Movements are harvested from the audience's fidgeting and taught to a dancer, who grows them into something fuller. A second performer watches and describes what they see - in a mix of practical instructions and metaphors - for a third performer to replicate without ever looking at the original. The piece functions like a production line, each translation distorting what came before.

[crops] ends in the prophetic perfect tense: the live choreographer begins describing what will happen rather than what is, overtaking the present moment until the stage empties and only one dancer remains.