WAITERS, CLEANERS, ORCHESTRA, etc.
ACT TWO
Scene 1
TIME: 1880.
SCENE: The scene is the interior of Shlick's
cafe in Vienna.
It is about 12 o'clock noon, and WAITERS
in shirt sleeves are tidying up the
tables and polishing brasses. There
are also some cleaners and charwomen
swabbing the floor. CARL in shirt
sleeves is rehearsing with the Orchestra
on the orchestra platform at the back.
LOTTE, HANSI, and FREDA, three ladies
of the Town elaborately dressed, are
seated at a table down stage R.
THE OPENING CHORUS is sung in snatches
by the WAITERS, CLEANERS, ETC.
Waiters:
Life in the morning isn't too bright
When you've had to hurry round and carry
plates all night
And the evening isn't too gay
When you know you've got to rise and get
at work all day
This cage merely caters
For a horde of drunken satyrs
Why oh why we're waiters nobody can say
Waiters:
Life in the morning isn't too bright
When you've had to hurry round and carry
plates all night
Cleaners:
Oh dear it's clear to see that cleaners
Lead a worse life
Waiters:
And the evening isn't too gay
When you know you've got to rise and be
at work all day
Cleaners:
You see the reason why each day we want
to curse life
Waiters:
For this cafe merely caters
Cleaners:
Weary
(CLEANERS start up R. to exit L)
Waiters:
For a horde of drunken satyrs
Waiters:
Why oh why we're waiters nobody can say
4 GIRLS EXIT UP L.
2 GIRLS EXIT UP R.
6 BOYS EXIT UP R.
3 BOYS EXIT DOWN L.
At the end of it,
CARL rests his
orchestra for a moment.
Lotte
He left me at half-past ten, my dear, he kissed my hand a la
grand chavalier which made me laugh. I must say.
Freda
Is that all he left you with - a kiss?
Lotte
Don't be vulgaar, Freda, everything was arranged last night in
hos carriage - we drove round and round the Ringstrasse.
Hansi
I hope it didn't make you too giddy, dear.
Lotte
You none of you understand, this is an "affair de coeur,"
I'm sure of it.
(FRITZ, a waiter, brings Lotte a bill
for the coffee and Brioches they have
been having)
Lotte
It's not my turn - Hansi?
Lotte
Come along, Freda - no fumbling.
Freda
I wasn't fumbling - I was just trying to count up how many times
I've paid during the last month.
Hansi
That oughten't to take you long.
Freda
(Rather crossly)
Oh here you are then.
(She gives him some money)
(HE nods and goes off)
Freda
Driving round the Ringstrasse, my dear, talking business.
Lotte
You can all jeer if you like, but just you wait and see. Anyhow
I feel positively exhausted, having had to get up so early.
(GUSSI enters elaborately dressed and
wearing a fur tippet and muff)
Freda
Oh my God, look at Gussi.
Hansi
(Fingering the tippet)
Where did you get it?
Hansi
Here, leave off, surely you've seen a bit of mink before?
Hansi
Well have a good look now and enjoy it.
Lotte
Who gave it to you?
Hansi
(With great coyness)
Well, I hardly like to tell you, it was such a delightful
surprise - I had been spending the night with my dear grandmother -
Hansi
I hope she took her spurs off.
(Cross to table R.)
(THEY all laugh. GUSSI sits down at the
table)
Lotte
Do you want some coffee?
Hansi
No thanks, it would spoil my lunch.
(Cross back to table R)
Freda
I'm lunching at Sacher's - I can bring a friend - Hansi?
Hansi
No thank you, dear.
Lotte
Who are you lunching with, the old ostrich?
Freda
No, he's gone to Warsaw. This is a banker, quite young but
common, no use for dinner - do you want to come?
Hansi
I can't imagine Freda, why you waste your time with small fry.
Freda
I don't consider any free meal small fry.
Hansi
Where's the snow queen?
Lotte
She'll be here soon, looking at Carl with sheep's eyes.
(Giggles)
Hansi
Don't laugh at her, she does adore him.
Lotte
It's all very well to adore your husband, dear, but it's silly
to overdo it.
Freda
Whenever any of the Officers ask her to dance, she goes off
into a decline.
Hansi
There's no doubt about it; love is very bad for business.
(LOTTE, FREDA, and HANSI sing a trio)
NO. 10 "LADIES OF THE TOWN"
1.
Though we're often accused of excessively plastic, drastic sins
When we're asked to decide on the wrong or the right life,
Night life wins,
We know that Destiny will never bring
A wedding ring about
Our moral sense may really not be quite the thing
To fling about, sing about;
We'll achieve independence before it's too late, and
Wait and see
What care, what care we?
Refrain 1.
