The river is the dreaming process (and there is also a light mist above it in this case, although misty rivers sometimes appear at the beginning of apex-lucidity dreams in addition to the pop culture association “Tomorrow Never Knows” by The Beatles) and although the water was getting lower (a sign of waking), an aspect of the dreamer (driver) could no longer be seen. The scene with the knife blade was already “cutting off” the connection of dreaming or dream communication (as I did not “have a handle” on my “imposing” unconscious state or potential lucidity - an oh-so-obvious dream play).

I am not sure why George is sometimes seemingly a facet of my non-lucid dream-self lately (not that often, just every now and then - and assuming it is not a subtle telepathic link as with my wife). One of the only other consistent “drivers” as such has been my brother-in-law Bob. This is curious in that both people have very low intelligence in real life and in the case of Bob, he cannot read (though the ability to read certainly does not denote intelligence or intellect). This may be some sort of play on the non-lucid dream-self lacking critical thinking skills or clearer awareness, perhaps even relating to failed borderline lucidity or even “hidden” lucidity. Since childhood, I have found it curious how I have often been aware of a part of me making my dream as it unfolds, and yet not being lucid in any way. This is especially curious as I have not read about other people with such experiences or particular recall and is one of many reasons why I no longer believe that the so-called subconscious exists; only various levels of mind; within and external (and beyond) - as well as Universal Mind (or non-local mind).

The final scene loosely relates to having just seen “The Red House” (from 1947) with regard to the last scene where Edward G. Robinson as Pete Morgan deliberately crashes and drives into the river under the ice house. Note also the play on “knife blade” and “shoulder blade”.

Morning of May 28, 2014. Wednesday.



There is a long first section to my dream where my wife Zsuzsanna and I are living in my older sister Marilyn’s house on Loomis Street. (She died this year in February.) It seems unusual that we now apparently own her house, especially as this was a rented house in real life and my sister had lived in a different house for some time after I came to Australia (though this erroneous factor occurs continuously in my dreams, as I never saw the house she had moved to after my move to Australia). I am aware of Marilyn at one point but when I look up she moves swiftly “in reverse” back to the kitchen (as if I were rewinding and resetting my dream). I notice a pile of clothes in one bedroom that belong to my brother-in-law (still alive) and my sister.

Later, I am at the front of the house. I have an old bicycle that I will be riding east down Gillette Street. At this point, I feel very good, though I am somewhat concerned about the traffic. However, there are not many cars after a time. I am able to ride the bicycle without incident. After going east down Gillette Street about two blocks, there is a (fictional) bicycle shop to my right. I still feel very good, but I think the bicycle needs to be fixed up a bit. I go into the store and have the bicycle set up near the center of the main large room so that I can work on it. The owner is behind the counter and does not even seem to notice me (until later).

I have a special bottle that resembles a small cylindrical spray-cologne bottle with a light blue tint. The liquid inside it that sprays out as a mist is virtually infinite. This has something to do with “the practice effect” in that the more I use, the more will be available and the more effective. In this case, it is a mist filled with nanobots that automatically clean, repair, and build even as they continue to improve themselves with a more and more efficient design. I spray the mist on rusty spots on the bicycle and over time, more and more of the rust is gone to be replaced by the original chrome surfaces. I spray it on the seat and the black seat takes on a copper sheen and transforms into a different shape.

The bicycle shop owner comes over with an unknown male customer and I say how the seat will now be more comfortable when riding. At this point, a bicycle seat falls onto the floor from a high shelf behind me. I point at it and say, “What a coincidence. I had just mentioned ‘bicycle seat’ and one fell from the shelf”. The other two males appear to be perplexed.

I continue to spray the mist over the bicycle and it becomes more and more newer-looking. I decide to add a headlight. I spray over the front of the bicycle and the invisible nanobots build a very nice-looking chrome headlight. There is a larger rectangular area on the bottom for a brighter light and two small eye-like squares near the top for signal lights. I also create better brakes and go back over the surface. Eventually, the bicycle, though with chrome aspects, also has copper and gold sections. I study the difference between the copper and gold nuances and I am satisfied. I notice several other features of the shop turning copper and gold over time, including parts of the shelves, checkout counter, and so on.

Eventually, the owner seems puzzled by a section of his bicycle shop, which seems to have partially expanded into a clothing store with craft store aspects more to the east. A few sections of elongated clover-shaped copper and gold felt pieces have ended up on the floor. A few other customers are walking around. It is not quite clear what he is looking at. At one point, it looks like two pieces of golden-colored felt sewn partly together with a bit of stuffing coming out. It seems like a propeller for a large stuffed toy airplane.

