When Berg explained his progress with composing Lulu in a letter to Schoenberg on August 7, 1930, he had already set his mind on one of the most important distinctions between his new opera and the plays by Frank Wedekind on which the libretto was based: namely, the return of Lulu's “victims” (her husbands) as her clients in the final scene. After describing the role of the orchestral interlude between the first and second scenes of act 2 as the “focal point for the whole tragedy,” Berg added this parenthetical comment: “(Incidentally: the 4 men [actually three] who visit Lulu in her attic room are to be portrayed in the opera by the same singers who fall victim to her in the first half of the opera. In reverse order, however).” Although he originally planned to bring them back in reverse order to establish a large-scale palin-dromic structure, he later opted to retain the same order as their presentation in the original play. In the final version, Lulu's first husband, Dr. Goll, whose death occurs in the first scene of act 1, returns as the Silent Professor; the Painter, who commits suicide in the second scene, returns as the Negro; and Dr. Schön, who is killed in the first scene of act 2, returns as Lulu's final client, Jack the Ripper.