in which he must decide what his fate will be. Inés is speaking from Purgatory, having made a deal with God to offer her own blameless soul on behalf of don Juan's. God therefore agreed that their two souls would be bound together eternally, so don Juan must choose either salvation or damnation for both himself and doña Inés. Then, two of don Juan's old friends, Centellas and Avellaneda, show up, and don Juan convinces himself that he hadn't truly seen a ghost at all. In order to prove his bravado, he heretically invites don Gonzalo's statue to dinner that evening. Don Juan goes on blaspheming against heaven and the dead throughout the following scenes, until don Gonzalo's statue really does show up at supper. Don Juan manages to remain largely nonchalant, although both of his other guests pass out, as don Gonzalo tells him once more that his time is running out. When Avellaneda and Centellas wake up, don Juan accuses them of having contrived this show to make fun of him. Offended, they accuse him of having drugged their drinks to mock them, and they end up in a swordfight. The third act of Part Two is difficult to describe definitely, in that various critics have interpreted it differently (see below). Don Juan is back in the cemetery, led there by Don Gonzalo's ghost. Don Gonzalo's tomb opens and reveals an hourglass that represents Don Juan's life. It has almost run out, and Don Gonzalo says that Centellas already killed don Juan in the duel. He then takes Don Juan's arm to lead him into Hell. Don Juan protests that he isn't dead and reaches out to heaven for mercy. Doña Inés appears and redeems him, and the two go to Heaven together. Interpretation This don Juan shifts away from the moralistic theme of Tirso de Molina's play. This carefree character is much more conflicted than Molina's original and highlights the manner in which the values of the myth can be reinterpreted. Zorrilla's play (and don Juan's final repentance) is often understood as an assertion of the author's conservativism and Catholic faith. It has become a tradition of both Spanish and Mexican theater to perform el Tenorio on All Saints Day or its Mexican equivalent the Day of the Dead, so the play has been performed at least once every year for over a century. It is also