Dick (my boss) and I are in Houston, on our way to the airport to come home. I'm driving, and I take a wrong turn. We end up at the end of a one-way street at an old, abandoned air shack. We see a plane taxiing with no pilot, and we run and jump into it and taxi it to a halt inside the shack. We get out, and Dick sees someone he knows from way back, up on the shack's roof. They talk about old times for a while, and Dick and I turn to leave.
Dick is at the car. I turn and see someone pop up from under the road. He starts shouting, "A car! A car!" I turn to him and say sarcastically, "Oh, come on, it's only been there for 15 minutes!" The people he alerted pop up from behind and under things all around, and then end up inviting Dick and me into the house. Only Dick and I are different characters now, named Peter and Richard, and I don't know which is which!
We go into the house, and Dick (who is really Peter or Richard but I don't know which) goes into the kitchen for a glass of water. I start to follow him, but when I begin to step down into the kitchen I get an eerie feeling, so I stay in the doorway on the step above. I ask Dick if he knows how to get out of here, but since I don't know if he's Peter or Richard I can't call him by name, so I have to point at him several times to get his attention before he knows I'm asking him. He says he doesn't know, and I ask one of the people who invited us in, "How do we get out of here? The road we came in on is a one-way street." He says he doesn't know, and someone else says, "I would only go out for food, and I haven't eaten for so long I can't remember."
Suddenly I realize that all these people are ghosts. This is OK, they're ghosts, that's cool, but what's no OK is that they know who I am. They know I'm not really Peter or Richard (but I don't know which). They show me that they saw me lifting a car or something, and that they know my big and important secret: that I am Wonder Woman.
Then they accuse Dick (who is really Peter or Richard but I don't know which) of invoking the name of false gods. They put him on trial, he confesses, and they sentence him. The sentence is that they give him leprosy. Only it's not leprosy, it's sort of a comic parody of leprosy in which his flesh becomes malleable and can be shaped into things. One of them has a pair of tongs and keeps pulling off his nose, which keeps reappearing, and soon there's a line of a half-dozen or so noses on the cabinet. Then Dick (who is really Peter or Richard but I don't know which) starts doing impressions by molding his face. As the dream ends, his perfect and somehow hilarious impressions are green-and-black low-resolution images of Nixon and Agnew on the phone to each other.
In the airport, going home--to Chicago (?!). I think I've missed my plane and I'm headed back to the ticket counter. I run into Mark Kuprych, and we're thinking of sneaking onto a plane to London. But we don't. I get back to the ticket counter, sleeping bag and all, and I find out the clerk just wrote the wrong flight or gate number on my ticket and I have time to get to the plane after all.
It's a future with trees and grass all around. I live in this huge building with cedar shingles and all sorts of other "country" touches. I'm in someone's apartment--I think her name's Karen--with someone named John. We're looking at this half-meter-wide flying-saucer-shaped object. John mentions someone named Yorga (? Yolga? Gorla?) and I'm not sure who he's talking about. I'm not sure if I'm even in the right body or even the right world! Anyhow, he says something about how she "ditches" all of--what? her boyfriends? We're convinced that the saucer really is a spaceship and its occupants are observing Earth, looking for something. We notice sudden activity inside when we look in through the side, and we realize that we--people--are what they're looking for! We look in again and get a really warm feeling.
Karen has come back, and John leaves for some reason or other, making another comment about Yorga on his way out. Karen knows something about the inhabitants of the spaceship but I can't figure out what. I still feel like I'm in the wrong place or something as she mixes pink chemicals. I help her pour the chemicals into receptacles over by the spaceship, and I realize that we're making bodies for the aliens! The liquid foams as we pour it hurriedly. We have to wait, and we leave the apartment. Karen goes down the long outdoor stairway, and I go up to my apartment.
Later, I go by Karen's apartment and notice some tiger lilies in the window. I look at them and realize they're not flowers, they're the aliens' bodies just coming to life. I run inside and watch the flowers open into four perfect tiger lilies, and keep opening into beautiful orange butterflies. I get the same warm feeling as before, as the butterflies flit around me on all sides, examining me. We talk for a long time--maybe by voice, maybe by telepathy--and gradually the butterflies become dancing paper balloons, with faces John and I had mistaken for our own distored reflections inside the spaceship. We laugh a lot and enjoy each other's company more than just about anything else. I glance out the window and notice Karen sitting alone under a tree. I go outside to get her. As I start down the long, long stairs, I see John above me, and he asks, "But what about Yorga?" I still don't know quite what he's talking about, and again I feel like I'm in the wrong place. He shrugs and turns back up the stairs.
As I reach the bottom of the stairs, I remember that Yorga is not a person but a security system that controls who can leave the building. To leave, you have to perform this long and complicated sequence of movements, and I have no idea even how it starts. I'm still not exactly sure what the consequences of not following the sequence are, and I don't see anything stopping me from just walking out into the field. There are orange lighted LCD's in the grass under my feet, and they don't say anything, but they seem to be screaming, "No! Don't do that!" as I step out over them.
I look down and suddenly the third display, longer than the other two, reads, "THE MUSTARD GAS." I smell something pungent, and I fall down, very weak. I think I could probably stand up, but I just want to surrender to the gas. I see someone coming to pick me up, and I get up and run. I see Karen going into a white building and follow her in, closing the heavy black door between me and the guards.
It's some sort of fair or carnival, with people moving everywhere. I run in, screaming for Karen. She finds me and I see that she's carrying the aliens. They're flat sheets of paper, and they have writing now instead of faces, but I'm pretty sure they're the same.
Somehow we make our way back to Karen's apartment. As we go in, I notice that she has more than four sheets of paper--I see six. I look puzzled, and she asks what's wrong. "I thought there were just four," I say. "No," she says, and starts rippling through the papers. I see that there are dozens, and I realize that they are not my four friends but are other aliens for whom Yorga--who really is a person, or, rather, an alien in a human body, as is Karen--is collecting human bodies (which must be vacated but not damaged).