Barker - Barker: Plays Four

SLEEV: (Standing abruptly.) Again I cannot do the face Again Again Again this failure with the face unpick it I can't unpick it one of you (The women cease weaving.) Everything is against me everything against me now as ever (She turns to examine herself in the mirror of a wardrobe. She adjusts the tilt of her hat. She opens the wardrobe door. A naked man stands there. SLEEV looks at him with a pained detachment, then she closes the door.) Why am I frustrated by the face there is a reason for this frustration obviously the horse does not frustrate me does it the horse also has a face (She sits again, taking up the needle.) I must confront the possibility I am not meant to do the face at all possibly I should devote myself to the foliage LADDER: (A deprecating smile.) Madam SLEEV: The landscape and the foliage LADDER: Madam SLEEV: Yes let my servants do my husband's face and I will do the foliage (She flings out of her chair, returns to the wardrobe and opening the door stares at the occupant for some time before closing the door again. She examines herself in the mirror.

She turns to the women.) The widow is of all people the least qualified to describe her husband arguably the grief the rage and in many cases let us admit it the sheer ecstasy combine to render her efforts grandiloquent or simply silly you know this better than me but you are too polite to say so I say polite you are in terror of my temper but we will describe your terror as politeness one of you Keshkemmity perhaps create theimage of my husband his jaw his eyelids particularly and in less than five hundred stitches study my daughter if you have difficulty they shared a face do several versions then show me when I am satisfied go back and unstitch the first twelve panels (The women gasp.) Yes Yes I yield my husband to my maid and it does not embarrass me (Smiling stiffly, SLEEV walks to her stool.) I wish to work alone now I am studying foliage foliage and drapery (The women obey, putting away their needles and going to leave. Only LADDER hesitates.) LADDER: Madam SLEEV: Alone I said (Two of the women leave. LADDER frowns.) LADDER: Madam (SLEEV ignores her, feigning concentration.) SLEEV: I hate the way you say that word that one word madam it is more heavy than a dictionary I do not submit to criticism you know that and what is more I sense criticism even when criticism never was intended to be so sensitive is painful possibly but who feels the pain not me (SLEEV moistens a thread, lifting her eyes at last. Intimidated, LADDER departs. Alone, SLEEV threads a needle. With a characteristic sound, the wardrobe door hangs open.

The naked male figure is revealed, perfectly still. SLEEV squints, succeeds, pulls out a long thread from a reel.) Fuck me now (She does not turn to him, but nips the thread with her teeth.) Strip me now and fuck me (She stands swiftly, and waits, the needle and thread poised. The male figure remains immobile. SLEEV flings herself forward, tossing up her skirts with her one free hand. Suddenly she detects a sound. She swings about.) Door (SLEEV strides swiftly to the wardrobe and shuts the door.

A young man enters and stops.) Before the mirror Always Always before the mirror me and once there were no mirrors I have it on authority awful for the women awful for the men when Adam gazed on Eve what Adam saw was never seen by Eve (The young man stares.) GUARDALOOP: I have one minute SLEEV: Yet was Eve not self-conscious she was self-conscious obviously a self-consciousness that could never be relieved by scrutiny GUARDALOOP: Less than a minute now SLEEV: (Stretching his patience to breaking point.) If there was reflection it was only to be found in Adam's eyes but strictly speaking the terrible eyes of Adam revealed not Eve but the effect of Eve on him this was not mirroring GUARDALOOP: (With a gesture of wild impatience.) Thirty seconds now SLEEV: Thirty seconds is enough where is she? GUARDALOOP: Coming through the orchard with the child SLEEV: Enter me (GUARDALOOP is suddenly plunged into anxiety. He casts a look over his shoulder.) Swiftly Enter me (Provoked by her challenge GUARDALOOP adjusts his clothing. SLEEV drags up hers. They couple, SLEEV supporting herself on the frame of the tapestry. He takes her from behind. SLEEV cries out, thrusting a hand into her mouth.

There is a call off, from a young woman. With a cry of mingled ecstasy and bitterness, GUARDALOOP frees himself from the body of SLEEV and hurries out, attending to his clothing. SLEEV does not move at once, but continuing to rest on her hands, restores herself. Then she adjusts her skirts and turns to face her daughter, who enters carrying an infant in her arms. The child is fractious.) SHEETH: (Tenderly.) We do not like the heat out there SLEEV: (Going to the child.) We are a winter child we thrive on frost we thrive on snow (She takes the child and lovingly holds it to her shoulder.) Ice we love and crows who flap so slowly over barren fields and human skulls (She calms the child.) She's sunburned you have left her head uncovered SHEETH: (Resenting criticism.) She has a cap she throws the cap away SLEEV: I gave you a sunshade SHEETH: Yes SLEEV: You do not like the sunshade SHEETH: I do not dislike it SLEEV: You do not like the sunshade but if there is neither cap nor sunshade then (