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Morning of February 28, 1976. Saturday.



Throughout my dream, I become more and more aware that our Cubitis house has several secret exits for escape should a burglar or other criminal show up in any threatening scenario. At times, I am in the living room watching our small black and white television. There is a point at which I feel or sense that burglars could arrive in our carport. I “remember” two main escape methods as they approach our home. Though I know or sense that my parents are around, they are not directly in any scenario, though I think I see my father briefly at one point, who had been watching part of a wrestling show for a short time while standing.

One method of escape is getting into the bathtub, which then moves down more into the floor in a somewhat elevator-like manner, to be replaced by a duplicate bathtub in a suggested Ferris-wheel-like structure (though much smaller and more simplified). This way, the bathtub I am in does not have to go back up due to the other one immediately taking its place, making the escape less noticeable.

Another method of escape from the house’s known accessible rooms is via the television on the table (though which seems more like a cabinet in-dream). A fake television replaces it using an elevator-like mechanism and one can crawl into the fake television where the screen would otherwise be and go down under the house as with the bathtub (though I believe each escape route goes into a different area of our fictional basement - the Cubitis house in reality was a concrete block home with no basement or cellar).

At one point, it is too late to attempt a better escape as the two criminals (unfamiliar adult males, perhaps in their late thirties) are already at the front door, coming into the house. Instead, I pretend to be an actor inside the fake hollow television as the criminals look around. I pretend to be a card player (seemingly assuming a role in the original “Maverick” series from 1957 on) and I am sitting on my knees on the table inside the hollow television and the criminals apparently are convinced they are seeing a “real” television show for a time. I am not sure if I can reach another escape exit while the criminals are still wandering around in my house.

At least part of this dream was inspired by a View-Master reel, which featured Bugs Bunny (though shown as a 3-D plastic model, it seems) who accidentally broke Porky Pig’s television and then got inside it to perform for its owner (which shows Bugs Bunny holding a playing card hand in the last frame, apparently implying a scene from “Maverick”). It was called “TV Trouble” (1959) and can presently be viewed on YouTube. There were probably a number of dreams that were partially inspired by View-Master reels, as I had almost all that were produced during that time (including numerous ones from the 1940s sent to me by a relative), enough to fill a small suitcase, and I spent considerable time as a child (regarding total time over the years) looking at them.

Night of February 18, 1966. Friday.



When I lived on Rose Street in Wisconsin, I had a few dreams of there being a large swimming pool that took up nearly the entire back lot area, and was fenced in with an unusually high wooden fence (which I doubt could exist as such in reality). Samantha from the “Bewitched” series would visit on a broom (although she did not fly on a broom much in the actual series). The moon sometimes looked cartoon-like, or rather, like a colored-in yellow crescent with no detail, and the sky a deep blue - even with five-pointed and four-pointed stars instead of “real” ones. Since I saw the opening so often, I guess it had a lot of influence.

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Added online personal notes on Wednesday, 6 July 2016: This dream is a great example of one that holds moon induction, water induction, and a typical flight symbol. Even the fence represents a more defined liminal space.

Morning of February 14, 1976. Saturday.



In the first part of 1973 (February), which repeated with more detail in 1974 and 1976 (the Bicentennial year, which some of the final version of my dream seems to partially reflect), I had a fairly long dream (that varied in semi-lucidity and in-dream awareness from time to time) in which the main subject was a localized Nazi Germany (Hitler is mostly only seen in shadow looking out a somewhat modern-looking window as if from an apartment building - apparently he also “dubs” - makes dub music, or produces it) that was limited to the range of the cow pasture to the east of our home in Cubitis, Florida. To the south from there was a localized Afghanistan, to which Hitler goes to with a large cavalcade of jeeps with various colorful flags - not sure if it is a conquest - but the feel is not so “warlike” - at least with a personal perception - and Osbourne “King Tubby” Ruddock is riding with Hitler, decorated with all sorts of awards for valor or some such. To have “little countries” in the region did not seem odd. It also seems like some sort of alliance, but there are rows and rows of weird flags from hundreds of other countries along the length of train tracks, both real and fictional (including a United Nations flag).

