Hamlet, Rosencrantz and Guildenstern, and the Player all hide in separate barrels. The lights dim. When the lights come on again, Hamlet has vanished (in "Hamlet" it is reported that he was kidnapped by pirates from the ship). Rosencrantz and Guildenstern panic, and re-read the letter to find that it now calls for them to be put to death instead of the prince. Guildenstern cannot understand why he and Rosencrantz are so important as to necessitate their executions. The Player tells Guildenstern that all paths end in death. Guildenstern snaps and draws the Player's dagger from his belt, shouting at him that his portrayals of death do not do justice to the real thing. He stabs the Player and the Player appears to die. Guildenstern fully believes that he has killed the Player. Seconds later, the Tragedians begin to clap and the Player stands up and brushes himself off, revealing the knife to be a theatrical one with a retractable blade. The Tragedians then act out the deaths from the final scene of "Hamlet". The lighting shifts so that Rosencrantz and Guildenstern are the only ones visible. Rosencrantz still does not understand why they must die. Still, he resigns himself to his fate and his character disappears. Guildenstern wonders when he passed the point where he could have stopped the series of events that has brought him to this point. He disappears as well. The final scene features the last few lines from Shakespeare's "Hamlet", as the Ambassador from England announces that Rosencrantz and Guildenstern are dead. Metatheatre is a central structural element of "Rosencrantz and Guildenstern Are Dead". Scenes that are staged as plays, dumb shows, or commentaries on dramatic theory and practice, are prominent in both Stoppard's play and Shakespeare's original tragedy "Hamlet". In "Hamlet", metatheatrical elements include the Player's speech (2.2), Hamlet's advice to the Players (3.2), and the meta-play "The Mousetrap" (3.3). Since Rosencrantz and Guildenstern are characters from "Hamlet" itself, Stoppard's entire play can be considered a piece of metatheatre. Bernardina da Silveira Pinheiro observes that Stoppard uses metatheatrical devices to produce a "parody" of the key elements of Shakespeare's "Hamlet" that includes foregrounding two minor characters considered "nonentities" in the original tragedy.