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This dream borrows from the science-fiction novel “The Practice Effect” by David Brin and additionally uses the typical dream ability of cleaning and improving dream features.

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For new readers or inexperienced dreamers: Something falling off a shelf is precursory symbolism representing getting out of bed, especially as it is a pillow with composite autosymbolism relating to flight. A shelf is autosymbolism that signifies being unconscious, analogous to being in bed. This dream is autosymbolic of the natural vestibular system ambiguity of REM sleep, biologically resulting in associations with falling, flight, or both. Therefore, it has no relationship with waking life or interpretable factors. An airplane is often only an autosymbolic extension of the physical body during the vestibular system ambiguity of REM sleep. Therefore, it is usually unrelated to waking life. In this case, only the propeller as a pillow is present. A pillow is a dream state indicator that represents increased awareness of one’s real environment while still in the dream state and is sometimes precursory of “The Periphery of Lucidity” as in many childhood dreams, and although my dream becomes more and more vivid, apex lucidity does not initiate. Preconscious RAS mediation remains passive here, as a checkout character being autosymbolism for exiting the dream state, likely due to my (subliminal) willingness to wake and harmonious attitude about RAS factors. In my childhood, I typified this common type of dream event as “failed flight waking symbolism”. Use of the word “failed” does not imply a negative connotation as it is a biological dynamic of waking from REM sleep. Therefore, attributing conscious self meaning or waking life meaning is unintelligent. A bicycle is also relevant to vestibular system dynamics, not as dominant as a fully featured airplane. Gold symbolizes a more viable closeness to the conscious self identity while sleeping.

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Night of January 1, 1989. Sunday.



I find myself wandering around in an unknown city, though of which is not very defined, walking from out of an alley, becoming more aware of my existence, though with only partial passive lucidity. It seems to be early evening, though there is not that much light. A low-lying mist, of which comes up halfway to my knees, drifts over some areas of the ground.

After perceiving a few unfamiliar people on the streets, I find myself in the presence of Columbo (the fictional TV detective played by Peter Falk). At first, I am somewhat wary of his presence (though I have no thoughts of having done anything wrong) but then I realize he is only puzzled by his surroundings and sees me as someone of whom he can ask directions. I do not recall all of the conversation but when I start to tell him where Fifth Avenue is after he asks, he holds his right hand up (as an indication for me to wait a minute) and takes out a yellow legal pad and pen from inside his rumpled beige trench coat.

Unexpectedly, a pigeon soon flies out from under his trench coat. He takes a step back and looks up, with a very puzzled visage, as it flies away. I feel very amused.

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dream processing dynamics; causes, and meanings:

the presence of mist is a factor of being in the dream state (as sometimes inferred and used as such in movies and stage plays)

reticular activating system mediation as vestibular system personification as Peter Falk as his fictional TV character detective Columbo because of being in the dream state as being “a mystery to solve”

liminal anticipation of the waking process causes transference of vestibular system correlation as a bird in flight (rather than the biologically induced sleep start)

Preconscious: Columbo, Emergent Consciousness Factor: flying pigeon, Dream Type: vestibular system correlation (bird in flight metaphor)

This is a unique transmutation of the “walking in a city and tripping, misstepping, or stepping off the curb and falling” dream, which has otherwise occurred on a nightly basis for over fifty years.

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Morning of January 4, 1969. Saturday.



This childhood dream journal entry has been revised on Friday 20 October 2017 to complete and clarify revelatory dynamics to more coherently define the meaning. This dream occurred about 3:30 in the morning. Sunrise was not until about 7:20 a.m. I had attempted to watch the 1942 black-and-white movie “Cat People” (which started around one a.m. on this Saturday morning), though our television was black-and-white anyway, but I slept through most of it, though I did not go to my bed until about 3:15 in the morning.

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In my dream, as I am walking out from the front of our Cubitis carport (after deliberately “stepping into” the stabilized hypnagogic “portal” rendered as the unlit carport area), seemingly only about three-thirty to four o'clock in the morning, and walking in a northwesterly direction towards our neighbor’s orange grove, I maintain my lucidity.

Even though I am lucid, I feel somewhat vulnerable when I find myself walking into the opening of a fictional feature. It is a hallway in which the walls are seemingly made of fog, yet with a suggestion of at least partial solidity. This eerie hallway starts from between the middle area of the driveway and the neighbor’s orange grove, and runs from east to west towards Highway Seventeen (and is perpendicular to it). I do not perceive the potential length of this hallway or clearly discern a door or doorway on the opposite side, which makes me hesitant in continuing.

