Twisted Every Way
(CHRISTINE turns away unhappily)
CHRISTINE
Twisted every way,
what answer can I give?
Am I to risk my life,
to win the chance to live?
Can I betray the man
who once inspired my voice?
Do I become his prey?
Do I have any choice?
He kills without a thought,
he murders all that's good . . .
I know I can't refuse
and yet, I wish I could . . .
Oh God - if I agree,
what horrors wait for me
in this, the Phantom's opera . . .?
RAOUL (to CHRISTINE, very tenderly)
Christine, Christine,
don't think that I don't care -
but every hope
and every prayer
rests on you now . . .
(CHRISTINE, overcome by her conflicting emotions
turns away and hurries out. RAOUL strides forward and
addresses an imaginary PHANTOM)
RAOUL
So, it is to be war between us! But this time, clever
friend, the disaster will be yours!
(As lights fade, ATTENDANTS stretch a red, velvet rope
across the downstage area. OTHERS bring on gilt chairs.
CARLOTTA PIANGI and GIRY move downstage to take
their places for the next scene)
A REHEARSAL FOR DON JUAN TRIUMPHANT
(REYER supervises the learning of the new piece from
the piano. Present are PIANGI, CHRISTINE,
CARLOTTA, GlRY and CHORUS)
CHORUS
Hide our sword now wounded knight!
Your vainglorious gasconnade
brought you to your final fight
for your pride, high price you've paid!
CHRISTINE
Silken couch and hay-filled barn
both have been his battlefield.
PIANGI (wrong)
Those who tangle with Don Juan . . .
REYER (stopping him)
No, no, no! ChorusQrest, please.
Don Juan, Signor Piangi - here is the phrase.
(He demonstrates it)
"Those who tangle with Don Juan . . ."
If you please?
PIANGI (still wrong)
Those who tangle with Don Juan . . .
REYER
No, no. Nearly - but no.
"Those who tan, tan, tan . . ."
PIANGI (still wrong)
Those who tangle with Don Juan . . .
CARLOTTA (to the OTHERS)
His way is better. At least he make it sound like
music!
GIRY (to CARLOTTA)
Signora - would you speak that way in the
presence of the composer?
CARLOTTA (deaf to the implications of this remark)
The composer is not here. And if he were here, I
would . . .
GIRY (cutting in, ominous)
Are you certain of that, Signora . . .?
REYER
So, once again - after seven.
(He gives the note and counts in)
Five, six, seven . . .
PIANGI (wrong again)
Those who tangle with Don Juan . . .
(Gradually EVERYONE starts either to talk or to
practice the phrase simultaneously)
CARLOTTA
Ah, piu non posso! What does it matter what notes
we sing?
GIRY
Have patience, Signora.
CARLOTTA
No-one will know if it is right or if it is wrong.
No-one will care if it is right, or if it is wrong.
CARLOTTA (mocking)
Those who tangle
with Don Juan!
PIANGI (trying again)
Those who tan . . . tan . . .
(to CHRISTINE)
Is right?
CHRISTINE (to PIANGI)
Not quite, Signor:
Those who tan . . . tan . . .
REYER (attempting lo restore order)
Ladies . . . Signor Piangi . . . if you please . . .
(REYER thumps the piano keys, then leaves the piano,
and attempts to attract attention using signals. Al the
height of the mayhem, the piano suddenly begins to
demonstrate the music unaided. It plays with great force
and rhythm. ALL fall silent and freeze then suddenly start
to sing the piece robotically and accurately. As they
continue to sing, CHRISTINE moves away from the
group.)
ALL EXCEPT CHRISTINE
Poor young maiden! For the thrill
on your tongue of stolen sweets
you will have to pay the bill -
tangled in the winding sheets!
(As the ENSEMBLE becomes background, CHRISTINE,
transfixed, sings independently):
CHRISTINE
In sleep
he sang to me,
in dreams
he came . . .
that voice
which calls to me
and speaks
my name . . .
(The scene begins to change. Trance-like, CHRISTINE
moves slowly upstage. We hear the distant sound of
bells)
Little Lotte
thought of everything and nothing . . .
Her Father promised her
that he would send her the Angel of Music . . .
Her father promised her . . .
Her father promised her . . .