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 . .