Ladies of the town,
Ladies of the town,
Though we've not a confession sir,
We have quite a professional flair
Strolling up and down, strolling up and down,
We employ quite an amiable system
Of achieving renown,
Though the church and state abuses us,
For as long as it amuses us,
We'll remain, no matter how they frown
Naughty, naughty ladies of the town.
2.
We can often behave in a very disarming, charming way,
Which can frequently add to the money we lay by,
Day by day.
If we are told of something on the Stock Exchange,
We pry a bit,
And if it's safe we get some kindly banker
To supply a bit, buy a bit,
And if later our helpers may wish to forget us,
Set us free,
What care, what care we?
Refrain 2.
Ladies of the town, ladies of the town,
Though we're socially under a cloud
Please forgive us for laughing aloud
(Laugh)
Strolling up and down, strolling up and down.
(Bus. MAN crosses. THEY drop their
hankies. HE exits L)
Disapproval may sometimes submerge us,
But we none of us drown,
We have known in great variety
Members of the best society
And should we decide to settle down,
We'll be wealthy ladies of the town.
EXTRA COUPLET
When we meet the Royal Princes
It's rather sweet how each one winces
Uneasy lies the head that wears a crown
All because of ladies of the town.
(When LOTTE, FREDA, and HANSI have gone off -
CARL addresses his orchestra on the dais)
Carl
Boys, when you take the first refrain - bring it out, let it
live and breathe, and mean something, in the last four bars.
I've marked a rallentando - Now then -
(He raises his baton and the orchestra
begins La Crevatte's song - as the music
swells - MANON enters briskly R. up.
SHE is naturally in day clothes and a hat -
SHE listens for a moment and then stamps
her feet. CARL stops the orchestra)
Manon
No, Carl - it must be quicker there.
Carl
When we were working yesterday that was the exact spot you
wanted it slower.
(THEY argue)
Manon
Listen - it starts so -
(She sings)
"Lorsque l'etais petite on marchant parai les pres"- swift.
Staccato like that, then
"J'entendia la voix d'ma Tante, qui
murmurs a cote -
just a lootle slower - not much you understand --
(He starts the music again)
Manon
(Stops him)
No, no, no - you are so stubborn.
(THEY argue)
Manon
Yes - you are a musician, yes, but you know nothing about singers
especially when they have no voice like me.
Carl
(Coming down to her)
Ah, no! You have a beautiful voice, Manon.
Manon
(Laughing suddenly)
Now you are being sweet to me, it is so many years since I saw
that solemn look in your eyes --
Carl
You can't expect me to pay you compliments often when you try
to quarrel with me all the time.
(THEY argue)
Manon
I quarrel! Don't be a fool.
Carl
(Turning away)
It's you who are a fool --
Manon
(Pause, cross to him. Touching his
arm, softly)
No, Carl -- I was once -- but I'm not any more.
Manon
Where is Sari -- your little English Sarah?
Carl
She will be here soon.
Manon
(Mocking)
How exciting!
Carl
You do hate her, don't you?
Manon
(Gaily)
Passionately -- I should like to scratch her eyes out, pull
her nose off and wring her neck.
(Laughs)
(She laughs again)
Carl
Don't laugh like that.
(CARL walks away L. SHE follows to
L.C.)
Manon
You used to love my laughter -- it was so gay and charming.
You said -- I think you mentioned once that it reminded you
of a bird chirping, that was a very pretty thought, Carl.
(She smacks him playfully)
(HE bundles her off)
Carl
Please go away now -- I must continue my rehearsal.
(THEY argue)
Manon
I'm only teasing you and irritating you because I'm jealous --
Carl
But, Manon, why on earth should you be jealous?
(THEY argue)
Manon
(Holding up her hand)
No, don't protest and say I have no right to be jealous! I
know that well -- ours was such a silly little affair really,
and so long ago, but somehow it was very charming and it left
a little sting behind -- here.
(Indicates her heart)
Carl
It was your fault that it ended.
Manon
I know that too -- and I'm glad -- I was very proud of myself
finishing it all suddenly like that -- because it was for the
best -- I was no good for you really -- not faithful enough,
and you should be free always, because you're an artist.
(She turns away)
But now you'll never be free, so my beautiful little sacrifice
was all in vain --
(She laughs)
Go back to your work -- I'll run through my words here --
(He argues)
Manon
Please -- play my music for me --
(MUSIC CUE)
I'm not sure of it yet -- I'm not sure of anything.
(CARL looks at her silently for a moment,
and then goes thoughtfully back to the
orchestra. FRITZ enters R. with a drink)
Manon
Ah! Bon jour Fritz! Vous ne paz oubliez ce matin, n'est ce
pas?
Fritz
Non, Madame, pas oubliez, Jamais.
Fritz
Tres bien, Madame, et vouz?
Manon
Tres bien! Et la famme?