My dream featured my father at the end (C. Clarence “Rider” as in one version of the song, C. C. Rider, See See Rider, etc. - although he was actually known for very long bicycle trips, not motorcycles). We had the same name. In my dream, for some reason, he has a black motorcycle (probably a 1962 Harley). On the front of his motorcycle is some sort of shield (very similar to what an interstate highway sign looks like) with the number 79 on it in red. Near the end of my dream, I am moving rather oddly, with my fists going up and around in a sort of unnatural weird leaping run. We are in the area near the train tracks and halfway in the middle (and going north) of our neighbor’s orange grove (in real life he only ever mowed the front row of his grove, and the empty area near the tracks - which I thought to be a bit strange as rattlesnakes could hide in all the high weeds). I hear a strange humming and buzzing that is rather musical. At first I think it must be Hitler playing his “Death March/Funeral March” (as jeeps roll out behind us near the train tracks) but it turns out to be the motorcycle’s engine humming that song in a very strange and simplistic (but sped up) electronic way. There is a very weird mood in my dream. It is not sad, just slightly eerie. I keep trying to walk and run normally as I try to keep up with my father but I keep leaping oddly.

Finally, instead of saying “Every Good Boy Does Fine” (the treble line notes) to talk about the music - a line he repeated now and then in real life, he softly says “Every Good Boy Dies” (with no “F” note represented) and soon, he rides off, I cannot catch up - This sheet music motif was actually on his tombstone in real life several years later (on the design request of a half-sister I had hardly ever communicated with - see image). There is no sadness, anger, or fear, just a vague sense of awe, mostly related to the weird “humming” motorcycle engine that continues to play “Funeral March” (Chopin) about twice as fast as standard. The audio in my dream was identical (with all the same tones and nuances) to the Commodore 64 Jumpman death theme (when he falls and loses a life) that I did not hear in real life until several years later (1980s, a few years after my father died) and I was also moving exactly like Jumpman (even the same in mid-leap form) regarding the weird leaping - convincing evidence of very precise precognition for years ahead.

In real life at the time, I was making electronic dub music in a very simplistic, limited way as well as other strange recordings and comedy routines with my friends. One “trick” was that I had removed the erasing heads from a tape deck so that any new recording would layer over the first (but required precise timing), but the sound’s highs would be lost on each prior layer (so it was more viable to do the bass first and then build up from each A-based range, 55, 110, 220, 440, 880, etc). Another thing I did was to keep recording layers back and forth with two tape players, but again, it required precise timing, and the tape players’ capstan tolerance levels could not be that variable, because the track would either eventually sound slowed down or sped up (which was why it was common knowledge at the time that if you dubbed that way, you should have two same-brand tape decks not more than a few serial numbers apart). My father bought secondhand cassette decks and tape players almost on a weekly basis at the weekend flea markets just north of us and we sometimes rigged rather odd setups - my father built a large speaker set with several variously sized speakers as well as owning a very large and powerful dancehall amplifier for a time - one of the built-in effects was the exact same sound the vocal uses at the end of the original “Crimson and Clover” with the wavering pseudo-tremolo.

Additional notes:

My father died on February 14, 1979 (79 being the number on the shield on the front of the motorcycle in my dream.)

Adolph Dubs (United States Ambassador to Afghanistan) died on February 14, 1979.

Much here would have been missed had I not documented this one more closely. For example, I did not even catch the “cycle of death” play until quite recently. Given that most precognitive layers within a particular dream come from different time periods yet to unfold, and just as dreams combine aspects of the past somewhat ambiguously, it is also typical to miss combined otherwise unrelated patterns (for example Adolph Dubs, Jumpman, and my father’s death really were not connected in any way). As it is, hundreds of dreams before age nine related directly to my wife-to-be with such precise nuances as to be like one “big picture” already being determined and built long before I become aware in reality.

Morning of February 9, 1976. Monday.



