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Phantom Of The Opera Miscellaneous 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 . . . |
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