gin mill story told earlier, with the difference that now it is the son who crashed against the tree instead of the friend's father. Martha screams, "You can't do that!" and collapses. It becomes clear to the guests that George and Martha's son is a mutually agreed-upon fiction. The fictional son is a final "game" the two have been playing since discovering early in their marriage that they are infertile. George has decided to "kill" him because Martha broke the game's single rule: never mention the son to others. Overcome with horror and pity, Nick and Honey leave. Martha suggests they could invent a new imaginary child, but George forbids the idea, saying it was time for the game to end for the good of Martha herself, as she has now reached a point of no return, when illusion is confused with reality. The play ends with George singing, "Who's afraid of Virginia Woolf?" to Martha, whereupon she replies, "I am, George...I am." Themes Reality and illusion Albee has said that the title of the play "means who’s afraid of the big bad wolf … who’s afraid of living life without false illusions." Albee’s interest in the theme of reality versus illusion is expressed in a number of his plays. In discussing Who’s Afraid of Virginia Woolf? he cites Nietzsche’s interpretation of the Apollonian/Dionysian dichotomy of ancient Greek drama, as described in The Birth of Tragedy. Albee says, "There was a time when people believed in deities. And then revolutions came—industrial, French, Freudian, Marxist. God and absolutes vanished. Individuals find this very difficult and uncomfortable. All they have left is fantasy or the examination of the self." According to Lawrence Kingsley, Albee’s characters create illusions to help them evade feelings of their own inadequacy—as "George and Martha have evaded the ugliness of their marriage by taking refuge in illusion.” The play demonstrates "how his characters must rid themselves of falsehood and return to the world in which they must live." The distinction between truth and illusion is at times deliberately unclear. The existence of the child, the "murder" by George of his parents, or Honey’s "pregnancy" may be illusions, but they still have a reality to the characters. Illusions may be exorcised in the play, but no truth or apparent reality is supplied in its place. "All truth", George says, "[becomes] relative". Critique of societal expectations Christopher Bigsby asserts that