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As noted above, the Guardsmen are doubles for the rank-and-file fascist collaborators or collabos of his day. Their indifference makes them brutal and dangerous. The most poignant staging of his indifference is undoubtedly that in Antigone's cell. The pathos of the scene inheres in Antigone's appeals to the last face she will see, a face that is blind, brutal, and indifferent. The First Guard, as small-minded as ever, responds unfeelingly to her pleas, rambling about the trivialities of his job. As with the discussion of the party during Antigone's arrest, Anouilh would thus contrast his heroine's high tragedy with the banalities that occupy the guardsmen. The Guards also stand in for the inappropriate spectator, the audience-member who remains inured to the tragic. Thus they make two ironic appearances at the beginning and end of the play, playing cards on the palace steps. As the Chorus remarks in the epilogue, they remain untouched by the tragedy—"it's no skin off their noses." The indifferent members of the rank-and-file would thus stand in an almost edifying contrast to the audience that has undergone, or should have undergone, its catharsis.