Quivira was tied face down upon a wooden table. She was lying in a bed of briers, nettles and burrs, and the entire kitchen was arranged with brambles which formed a hedgerow around the wall. The effect was that of the myth of dreamfulness. Quivira lies still, decked to the tooth in the works of English flora. A pig, followed by two dogs, enter the kitchen and sniff up the atmosphere. The actor who enters next brushes away the green spiculum from Quivira's behind, and after gently pressing himself into her, begins his gladiating. For two minutes the male character gently buffs Quivira as the animals snort below him, and then, the buffing turns to studding. We listen to the couple, but the camera follows first the pig through the broken flowers on the kitchen floor, before we catch the dog sniffing up the actor's rear. Holly branches cover the kitchen window and the crockery shakes pleasantly on the sideboard. The studding becomes knobbing and Quivira begins to lift off the table .... the knobbing becomes deep corrugation and the actor slicks back and fore, slippery as an eel in his lubricated furrow. The corrugation increases as the camera takes close ups of the pig. Soon, from above, there is a choppy bumping as Quivira's body thumps regularly against the wooden table. Quivira's mouth is agape and her eyes shine as the actor puts her through the mangle one last time. He rises to high speed just as the last of the foliage falls aside in unlevelled pieces on the floor .... And with his natural end achieved, he expires ... "Woy are you get the girl to see the pig," said Oliver when it was over.