Nothing dramatic happens here, but my dream seems to last a long time throughout the morning. Jesus Christ, in large seemingly layered mainly white robes, seems to appear standing on our roof on the northeast area near the chimney my father built, and the concept of “rooftop Heaven” comes to mind, as well as a “Heaven” association with my dream girl (who turned out to be Zsuzsanna in every way possible, including the unlikely mixed accent of Romani Hungarian and Australian). Over time, I see miniature clouds moving through our backyard (autosymbolism for the dream state itself), not that high from the ground. It seems to be late afternoon. (Note that I am not religious and have zero interest in religious dogma despite experiencing a few miraculous healings as well as inexplicable events continuously since childhood, including my inexplicable connection to Zsuzsanna long before we met in waking life.)

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I consider this precognitive at one level, because my real wife-to-be (and I was not to make waking-life contact with Zsuzsanna for years, until March 1991) lived in Heaven when younger, a real town name in Nimbin.

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Morning of February 7, 1976. Saturday.



This was in the second month of the upcoming bicentennial in July, but I am not sure if that had anything to do with any potential associations.

There is some sort of unsettling back story in my dream’s origin. It has to do with the end of the world. The “end of the world” is apparently to start when three jets flying over, I assume of the US Air Force, in the form of a “V” (one flying ahead of two others that are somewhat side by side), will indicate that the world only has a few hours or so left (though this may be relative to people only living in the United States). In fact, there is an idea that, even though other jets may be flying over the region, these specifically will make a sound like “doom doom doom”.

Over time, there is not much concern. But eventually, I hear the “woom, woom woom” sound that is supposedly the sign of the three jets approaching and flying over. However, this turns out to be, in reality, as the sound wakes me, a large truck going north down Highway Seventeen - it actually did seem a bit like three loud “wooms” or “dooms” but not really with an additional jet-like sound. This is somewhat odd and seems like in-dream precognition of some sort relating to similar experiences where the dream builds seemingly intentionally to a sound not yet heard or expected. This was in fact the only time I perceived a passing semi in this way. I am also not usually awakened by traffic sounds, even the occasional louder vehicle. (I even missed hearing the train at times during the night other than when it had the blaring horn.)

Morning of January 6, 1976. Saturday.



This dream’s focus is quite ambiguous and uncertain at most levels. I am not sure of the location; it seems either undefined or an extreme distortion of my Cubitis living room relative to the east side of it. Two narrower hallways, but not cramped (the entrances only about four feet apart) go off to the east but each also seems to be a type of long kitchen - I am not sure of the distance but it is quite long (longer than the west to east length of the house I would say - although again, the area other than the hallways seems a bit undefined). Each hall seems mostly the same, with sinks, a few ovens, at least one refrigerator, and so on, with cupboards along the wall closer to the ceiling for the most part. I get the impression that there may be a television at one point - farther along. There may also be a storage area for documents near the opposite end. There is no actual plot, just wandering around. The appliances are all white. One would assume a door to be on the opposite end due to the hallway’s length but this does not seem to be the case. No one else seems to be around. There is a sense of familiarity but no clearer emotions of any kind. In reality, we only had a very small kitchenette off the southeast corner of the living room.

Relative to the unusual fictional setting, see also the following dreams:

Short dream of a house of mystery

Submarine

Morning of December 28, 1975. Sunday.



“Durio’s Slave” was the original title I gave to this dream even though I did not really play the role of a “real” slave at any point other than the potential to follow the commands of the invading apelike creature. There were a couple similar dreams with minor variations. They related to an “invisible gorilla from another dimension” (or supposed alternate universe) that could somehow speak English and was similar to the style and appearance of the gorillas in the original “Planet of the Apes” movies. I later found (or later realized consciously) that “Durio Zibethinus” was actually a kind of Asian tree (where the fruit has a strange nasty scent, but is a delicacy) even though my dream vaguely implied that Zibenthinus was a prehistoric kind of ape as well as implying “primitive” male dominance. In my later (less threatening) version of the particular dream scenario, he was called “Durio Zibethinus” and he was less of a threat to Earth. There were magazines (from the other dimension with talking gorillas) that were apparently thrown or somehow lost along the wayside of a road in or near Arcadia. There were various photographs in the magazines of the gorillas with more military power. In another dream, he was “Durio Broxum”, and in another, just “Broxum”. In my first main dream, he was sitting at my English teacher’s desk and making plans to allow the other ape soldiers to come through some sort of portal (somewhere in the school, I would assume) and take over the region. At times, he is transparent. No one but me notices this creature (as apparently he is otherwise invisible to everyone but me for some reason). No one but me was aware of the great threat he represented.

