But the chief alteration which Mozart contemplated was in the conclusion of the second act. In Bretzner's text the abduction scene is treated as a grand ensemble movement, with which the third act commences. A long and elaborate duet between Belmont and Pedrillo, who are lying in ambush, makes the beginning, and then Constanze appears and is carried off by Belmont. After Pedrillo has climbed up to Blondchen in the window, Osmin comes out of the house still heavy with sleep; but he sees the fugitives and has them pursued and brought back by his guard; they beg for mercy, seek to regain their liberty by bribery--in vain; Osmin rages, and all the characters are in a state of excitement. Mozart's quick eye saw that this scene, bringing together all the characters in a succession of rapidly varying and contrasting situations, forms the culminating point of the opera; he wished, therefore, that this "charming quintet, or rather finale, should be placed at the close of the second act." He also saw that this transposition would necessitate other important alterations. The second act could be kept together very well by the mutual understanding of the two lovers; but the third act, for which nothing was reserved but the unravelling of the knot by the clemency of the Sultan, if it was to have any substance or interest, "must be provided with an entirely new intrigue." The difficulty {ALTERATIONS IN THE LIBRETTO.} (225) of finding this seems to have put a stop to the alteration, and the original arrangement remained. But for Bretzner's insignificant finale to the second act there was substituted an elaborate quartet, which expresses in music the reunion of the lovers in its various aspects of joy and jealousy, of disputes and reconciliation. An air for Belmont precedes this; it is well-fitted for the situation, and is intended also as a concession to the singer, for in this act, where all the other characters come to the front, Belmont had originally nothing to sing but the ensemble music.