I've got lots of questions for the Ballet Rambert choreographer:
Like where do they start?
Does he have an overall idea in mind?
Do they just dance around and see what happens?
How do they remember it?
Do they use notation? What does it look like?
After 20 years K has come back to life and has a romantic date with an Algerian soldier from the enemy camp.
K is nervous - he knows it could also be a military trap. He takes my mobile and a bottle of a substance called AMMO. It is so thoughtless of him to take the mobile into such a risky environment. I am furious about it.
My other self and I are negotiating a pile of cards. Each card is coded with a grid of parallel lines. Amongst them are two identical cards which can only be used once. He wants to take mine but I won't let him. There is an uneasy tension.
Like a great revolutionary orator, a Polish artist addresses a crowd in front of Somerset House. He storms towards a shop window smashing the glass. Inside is a block of an extremely unstable substance at which he hurls a handful of coarse salt. A poisonous vapour is emitted.
How can he do this and survive I wonder?
The audience is spellbound and flocks towards him in admiration. Everyone now has their face bandaged as protection from the fumes.
I am furious with my friend. We are supposed to be driving our flying car but she got waylaid taking instructions from someone with an old A to Z. What particularly annoys me is that I have missed out looking at the illustrations in this rare 1964 edition. There is a small engraving of Lots Road from that time when it was nothing more than twigs and weeds.
I am shifting an unwieldy pile of cardboard boxes loosely bound together to form an ugly sculpture. Hanging at the bottom are two loose boxes which somehow represent testicles. My long dead aunty offers to help me carry this home. Bundling the boxes together, I thank her and tell her I can manage alone.
I work as a teacher in a school in Nazi Germany. While I am there two male technicians in their mid 60s die one after the other, blood and clear liquid spurting from mysterious wounds.
Dad explains that when I was a kid I had been desperate for this string of sweet juice that I thought was sex energy. I was mad to have it, but I'd misbehaved so it was being kept from me. He said it was just Ribena, but I remember it as this concentrated solution of yellow Space Dust and sherbet lemonade steeped in tobacco tins.
I am in a communal sittingroom. I turn on the telly- white noise then a blue screen with fragments of text - now a scene from a cheap American film. The setting is the early sixties, the dialogue uninspired. Lead character walks on and I realise it's a remake of Frank Capra's Mr Smith Goes To Washington but it's about Barack Obama's early life. It is as if it has been made with the racist undertones of a 1930's film so that gawky teen Obama is played by a white actor with exaggerated bulging eyes. I am angry at the grotesque caricature.
In the original film James Stewart plays the part of Mr Smith a naive idealist who fights political corruption and guards American values as a moral hero.
My dream leads me along a sunny country lane. I sense that my point of view is 6 inches higher than normal - am I floating? I take the liberty of turning my body horizontal and find I am able to partially control the dream. I glide up spiralling granite steps which morph into the carved feathers of an angel and here I sit singing with a boy's unbroken voice - a tiny insect held by the warm air pressure flying high high snug in those safe wings.
The rest of the night was filled with nightmares dominated by a giant Keanu Reeves slicing his arms open.