Aside from the obvious “Planet of the Apes” influences here, there is a possibility that the words in my dream and their distorted meanings (as well as some words being distorted themselves) related to sexuality. A durian, especially when cut in half, can have a very sensual appearance, looking much like a part of the male anatomy (scrotum), or at least implying such. “Bruxom” (also seen as “Broxum” in my dream) could be a simple distortion of “buxom” - or “full-bosomed”. This was noted in my original dream journal entry as a teenager. However, it could also relate to “broxism” or “gnashing of the teeth” (teeth grinders known as “bruxers”) - or some sort of composite of both implying oral contact with breasts perhaps. The majority of dreams are peculiar after all.

Morning of December 12, 1965. Sunday.



Summary of meaning: In the need to wake from a vivid dream state (from needing to get up and use the bathroom), my emergent consciousness is rendered as a bull crashing through the wall, as a wall symbolizes the metaphorical divisions of consciousness and the “other side of liminal space” between dreaming and waking. In this case, it seems my father was the parallel symbolism to the bull in representing my more urgent need to wake. The bull’s horn, being pointed and similar to a bird’s beak in hypnopompic physical anticipation (which is experienced as a jab in the lower back), may be a factor.

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I am sitting with a few family members, the two closest being two brothers-in-law, Bob and Verdell, and they are apparently drinking beer. (Verdell is on my right.) I am not sure of whose house we are in (possibly my older sister Carol’s, as it does not seem like Chipmunk Coulee, but it may be a unique composite of both). There are two couches along each wall, perpendicular to each other, with a small end table towards the corner from one couch. Everyone seems cheerful at first.

There is a sudden feeling of impending danger. A bull crashes through the wall from near the corner of the room, directly from in front of me, knocking plaster and such about.

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This dream was recurring for a short time. In one version, Verdell actually says “look out for the bull” at the moment of waking. This was before I ever saw or heard of the “look out for the bull” Schlitz Malt Liquor commercial on television and also before I grew up and worked for Ford Taurus where I was injured on my right wrist by someone throwing a sharp metal part back down the line from them not being able to keep up (though the commercial is more relevant to dream content regarding prescience).

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Morning of November 22, 1975. Saturday.



My dream starts out with a detailed backstory with fictional characters possibly implied to be living in Arcadia (as that is where the final event likely takes place). There is a family curse where an unfamiliar man of perhaps about thirty was warned, I believe by his grandmother (and possibly other family members), not to ever become a sailor or go near the ocean at any point in his life.

There had been a sampler in his family for several generations which depicts rats leaving a ship that is implied to be destined to sink, which is hanging on display in a local museum. The edge of the boat is shown and the gangway is visible, with three rats on the gangplank in running position from upper left to lower right, diagonally positioned. This design also seems to represent the family’s coat of arms.

Eventually, I become corporeal and part of the scenario. I am with my best friend Toby at a public gathering in an unfamiliar setting. He is seated to my right. The unknown man has decided to go to sea as a ship’s captain (apparently without moving up the ranks). He is dressed in a captain’s uniform and is explaining how he no longer believes in his family curse. There are at least two other speakers at the gathering. The speakers take turns sitting on chairs to the right of the podium (my left). There are probably less than twenty people at the indoor venue. The podium and speakers are perhaps about six feet from the first row of the audience, who sit on singular chairs.

