Several scenes can be played by the same actors. Also, not all voices may be heard in the Second Act. Cuts can be made in the first part of the Second Act: it depends on the effectiveness of the voices and their absurd comments. The director can choose those that he likes.

However, it should aim to achieve as much stereo sound as possible. In the Second Act, it would be good to have as many silhouettes as possible appear through the window, like a theatre within a theatre. In any case, at the beginning of the Second Act, it is essential for voices and sounds to be heard in the empty stage, at least for a few minutes, to indicate and emphasize the atmosphere of street and city.

These sounds are heard at the end of the First Act, fade after the arrival of Beranzé and return at the beginning of the Third Act, only to fade at the end. Additionally, some cuts can be made in the First Act, depending on the strength of the actor playing the role and his physical ability to 'carry it out.'

Beranzé's speech to the Murderer, at the end of the play, is in itself a one-act play. The text must be interpreted in a way that shows Beranzé's gradual collapse and the emptiness of his rather mundane morality, which deflates like a punctured balloon. Essentially, Beranzé finds within himself, and without intending to, arguments in favor of the Murderer.