Blue_Opossum

Morning of April 1, 2017. Saturday.



I am at first floating over an early evening scene (though it is still daylight) of 1940s gangsters driving around, possibly in Chicago. Being semi-lucid, I automatically perceive the foundation of the dream state as a “blissful flood” (and have since very young), with water flowing in slowly, with beautiful vivid reflections. As water symbolizes sleep and the dream state (even as in the “Little Nemo” comic strip), I feel relaxed, even though some of the gangsters now sit on the roofs of their cars, appearing frustrated that their activities were interrupted. My semi-lucidity fades slightly and I then absentmindedly wonder if this is part of a movie where things had gone wrong with the set due to water from another set (perhaps for a Navy movie) going past a barrier.

Having been incorporeal, I now seem corporeal. The gangsters eye me suspiciously but do not seem dangerous. I ride with Zsuzsanna in a Venetian gondola, though I do not see the oarsman. Our boat slowly moves past them as they sit on the tops of their 1940s cars to our left, the water halfway up over the windows. Zsuzsanna and I are intimate as my dream moves toward the waking transition (and waking transition symbolism in contrast to dream induction symbolism).

The water seems more shallow as we go through a tunnel. At first, I am wary of going into a tunnel. It appears that some sawhorse traffic barricades fall over from water coming in from “over itself” at the end of one part of the tunnel (which makes no sense - as if the water was halfway up but somehow solid or remaining in place even at the opening (perhaps somehow jellified), with some “normal” water moving over the original level somewhat like a small waterfall).

There is light ahead and I get a very vague memory of when Pinocchio was inside a whale, though I do not think that is the case with us. “That’s it, over there,” I say as I point. There is a loose association with the television show in April of 1986 about Al Capone’s vaults (“The Mystery of Al Capone’s Vaults”).

A young Geraldo Rivera sits on straw on a slightly damp surface inside a larger hollow area. He has a bottle of wine (possibly meant to represent the sole bottle of bathtub gin originally found in the vault). I look very closely at the bottle of wine because there is writing on it. I need to read it and understand its meaning. The brand name of the wine seems to be “Cortex”.

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Even though the preconscious (when it is personified) is almost always a different character, it is easily recognizable by additional clues (often either direct or subliminal identification as the waking prompt and the particular level of consciousness just prior to waking, as the role of the preconscious is to make the dreamer more aware of the fallacy of his temporarily skewed dream self identity and bringing the dreamer out of the dream state) as well as mood, shift in the clarity of a dream, and dominance in many cases. In this case, the common water induction transmutes to the waking symbolism. “Cortex” is a direct clue; “the outer layer of the cerebrum, composed of folded grey matter and playing an important role in consciousness”.

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Morning of April 1, 2017. Saturday.



This dream falls into a similar theme as a dream of September 2016 where whatever I write becomes part of my dream (rather than saying an affirmation to create dream scenes). Still, I never become lucid.

In one scene, my wife Zsuzsanna and I had been together for a year or more but, according to my dream’s backstory, we had not been married. I write a sentence that reads “Zsuzsanna and I have a legal marriage license”. I do some sort of hand motion over the writing, and then slap the wall (“Supernatural” television series influence, it seems). A sheet of paper that looks something like a certificate appears out of nowhere on a picnic table. It is apparently our marriage license. An unknown female claims it does not seem real, as certain writing on it is not raised (or embossed). However, looking at a real marriage certificate, it seems of the same (correct) design.

In another scene, an aircraft carrier moves towards a beach. It is tipped to one side and moves out and in with the waves for a time, lengthwise to the shore - the top facing towards land. It is vivid and dramatic but there is no threat to me. (It does not seem to be sinking.) Oddly, the airplanes do not move or slide off at any point. There is vague concern that one end or the other may cause damage to buildings near the shore, but this does not happen.

In another scene, I decide to eliminate a large portion of the world’s population. I make sure to include “except for me and my family”. I am outside at a picnic table and George C. Scott (October 18, 1927-September 22, 1999) approaches. I have not yet slapped my writing (which is on the surface of the picnic table) to instigate the event.

An unknown male is with George C. Scott and gives me advice on how to utilize my idea. I am to write that George is my uncle and that he will be going back in time to just before humans came to exist (though I am not at all aware of what the situation implies). The unknown male tells me that the name is written with two S’s, inferring that it is George C. Sscott, which does not seem right to me, but I write it anyway, though it still somehow comes out as “George C. Scott” and he complains about the spelling. I make a couple mistakes and have to write it again, one being “George S. Cott”, another being “George Scott”.

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