Time passes. There is an uneasy quiet growing, followed by an eerie clattering (reminiscent of wooden wind chimes), followed by another eerie silence. Toby is looking off to the right. I tap him to get his attention, saying his name. The unknown would-be captain has become a skeleton, now sagging slightly on his chair, still in his uniform, unmoving. A hush falls over the audience as the dream, now at its most vivid point, quickly fades.

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The preconscious personification, who never regarded me directly, was rendered as an unknown male who wanted to go to sea (return to sleep, as water represents the internal biology of sleeping and dreaming) as a captain (dictating control of his sleeping and waking habits). Instead, he became a skeleton to symbolize the cessation of the dream state and to activate the waking stage. This was foreshadowed by the sampler of the rats leaving the ship. Rats basically symbolize nighttime circadian rhythms (as they are primarily nocturnal, excluding pet rats) and the gangplank is actually oriented like a clock to represent a time around four or five o'clock in the morning. The sampler also implies leaving the potential to sail upon the ocean (analogous to not returning to sleep). Additionally, the background of the sampler was yellow, which represents sentience and a precursor to dawning consciousness (waking). This was my last longer and clearer dream of the morning. There was no fear created in this dream; just a subtle sense of awe and curiosity. The foundation for this dream was water induction (my most common dream induction).

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It is possible that my dream was influenced by a cover of DC’s “Ghosts” comic book (volume one issue nine, cover date November 1972), one that I had looked at fairly often, even though there is no implication of a ghost in this dream, only the skeleton as symbolic of the cessation of my dream.

Night of November 21, 1975. Friday.



In a diminishing transition from viable lucidity to semi-lucidity, I am chased by dogs after unintentionally trespassing beyond a fence in an industrial area that is adjacent to a desert with minimal landscape features, though which looks deserted. It seems to be in the distant future, though this perception was likely otherwise influenced by similar panoramas in science-fiction movies I had seen in real life.

I am confronted by talking dogs (or so it seems at first). The dogs are mostly Dobermans and black Labrador Retrievers. They seem to be some sort of task force to catch me and somehow bring me to their owners or force me to go in the direction of where their owners are. I am uncertain of the backstory. I am not sure if the dogs are meant to be owned by people who are legitimate owners of the property or if they were trained by outlaws who have taken over the industrial area. At first, I had considered if the dogs were on their own, of augmented intelligence, and in control of the area, but this seems less likely over time.

I am aware of the logo embossed on the metallic kite-shaped pendants on their collars being “K-9” as a play on “canine” (though my dream self does not seem fully understanding of this factor). It is not clear if this is the name of the industrial complex or the security team of solely dogs (or inclusive of their owners as a group). However, I start to consider if “K-9” is a codeword for the main dog and if other codes are on other collars, such as “L-10”, or “J-8”, which I seem to briefly perceive on another pendant.

Over time, I manage to escape from each situation, such as by climbing up higher in one case.

Eventually, I realize that the dogs are not talking but are being given instructions through some sort of comm device in their collars (which is what I had been hearing from the beginning), though I am sometimes addressed as well. I also get the impression that their collars also have small microphones. I eventually end up hiding out in a large warehouse, but not much happens after this other than initiating the usual doorway waking symbolism when my semi-lucidity returns.

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Morning of November 16, 1975. Sunday.



This dream repeated in a few variations. It is sort of a “trick dream” in that it includes what I think is a clever variation on the outcome of presumed events. I have had many like these but mostly when in my early teens. It is a typical “every man” archetype (or warning of mainstream western mentality) very similar to “I’m Eager Beaver”, which include people who pretend to know about dreams but have no clue, living behind a facade, shaping them into something far from the Source and with as much distraction and deception as possible.

The location is usually based to the east of my Cubitis home. It is not a large cow pasture in the dream, though, but a place called “Swamp Garden” (I do not believe this name was in the earliest version) - which is not really an area for tourists or anything - it is just what it is called by the locals. It is actually supposedly a dangerous place of which a lot of legends were supposedly born. I am not quite sure why it is called a garden other than the plants seemingly growing in rows like in a vegetable garden. There are cases where people go in to get special herbs and such. It does not seem that big of a swamp - it is actually quite sparse.

