The stylized and caricatured 18th-century farm yard is, in some ways, just as unreal as 21st-century Las Vegas.
Wouldn't you have to add music to allow for the transition through time and space? How, exactly, might the "elopement" be staged, I wonder? What are they escaping from? Do you imagine the other characters pursuing them, or do they leave -- and arrive -- alone?
Here's another ending that I've often thought about. At the end of Pas de Quatre, the 4 tres-spirituelles ballerinas pose frozen in their iconic concluding tableau. Silence. The audience, of course, begins to applaud. But no one moves. The applause begins to taper off. The audience is uncomfortable.
At that point, the flower boy emerges from the wings. He walks towards the 4 ballerinas. From behind his huge bouquet, he withdraws -- one after another -- 4 custard pies. He plants each firmly, almost sacramentally, on a ballerinas' face. They remain in pose. He performs a courtly bow to the ladies and departs, stage right. Curtain.