This chapter discusses the two variations of Sophocles' Antigone, Moira Buffini's play Welcome to Thebes, and Nikos Koundouros' film The Photographers, drawing on two key Baudrillarian ideas, impersonal will and impossible exchange, and aligning them to Lacan's death drive. Lacan and Baudrillard converge on the limits of presence/absence in a scene that holds "me' in its gaze as much as I hold "it' in my gaze. The "happy ending' of the play and the film confront the spectator with a difficult question—"Isn't that what you wanted'—the answers to which, a simple "yes' or "no', accentuates the difficulty of choosing without being haunted by what is lost in the alternative.