One of these legends of Swamp Garden related to a large mythical snake that supposedly has four large, equally-sized fangs in the top of his head (rather than the usual two main ones in rattlesnakes). It is possibly just a mutation. It is somewhat like a rattlesnake and also somewhat like a blue racer according to what people have reported. When I was young, a lot of myths and folklore were spread about various kinds of snakes, though I had heard nothing of a “four-fanged snake” in real life. The dream, in its variations, was sometimes more like a documentary (where I am following the character but not directly present) - other times more like a lucid sequence.

One of the people making a documentary tells of two bold encounters with the four-fanged snake. Over time, though, a clever twist is related in the dream. It turns out that they were two different snakes, one with a wider bite, so that the smaller snake, when coincidentally biting him on the back of the hand in the same general location - seemed to create an impression of four fang marks (supposedly caused by the one bite of the legendary creature). He becomes well-known for his encounter even though it was not what it seemed. He dramatizes the event through recreations of the encounter and makes it out to be long and eventful (even though in actuality it was just a couple brief nonvenomous snake bites).

On my own private journey (I am not filming anything or making a documentary), I actually encounter the snake, but there is no drama or fear. He remains in a large bush as I walk about in the area, but I am able to confirm that it is a large snake with four fangs. There is also a part where I also see a blue racer which is glowing and moving through a mist over the ground.

In one of the final versions of the dream, I stand on an embankment and say, almost lovingly, “I know you’re out there…" This was one of those dreams which starts out occurring mostly in fragments - then later becomes almost epic - then in versions later on, becomes slightly fragmented (though sometimes more personal) again.

Later, this came to be like a personal symbol for "every man” in mainstream culture in a way; for example, so-called psychics (who supposedly control their “abilities” and charge people for “advice”) as compared to so many people who experience spontaneous precognition on a regular basis far more than “commercial” psychics and never become known at all through their lifetime (which can only be a good thing). The swamp here represents the mystery of the Source, and the four-fanged snake, an aspect of the Source many people seemingly never confront in a lifetime for whatever reason.

Morning of November 15, 1975. Saturday.



In my dream, there is a small lake near an isolated cabin or as part of some sort of special tourist resort. At times, it is somewhat like a ski resort on the side of a high hill, even though it does not seem to be winter or with any snow around. When I am by myself each time, I see a plesiosaurus swimming about in the lake, watching this from a second-floor window from the south. It is not there when other people are around (and I do not go down the hill or go near the lake at any point) and so I am the only witness.

Eventually, after other people report seeing a caveman (a possible influence from the movie “Dinosaurus” from 1960) in the area (and yes, I know that cavemen and dinosaurs never coexisted - and in fact, most dinosaurs shown together in movies never coexisted either) it is decided that there will be a full investigation, including a “draining” of the lake (as if it were a large swimming pool). The lake is very old and it seems rather sad that they will drain it. When all the water is gone, it is seen that there is a skeleton (not really a fossil but a recent skeleton of one) of a plesiosaurus - as well as the skull of a caveman, so it then turns out that the lake was somehow haunted.

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Water in a lake getting shallower over time represents rising consciousness (with less dream self consciousness or “immersion”) and the dream ending. This dream state metaphor appeared in my dreams way back at age four. However, in some cases, there were precognitive revelations associated with the event. This one even has the implied draining, as the bathtub draining when a relaxing bath has finished (which may actually be the original childhood prototype for this metaphor).

The ski resort is a setting that represents the dream self’s acknowledged potential to quickly return to “ground zero” (or the waking state) though in this case, the focus was more on the lake as the indicator of possible control (or direction of thoughts within the dream, though I do not become lucid, only more focused). My dream seemed extended relating to the “haunting” (vague conscious awareness in the dream state). Ski resorts are quite rare in my dreams but always represent the same thing - a way to slide to “ground zero” (almost like an “escape route”) rather than just “falling” into the real self (though in lucid dreams I often deliberately jump from a cliff to increase awareness in lucid flight). It is similar to “skiing” quickly down a flight of steps to shift consciousness rather than walking down.