From here, I see various domestic cats (at least fifteen) in various positions throughout the hallway ahead. Some cats are sitting or standing on tables (one near a vase on a table) and some are sitting or standing on the implied hallway’s floor. One cat jumps down from a table (or simple platform) on the left side in this scene and walks toward me though never gets very close or attacks. An unknown male narrator’s voice (seeming to come from above and to my left and as if from a loudspeaker with slightly fuzzy audio) only says “cats” in a very informal way and without emotion. I feel that he may not be speaking to me as it may be a voice that was recorded years ago. There is also the vague idea that I may not be fully in the setting but looking at a realistic three-dimensional movie scene either superimposed or bilocated into the front yard area. Despite my lucidity, I feel somewhat wary, uncertain, and passive to what I am seeing even though there is no discernible threat. Soon, with deliberate intent (lucid choice), I fade from my dream with a soft awakening. (The liminal space transition is also softer than usual.)

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Following is an extensive and highly revelatory explanation of the most likely factors and personal history responsible for this dream along with their related meanings. I have recorded this dream as of the doorway waking symbolism type.

It was obvious to me at the time (despite being only eight years old), that my dream was trying to fill in missing details from “Cat People” even though that was not my original dream entry intent (which was to visit my younger neighbor and friend, Brenda, who lived north of me). However, my dream was completely unrelated to the movie’s plot as my distorted memory implied that the movie was about an older woman with a fear of domestic cats.

The otherwise ambiguous hallway setting is modeled after two common real-life locations and progressions, one, walking through the hallway in my Cubitis home, and two, walking down our Cubitis driveway (as the fictional hallway was rendered as just north of it and parallel to it) to wait for the school bus on week day mornings. The possibly implied exit of the fictional foggy hallway would be at the east wayside of Highway Seventeen and it should also be mentioned that while waiting for the bus on week days in this time period, there was sometimes dense fog. Fog was far more common as a dream feature during the time periods there was fog in the mornings in real life, although fog also seems to be a factor of the dream state itself, possibly influenced by dream scenes in movies that include fog (to represent that it is a dream), though is also a natural association with dreaming.

There is also an association with Carl Sandburg’s poem “Fog”; the line “The fog comes on little cat feet” (which was silently integrated into my dream near the last moments). The poem was first published in 1916 and my mother was born in 1916. This seems to be the association with the “old woman” (my mother) with a supposed fear of domestic cats (again, not what 1942’s “Cat People” was about). However, neither my mother nor I had any trepidation relating to cats. In fact, my mother had a pet gray tabby named Dewey at this time. The mild trepidation in my dream was more about my lucidity being intruded upon by the absentminded association with the movie that I had not even seen much of, based on my earlier wondering about it (but not consciously intending for it to be carried into the dream state as it was).

There is one more relevant commonly recurring factor I should include here. The doorway waking symbolism and other types that sometimes include the liminal space cat symbolism (in addition to the term “putting the cat out for the night” as subliminally relating to shifts in unconsciousness and waking symbolism itself) curiously was validated to have come from having seen the ending credits of “The Flintstones” (an animated television series) so many times. A domesticated saber-toothed cat is seen throwing Fred out of his house (after Fred firstly put the cat out) during the end credits, resulting in Fred pounding on his front door and yelling “Wilma!”, waking the whole neighborhood. This also established not only the relevant waking symbolism but additionally established this symbolism as a more influential dream state end marker in many examples throughout my fifty years of dream journaling. There are additional reasons for liminal space cat symbolism, one being an influence from the 1962 animated movie “Gay Purr-ee”, another with my childhood association of a cat sitting on a fence as existing between dreaming and waking (that is, a fence as the liminal space divider between dreaming and waking). Additionally, I think of cats as being more active at night or while people are sleeping and dreaming, thus a natural symbol of the dream state itself.

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Morning of September 28, 1968. Saturday.



I am sent to a warehouse-like area during school hours (even though I sense it is a Saturday - as it indeed is in real life) west of the school (West Elementary) and across the street to get a couple of textbooks, I think for other students (and perhaps one for myself). It is fairly dark inside.

A large “dogerpillar” crawls slowly near me from another part of the warehouse as a mist seems to rise up from the floor. There are shades of cyan, purple, white, and orange, and, terrified it will reach me, I stand up on a large crate just barely out of its reach as It is unable to lift itself, and can only crawl horizontally, which is an in-dream “relief” to me. It is at least a foot high or more and about five feet long. It starts making a strange, short mournful whining sound and I start to try to imitate the sound so that the creature will think I am one of its young (or one of its kind at least) and move on elsewhere. I continue to stand on the box making the sound in a somewhat worried state. Originally I had written “After awhile, I think that the creature may end up thinking that I am its offspring and may want something from me or to properly feed me! It seems there may not be a real way out.”

