Interlude: during the music of the interlude a silent movie is shown. In it, we see Lulu being taken by the police, tried in court, and put into prison. Then we see her deliberately getting the illness cholera and being taken to hospital. The Countess Geschwitz visits her, and gives her own clothes, so that Lulu can escape disguised as the Countess.
Scene 2: The Countess Geschwitz, Alwa and the Acrobat are in the same room as Act II, Scene 1. They are waiting for Schigolch, who is to take the Countess to the hospital. She is going to give up her own freedom by taking Lulu's place so that nobody will discover she has escaped until it is too late. The Acrobat says he is going to marry Lulu and move with her to Paris where the two will work in an act together. Schigolch leaves with the countess, then returns with Lulu, who is so ill from her disease that the Acrobat does not follow his plan, but goes off to get the police instead. Schigolch is sent off to buy train tickets, and, left alone, Alwa and Lulu say they love each other and agree to go away together.
Scene 1: Lulu and Alwa are now living in Paris. The scene is a party in a casino. Lulu is being forced by blackmail to work in a Cairo brothel by the Acrobat and a pimp. The police still want her for Dr. Schön's murder and the Acrobat and the pimp say to her that they will take her to the police if she does not do as they say. Schigolch arrives, asking for money. She is persuaded to lure the Acrobat away to a hotel and murder him. After they have gone, news arrives that the railway company has run out of money. The guests have all got money in the company. The party quickly breaks up, and in the confusion, Lulu manages to change clothes with a young man. She escapes with Alwa just before the police arrive to catch her.
Scene 2: Lulu and Alwa are now living with Schigolch. They are poor are in London so that the police cannot find them. Lulu is working as a prostitute. She arrives with a client, a professor (played by the same actor as Dr. Goll, Lulu's first husband). The Countess Geschwitz then arrives with a portrait of Lulu which she has brought from Paris. Alwa hangs it on the wall. Lulu goes out, and returns with another client, the Negro (played by the same actor as the Painter, Lulu's second husband). He refuses to pay before making love, and kills Alwa in a struggle. Schigolch takes the body away while Geschwitz thinks about killing herself, but then gives up the idea when she realises that Lulu does not care. Eventually, Lulu goes out and comes back with a third client (played by the same actor as Dr. Schön, Lulu's third husband). He argues over the price, and is about to leave when Lulu decides she will sleep with him for less than her usual fee. This client, who is actually Jack the Ripper, murders Lulu, and then on his way out kills the Countess as well, who swears her love to Lulu as the curtain comes down.
The shape of the whole opera is often said to be like a mirror – Lulu's popularity in the first act is mirrored by the poverty she lives in during Act III. Also, Lulu's husbands in Act I are played by the same singers as her clients in Act III. In the middle of the opera is the movie. Even some of the music is a palindrome (it reads the same forwards as backwards). This can be seen at the very middle of the Act II Interlude, when a piano plays a rising pattern of notes, which then reverses direction and falls.
Some of the characters have their own music which, in each case, is a theme made of twelve notes. This is the twelve-tone system which was invented by Berg’s teacher Arnold Schoenberg. By giving each character a theme, he is using the idea of a leitmotif, which was used a lot by Wagner. This can be heard in Scene I of Act II, when Lulu sings a dramatic solo telling Dr. Schön she has never pretended to be anything other than what she is. The first twelve syllables (If men have killed themselves for my sake...) that she sings are set to her leitmotif.
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MacFarlane went to Rhode Island School of Design (RISD), a school in Rhode Island where he studied animation. He made a short cartoon movie named, "The Life of Larry" during his senior year. He worked at Hanna-Barbera writing and making episodes of "Johnny Bravo". FOX, a media network, saw "The Life of Larry" and offered him $50,000 to make a pilot.
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Salisbury