As the camera moves – but not "while" the camera moves – we hear a woman's voice addressing Joe. Beckett specifies that the voice should be as follows: “Low, distinct, remote, little colour, absolutely steady rhythm, slightly slower than normal.” The tone throughout is accusatory. Nancy Illig describes the kind of delivery that resulted from her work with Beckett in 1966, as a “hammering staccato”. “The voice becomes a technical device, on a par with the dolly.” In the original recording “the vocal colourlessness at which Beckett was aiming was achieved by placing a microphone right up against actress’s mouth and, as her voice was being recorded, both high and low frequencies were filtered out.”