In Bliss and Heaven a young man dressed in jeans and a vest walks determinedly through a wheat field under the hot, midday summer sun in an eerily quiet landscape. This scene is interrupted a few times by a view of the field shot from within a noisy truck moving on a road parallel to the field. When the vehicle approaches and passes him by, the young protagonist hides in the field and watches the truck driver, an older man resembling him and dressed in the same way as him, disappear inside the boot of the vehicle that is now parked in a parking lot of what looks like a deserted power station. The young man discreetly follows the driver inside the dark boot where, lured by some music, he is drawn towards the back, only to discover at the end of it an empty, majestic theatre. There the older man, wearing a long-hair blonde wig and a silk scarf, has taken to a floodlit stage and, oblivious of the young man, is just beginning his performance of Olivia Newton-John’s 1978 love song Please don’t keep me waiting, sung in a bass voice. The young man watches the performer who, at the zenith of his act – just as he completely lets go of his inhibitions – realises he is being watched, and staggers to the ground in a crescendo of music, wind and light effects. As he starts to regain his balance, the curtain is drawn, and the young man stands up in awe, alone in a newly-lit theatre, and heartily applauds.