In the dying moments of the drama, Willie suddenly seizes the initiative. His actions appear to fulfil Winnie's long held desire:

Winnie: Do you know what I dream sometimes? [Pause.] What I dream sometimes, Willie. [Pause.] That you'll come round and live this side where I could see you.

He appears in striking morning coat, top hat, striped trousers and carrying white gloves. Perhaps he seeks to impress? As he approaches he constantly strokes his imposing moustache, straightens his tie, adjusts and even doffs his hat as he looks up at Winnie. Perhaps he hopes to steal a kiss? Perhaps he imagines that the good old happy days are here again?

He perseveres manfully to reach her, expending every last ounce of his energy. Perhaps he has come to dig her out? 'Feast your old eyes, Willie,' she seems to tease. His excitement grows as she promises to cheer him on. On his bended knees, his face raised and arms reaching up towards her, she is twice reminded of the day he once professed 'I worship you, Winnie, be mine'. Perhaps that is what he is trying to say again when finally he summons the strength to speak:

Willie: [Just audible.] Win.

Winnie wonders: 'Is it me you're after, Willie … or is it something else?'

Willie advances upon her, crawling out from his hole in the ground like some beast 'on all fours'. He bears an expression that may reflect his own suffering but which clearly frightens Winnie: 'Don't look at me like that! [Pause. Vehement.] Don't look at me like that!'

The text directs that Willie be 'dressed to kill'. Winnie's revolver has lain throughout the second act convenient and 'conspicuous to her right on mound'. Willie's advance begins 'to her right round corner of mound'. Is he crawling towards Winnie or the revolver? Perhaps he will use the weapon on Winnie or perhaps to put an end to his own suffering? Once before she worried about his suicidal inclination. Is the gun loaded? Will it still work? Perhaps.

'The key word in my plays is perhaps,' whispers Beckett.