I am less afraid near the end (but still have an odd in-dream “faux end of the world” nervousness), but am concerned about missing reading class, and am wondering why they did not keep such a weird creature locked up. There is sort of a concern that I may never get out, but I slowly wake. (Oddly, there is no stronger thought of attempting to run away, even though the creature is very slow in its movements.)

Upon waking, I had found out (from my mother) that I was making a similar sound (vaguely like “vumpadump”) for several minutes before waking from the very vivid dream. (I have heard from some people that a person is unable to make sounds or speak in syllables when dreaming, but like almost everything else I have heard about dreams - it personally turned out to be wrong.) It is possible that the creature was partly based on the one from “The Monster That Challenged the World”, which I saw on Rose Street when about age five.

The very first dream journal title of this was “The Thing in the Room”. Someone who saw it (David K) said the title should be changed to “The Thing in the Attic”, which was pointless, as it was not an attic, so I later changed it to “The Thing in the Warehouse”. Because of what it looked like (a giant caterpillar with a weird dog-like head), the final title was “The Dogerpillar”.

This was not the first version of this dream. See this link: http://blue-opossum.tumblr.com/post/...ditional-notes

Night of September 9, 1976. Thursday.



One of the worst nights of pain based on the operation on my right thumb (on the 25th of August) and wrist (and much tissue removed), a cobra strikes me on my thumb in my dream, extraordinarily vivid and bright in the backyard (Cubitis), seemingly in early morning.

Finally, my mother gives me a stronger painkiller again and I slip into an extraordinarily vivid and lucid dream. I am rolling down an embankment head over heals, along a grassy hillside, doing “perfect” somersaults with no physical discomfort whatsoever, and in fact, feeling quite peaceful and blissful. I roll into a river of mist. It looks like a normal river and in an otherwise normal meadow-like area, but instead is made of flowing foggy tendrils instead of running water. I am heading into a “bottomless” domain, much like Alice on morphine, I suppose, and am completely free from all discomfort and concern.

I “land” softly in a hallway after moving downwards through the mist for a seemingly long time, which appears to be the set for some sort of avant-garde movie called “Hello Harry”. It is about a young businessman who dies at an early age on his birthday (late twenties, I think). All of the other workers at the business, both male and female (but mostly male) benefit only from his work (and do little themselves) - yet he is mostly disliked by his business associates. This seems to imply that the business will now fail since he has died (though he is not the manager - there may be some sort of very subtle connection to “Gunga Din” by vague implications), without the other associates knowing or acknowledging his role in keeping the business going, possibly as the best or most dynamic salesman (and may actually come in part from having read “Death of a Salesman” at an earlier date, as I did read the 1949 play sometime during this period). He only has one good friend who mourns him. I “float” into a room with concrete walls and floor and see that the man who had been his friend is drinking too much from a bottle of gin and “celebrating” his friend’s birthday while wearing a multicolored cone-shaped cardboard hat (with red “V” or boomerang shapes) and a red tinsel lei. The remains are in a coffin in an adjoining smaller room. The rooms are mostly featureless and appear to be part of some sort of large basement, but possibly in the commercial building where he died. (It is possible he may be cremated in the business’s furnace, but I am not certain.)

The man (name unknown, I only know the dead man’s name is Harry - the other man could be Willy) goes into the smaller room and places a cocktail glass of gin on the coffin and takes one final drink from his cocktail glass and slowly and mournfully sings (to Harry) “Happy birthday to you, happy birthday to you…” (obviously not expecting an “answer” of any kind, as he is the only one there and the other man has died the day or so before).

However, a clear voice comes from the closed coffin and it is supposedly Harry (even though he has actually died) also mournfully singing…“Happy birthday to me, happy birthday to me…”

This is the last scene and it seems to have some sort of science-fiction-like theme as well as the avant-garde movie essence.

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Night of August 24, 1976. Tuesday. (Though more correctly in regards to dreaming, very early “morning” of the 25th, and being the beginning of Wednesday).



