Though enraged by the news, the ever-practical Creon orders an immediate cover- up. The kid's shovel also seems to evoke an allegory of the Resistance. Though Creon has broken the back of the organized resistance, the lone child, perhaps a double for the boy who ostensibly inspired Anouilh's adaptation, rebels, readily presenting himself for martyrdom. The play is clearly drawn to this image of youthful resistance. Chillingly Creon then turns to the Page. It would seem that he both muses about the Page's potential betrayals and wonders if he could use him in a cover-up. That is, pin the crime on the child and offer him up to the mob. Here the overtones of totalitarianism in Creon's rule are probably the most explicit.
The scene then breaks and the Chorus returns, announcing that the tragedy has occurred. His speech offers a meta-theatrical commentary on the nature of tragedy. Here, in apparently a reference to Jean Cocteau, tragedy appears as a machine in perfect order, a machine that proceeds automatically and has been ready since the beginning of time. Tension of the tragic plot is the tension of a spring. The most haphazard event sets it on its inexorable march; tension has been lying in wait for its catalyst. Tragedy belongs to an order outside human time and action. It will realize itself in spite of its players and all their attempts at intervention.