David Barker is a minimalist. He pares away every non–essential detail, event, and line of dialogue in his three–character drama about a couple who have to cope with the disruption of an unexpected, Boudu–like visitor. Coinciding with the austerity of the visuals and the spareness of the narrative, the emotional content is almost entirely suppressed, pushed downward, swept under the rug, and left unspoken. These characters cannot even admit their emotional problems, let alone discuss them or work them out. The question Barker asks without asking is which character does the title most describe? And what is he or she afraid of?