The plesiosaurus represents potential conscious imagination being active in the dream state (or even “above” the dream state) without being “lost” in the dream (or below the water’s surface). I mostly see this creature swimming at the lake’s surface level. The long neck above the lake’s surface is a hint here.

A skull is often an incomplete conscious thought or subtle focus. The nature of the conscious self is only vaguely perceived - not enough for the dream self to see as “reachable” for integration.

“Haunting” says it all. The very nature of this particular “haunting” with all the other elements seems like a sincere attempt to focus on both dream self and conscious self in the dream state at the same time and an interest in how dreams themselves “work” from a third perspective. Even with the different features, it seems very basic. (The cavemen represents the beginning of potential consciousness but does not complete its emergence in the dream.)

Morning of November 9, 1975. Sunday.



I have posted this dream before (on the original dream journal site), which has an almost epic feel in the main, longer version. This was on a fairly old online journal of years ago. I am not sure if this is the same version, but I think it is the longest and most detailed one. (Another version is where I became lucid and went off on a tangent so is fairly pointless, as it does not have the O. Henry ending.) The original title in my first journal entry of one was “The Sacred Rock of Thinking”. Over time, that did not sound quite right, so this is the present title I have stuck with.

I am in my ninth grade mathematics class with Mr. Forbes. For some reason, we are watching some sort of movie about archaeologists. (In another version, I believe it was my English class.) They seem, however, to be in light tan safari outfits. There are at least two men and at least two women. Over time, they enter a large cave and look around for a legendary rock that is supposed to materialize your thoughts into reality. They are carrying torches. I believe the rock may be a “lost” piece from Stonehenge. As they walk along, one of the women mentions something about bats, saying that she hopes that there are not any bats in the cave. Shortly after this, bats appear and fly close to them and they seem startled as more and more appear. Eventually, they are entering a larger area. There is an unusual boulder that is sort of an orange-yellow color, and with various hollow areas, almost reminding me of a giant sponge (but shaped like a somewhat partially flattened egg).

In a way, this boulder vaguely resembles an orange human brain.

At this point, I seem to be in the movie after thinking that “it would be interesting to be in the movie” as if the film of the rock alone actually caused this to happen (through the rock’s “power”). The other people look at me curiously, but walk on after a few strange glances at each other. For a short time, it is almost as if I can see out into the classroom until we go farther into the cave.

Soon, I am thinking that I would like to be back home in Cubitis in my backyard. Suddenly, I am there. The strange boulder is also there. It seems to be in a sort of pool though, or represent some sort of abstract design relating to a fountain. My friends visit, female classmate Sandra R and best friend Toby T. They find the sight rather strange. For some reason, Sandra mentions something about where my cat is, and uses the term “that bobcat of yours” (it was actually only a hybrid with a bobcat grandfather). Soon, an actual bobcat appears and is somewhat threatening. Toby does his “mock running away” at first before getting out of the area for real. This involves a mock march, singing “Over hill, over dale…sorry Dale!”

“I sure wish that animal wasn’t around here,” says Toby, loudly, and the animal is gone and Sandra comes out of hiding.

Over time, other strange things happen. Money comes and goes in strange ways, which is not always a precursor to a positive event. It starts after Sandra asks something about why the rock was a strange orange color and not gold - and so the rock turns into gold as well as having the power to materialize thoughts. Some (unknown, but possibly one being a classmate) people appear and break a couple thinner pieces off and leave (which means they may also have the power where thought is materialized unless there is something at the core of the original boulder). A helicopter appears overhead at one point, which seems to mean that the original exploration team has found me. A lift and hook of some kind is able to lift the rock several feet into the air by attaching to parts of its sponge-like exterior. “I wish that helicopter was elsewhere,” I shout, and the rock falls back into my backyard in the same position.

