(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 . . .