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.At the beginning of this scene a number of men have seated themselves on the ground where the Barong originally entered. These are the men who will be possessed by the boeta-kalas, demon followers of Banaspati Raja whom the Barong has now become. At the moment of the Barong's apparent defeat they are filled with such rage against Rangda that they spring up, seizing any kris that is held out to them, and fling themselves upon her in defence of their master.

At this point Rangda assumes her final form of Durga Murti (incarnate) and bewitches them with her magic cloth, so that they fall powerless to the ground. The furious, triumphant Rangda is led off the stage, sometimes in trance herself. Then the Barong comes to revive his followers, snuffling round them and caressing them with his beard. They spring up trembling and moaning, beating the air with convulsive movements. Then follows the 'kris-dance' and the sprinkling with holy water, wiped off by the Barong's beard. The boeta-kalas leave the possessed, the play is over.
With the exception of a few Balinese folk-stories, the most popular theme of Barong is Tjalonarang, or an adaptation of it to other names, and the above play is no exception. Rarong is sometimes doubled by Ratna Menggali, the witch's beautiful daughter, and the Barong is unmistakably Erlangga's minister. Why do you cry?

Why do you run away from Erlangga's patih, when you have already worked so much harm in Kediri?' cries Rangda to the weeping Rarong, and when she confesses her fears: 'Better you stay here with my daughter Menggali; I will go out alone against the patih and slay him.' And it is from Erlangga's court that she brings back the patih (Barong) by the force of her magic prayer. He finds Rangda on the burial ground, but fails to recognize her because of her white cloth, and loses his power of speech from sheer fright when he discovers that it is no ordinary Elemental he has bitten. She challenges him to send the king, to send a host against her; she will destroy them all. It is then that the Barong goes sorrowfully away, Lamenting his helplessness, and that the boeta-kalas spring to his defence.

All the encounters between the Barong and Rangda follow more or less the pattern given above, though there is considerable variety of choreographic invention. It also naturally makes a difference whether the Barong is staged on a public road or other open space, in a temple-court which the actors enter from the road or at the foot of a series of ascents from one temple court to another.

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