After a time, some sort of actual international war breaks out relative to where the rock is.

Someone says (possibly Sandra) “I wish this rock never existed”. And…

I am back in my class watching a movie about four people who are confused about why they suddenly find themselves in a cave. “What were we looking for again?” asks a puzzled woman, her voice blasting in a hypnopompic audio pulse upon waking.

Night of November 8, 1975. Saturday.



This long but disjointed dream (movie-like in implications) repeated in diverse segments over a longer time period. It was based on an accident Lisa M’s father was involved in when he left a can of gasoline sitting near a bonfire in bright early afternoon sunlight (in the backyard in Cubitis, located just near the border of the large weedy area that eventually met the train tracks) and it exploded. He was not burned fatally, though, just on his arms and chest for the most part.

In my dream, there is not much focus on continuity. The neighbor than becomes a super-villain going by the unlikely name of Gumbala (a possible play on Gumby - a claymation figure/character I could not stand to listen to or watch). (This was a day or so before I heard someone talking about gumbo - a word I was not really familiar with; a type of dish using okra, I think, which we grew to very large proportions, although I discovered I did not care for it; just liked growing it/watching how amazingly tall it got. It was like eating tough, slimy grass. I guess I needed cooking lessons or a better recipe.)

In my dream, I become aware of a possible “attack” by this demonic character (he does not seem quite human in my dream as a result of the accident - yet not a “real” demon in that regard - just a supposedly mutated “super-villain” with apparent special abilities of some kind) while in the new room my father had built. I duck down under the west wall’s single window. He announces himself and begins to take off his shirt to reveal his “real self”. I am aware that his “shirt” is actually a shirt of “false skin” (made from real skin, though, from his victims) to make people think he is not really a “monster”. Also, his unusual lizard-like “hands” are covered with gloves of artificial skin or worse, more skin of his victims (similar to Ed Gein’s crimes, which probably strongly influenced this dream - my brother-in-law Bob actually knew him; at least met him a few times). He is the only other character in my dream, most of which seemingly takes place late at night and very early morning. He has some sort of “lair” which is reached via a corner that turns about somewhat like a revolving door, but is “invisible” unless put into use.

In a way, I suppose this is partly a result of knowing how he lied to his daughter in real life (and I never fully told her about this) whereby her dog (a young, active dachshund) was dead (hit by a car on the very close highway) and he buried the dog in the weedy area near the train tracks (I actually saw him do this). He then got her a different “identical” dog, apparently without her noticing. Eventually, later on, she said she had thought that the dog might be a different one when I only vaguely suggested the idea it did not seem to be the same dog - but her saying that the “original” was probably living at a grandmother’s house in another town. A very similar event happened at our present address (but in this case, it was not even the same type of dog even though she tried to convince us it was the same dog). In all honesty, though, he was a good neighbor in real life.

Morning of November 7, 1975. Friday.



I am focused on both walking through the hallway (related to getting ready for school) and reading the day’s newspaper’s comic strips. There illogically seems to be more than one instance of the Peanuts comic strip though I only remember the contents of one with greater clarity. The style and general look of the art is exact (which is not always the case in these types of dreams).

There are three panels of Snoopy setting up a beach blanket and umbrella. In the last panel, is only the shape of Snoopy’s head implied to be covered with beach sand as his body from the neck down is also in the ground itself. A thought balloon clearly reads “I hate the sand”.

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As is often the case, this relates to coalescence and the waking stage. The sand covers him “at the end” (projected static dream self perspective no longer viable). I did not find any comic strips that could have influenced this dream unlike my dream where exact remote viewing occurred prior to seeing the same gag in real life (my utterly unexplainable Nancy Comic Strip dream with the exact same gag and wording). Comic strips are ordinarily the downsizing of the dream state to render it static for whatever reason (perhaps a subliminal attempt to “freeze” the dream to remain asleep for longer and yet still with a potential for continuity, the focus from panel to panel). Sand also relates to the passage of time (due to association with erosion), so in a way, that backs up the other implications (in wanting to sleep longer).