I am somewhat uneasy and restless. In real life, I had been in the hospital for the operation on my right hand to commence the next day - to remove the bizarre and unexplainable same-sized cysts (of which there were four “complete” and more growing) perfectly lined up on the left side of my thumb and partly down my wrist, which appeared to have fetal-like design of all things, like one of those “twins” you hear about in some ways, but not usually later in life (and there was a later rather ridiculous rumor in school that it was from a snake, as in snake “babies” - a story that I was not the originator of in any way). I was fifteen at the time and ready to enter tenth grade within a short time. After midnight, in real life, my mother being allowed to stay at my bedside as I was falling asleep (though she finally went home for rest the night after my operation), the young black nurse came in (someone I knew when much younger), shined a flashlight on my face, and asked if I wanted sleeping pills (though I was actually almost asleep at that point). She then directed the flashlight up at the television (which was quite high up on the wall) where “Night of the Lepus” was showing. “Watchin’ TEE vee,” she says with a hint of disapproval and left the room for the night (her flashlight oddly “enhancing” the scene of a seeming spotlight of the “herd” of giant rabbits).

In the eventual dream, there is a cobra under the operating table which does not really get to me, though I have to remember to keep my arm up and on the table (though there is a concern of what will happen when the large dose of anesthesia takes effect). Nothing eventful happens other than the “return” of a common dream element when I was much younger, this being an unusual “mist” (very cloud-like) that rolls along from about six to twelve inches from any implied floor or ground. There are also various distorted and apparently angry faces of unusual colors (with mostly passive responses on my part, as I seem mostly disembodied) and flashbacks to earlier childhood dreams. There are other cobra dreams related to this, the earliest being “Cobra in the Hayloft” from August 18, 1966, seemingly my first deliberate attempt to create a so-called tulpa (but fully in-dream). On September 9th (when I was supposed to be starting school by then but did not due to overwhelming pain as the feeling was eventually coming back in that area of my hand), I had the “Hello Harry” dream where the mist seemed to be engulfing a very large portion of my subconscious mind. This dream centered around a man who had died, but sang “Happy Birthday” to himself in answer to the one friend near his coffin in a basement and one-man party scenario. (This is not really that significant as my birthday is actually on December 20). Prior to the fall into the mist, I had been bitten on the thumb by a cobra in an extremely vivid dream of being in my backyard. The only good thing about this time was the “mystery girl” comforting me, which somehow reminded me of a scenario from the movie “Cat Ballou” (last seen on September 13, 1974, prior to the last time I saw “Night of the Lepus” shortly after - the other two movies airing being “Dark Passage” on another channel and “The Strange Door” on another).

This real-life event of my first ever longer hospital stay directly and precisely confirmed several precognitive dreams from early childhood, including one recurring one with both the enlarged right thumb and even the detail of a giant rabbit (relative to “Night of the Lepus” on television). This confirms the idea of physical precognition or foreshadowing of one’s own internal nature being somehow available (at least subconsciously) several years prior (though that certainly does not explain how I knew of the movie before it was even made, which happened fairly often when young).

Amusingly, the night before, the movie title shown at the same time at night (11:30) and same network (CBS) was “Doctor, You’ve Got to Be Kidding”. If that were not amusing enough, again, the previous time I had actually watched “Night of the Lepus” was on Friday the 13th in September of 1974. My wife’s birthday was Friday the 13th in September of 1968. This was long before I knew she was a real person (which came in 1991).

Night of September 25, 1970. Friday.



There is apparently a dangerous mostly black (with rust-colored nuances) dog (possibly with rabies) loose in the area, supposedly a Mastiff (or part Mastiff) wandering around in Cubitis, said to only make an appearance and be a threat when there is fog in the area (curiously enough, “something in the fog” is a recurring aspect in some of my more “threatening” dreams - starting with a giant caterpillar “prototype” - or “dogerpillar” - as a toddler). It may be that the atypical or “special” fog itself is making the dog dangerous. (Oddly, as a child, I did not even make the rhyming play of “dog in the fog” as I can clearly see now.) However, it is not certain if he is able to bite or not.

In-dream, I am still somewhat confused over the nature of the “Hounds of the Baskervilles” movie. (It was written as “Hounds” in the newspaper relative to the 1959 Peter Cushing movie, but I have also seen it as “Hound”, which seems to be the valid title according to IMDb.) I am wondering if the “wild” dog is in a muzzle and therefore not as dangerous as implied. I see him through a fog (in the middle of the backyard from the carport), just on the perimeter of the mist, but I run into the house (without taking the time to verify if there is a muzzle or not - as the weight upon me would also be problematic) with a sense my legs will be vulnerable and “feet left behind” (implying I may still live without my feet).

This seems to have been an earlier “prototype” dream for the more vivid and detailed “Dogpile” dream from over a year later, but I had many similar dreams, including lucid ones with this theme. As I have written before, most dogs in dreams of this time period (mostly 1970-1973) were either black or rust-colored and an in-dream threat. There seemed to be no real-life association with this theme.