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This fifteenth week is the least satisfactory of the whole analysis from the viewpoint of Mrs Klein's work. Richard is absolutely preoccupied with the approaching end, and attempts to work out the various possibilities, sometimes in quite a matter-of-fact and rather grown-up way. If she dies would somebody else be available? Could he not go to London, stay in a hotel? It seems to cause Mrs Klein great distress during the week and perhaps makes her work less well than usual. I would think that she must have been considering in her mind the same possibilities. She did call his mother, and try to discuss the question of the continuation of the analysis. Although she firmly took it upon herself that the decision to come to London was too dangerous for him, one assumes that she must have tried to investigate this with the mother and found her quite adamant about it. In a way Richard is better than Mrs Klein in this week, produces dreams and new play material but does not get much in response. The previous week she had lost track of the formulation about the breast and the nipple and the upstairs and downstairs of the mummy's body. Things went wrong when she played the piano and later she lost her temper. But she was struggling.
Some of the notes to this week indicate conceptual limitations or difficulties she was having at that time. One such limitation is illustrated by the theme of the three conductresses, not only two, not just a pretty face and a not so pretty one, but now a painted-faced one as well. This third figure has to do with Richard's distrust of Mrs Klein and of his mother and his suspicion of hypocrisy. This is mainly a projection of his own hypocrisy and trickiness and slyness. The charm and seductiveness of the early weeks has been replaced by urgent clinging. He can hardly keep his hands off Mrs Klein now. He touches her and looks at her in a way in which his eyes are touching and clinging. The whole concept of clinging and sticking (which Mrs Bick has b