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I get the feeling that I'll never sell anything again, that I won't make a living for you, or ... ' But even this rationalisation is undercut by the intrusion of the image of the woman in the Boston hotel room and the reminder that, in some ways, he had been more generous to his mistress than to his wife. As he approaches the final unspeakable fear - the possibility that he has betrayed Biff too by the double folly of lying and being found out - the voices become more and more accusing. ' When he returns to the present he is like a man who has glimpsed the ultimate horror, and his immediate impulse is to protect his innocence.
There in the peaceful surroundings of the New England countryside he began again the painful process of extracting meaning from 23 Arthur Miller experience. About this time he was asked to do a screen adaptation of Albert Camus' novel, The Fall. The project fell through, but Miller became fascinated by the ironic picture of moral evasiveness in the French work. He had been working for some time on a play about individuals who had lived through the 1930s and found their ideals in conflict with the course of post-war American life.
Chris, too, is disillusioned in the play when he discovers that his father whom he had idolised is no better than other men. The pain caused by that insight is intense and has the effect of temporarily paralysing his will- 'I never saw you as a man. I saw you as my father. I can't look at you this way. ' As a result of his sorrow, Chris vacillates between an inability to face his father and an over-zealous vindictiveness. When he hears the shot, he is overcome by doubt and remorse, and it is Kate who encourages him to take control of his life- 'Don't take it on yourself.