(Laughs, She pays him)
Fritz
Merci bien, madame!
(Exits R.)
Manon
Bon garcon, Fritz!
NO. 11 "IF LOVE WERE ALL"
(MANON)
Verse 1.
Life is very rough and tumble
For a humble
Diseuse
One can betray one's troubles never
Whatever
Occurs
Night after night
Have to look bright
Whether you're well or ill
People must laugh their fill
You mustn't sleep
Till dawn comes creeping
Though I never really grumble
Life's a jumble
Indeed -
And in my efforts to succeed
I've had to formulate a creed -
Refrain
I believe in doing what I can
In crying when I must
In laughing when I choose
Heigho if love were all
I should be lonely
I believe the more you love a man
The more you give your trust
The more you're bound to lose
Although when shadows fall
I think if only --
Somebody splendid really needed me
Someone affectionate and dear
Cares would be ended if I knew that he
Wanted to have me near
But I believe that since my life began
The most I've had is just
A talent to amuse.
Heigho, if love were all!
(Sucks straws)
(Repeat refrain, during which they
argue in French)
Manon
Mon cher ami, tout a l'heure c'stait encore trop vite.
Carl
Mais je ne peux pas jouer plus lentement, c'est le correcte
rhythme, c'est impossible de le changer.
Manon
Sapristi, rien n'est impossible, tu es toujours embete.
Carl
Fiche-moi le paix! Tu m'embetes toute la journee. Tu m'embetes.
Tu ne connais pas ton metier. Puisque je t'ai dit que tu es
une jolie voix, tu crois que tu es une grande artiste.
Manon
Mais non, mais non. Jamais de la vie! Tu crois que parceque
tu as epouse cette petite Anglasie de rien du tout que tu
peux te donner des airs.
Carl
Ce ne tu regarde pas que j'ai marie ou que je n'ai pas marie.
Ce c'est, non affaire; Manon, Manon, sois transquille, ne sois
pas faches.
Manon
Oh non, je ne ouis pas faches exactement.
(MANON goes off after argument L.
CARL, at the end of Manon's song dismisses
the orchestra, who go off -
HE comes down from the dais, putting
on his coat when GUSSI enters L)
Hansi
Are you lunching with anyone?
Hansi
I might have known it.
(She slips her arm through his)
Let me know when you feel like being unfaithful to her,
won't you?
Carl
(Smiling)
You're bad, Gussi, thoroughly bad - go along with you.
Hansi
Here listen, you know that dark red coat of mine?
Hansi
Would your Sari like it. I've had this given to me.
(she waves her muff)
I shan't need it any more.
Carl
It's very very sweet of you, Gussi.
Hansi
You both look so pinched - it depresses me to look at you -
bring Sari along to lunch at my flat -
(CAPTAIN AUGUST LUTTE enters - Captain
August is a debonair imposing looking
man)
Hansi
Just a moment, some good news has come in - come at 1:30, if
I'm not back tell Liza to serve you.
Hansi
(Firmly)
Good-bye, dear Carl -
(Carl goes off laughing. GUSSI sidles
up to Captain August)
Captain
(Bowing stiffly)
Good morning.
Hansi
Can I do anything for you?
Captain
I wish to see Herr Schlick.
Hansi
(Grimacing)
How nice.
Captain
(Abruptly)
You are very pretty.
Hansi
(Shrinking away)
Oh Captain - my salts - my salts.
Captain
Perhaps you will make a rendezvous with me for next week?
Hansi
I may be dead next week, what's the matter with now?
Captain
I fear that I am otherwise engaged.
(HERR SCHLICK enters, oily and ingratiating)
Herr Schlick
Captain - forgive me please - I -
(Sees Gussi)
What are you doing here?
Hansi
Just feeding the swans - Goodbye, one and all. Goodbye!
(She goes off R.C.)
Captain
Herr Schlick, I have a complaint to make.
Herr Schlick
It shall be rectified - before you say it, whatever is wrong
is rectified.
Captain
Among your professional dancing partners you have been careless
enough to engage an iceberg.
(MANON enters L. Crosses behind bandstand
to R)
Captain
A beautiful alluring unsociable iceberg - her name is Sari.
Herr Schlick
She is new, Captain, she has only been here a few weeks.
Captain
Even a few weeks is surely time enough to enable her to melt
sufficiently to sup with me, -
Herr Schlick
She is English, Captain, one must make allowances.
Captain
I do not come to a cafe of this sort to make allowances - I
come to amuse myself and to pay for it.
Herr Schlick
(Very flurried)
Captain - I assure you - anything that you wish - I will arrange
as soon as possible.
Captain
I wish for this Sari, to sup with me - tonight.
Herr Schlick
She shall, Captain, she shall.
Captain
You will please have a special supper laid ready in a quiet
room - No. 7 is the best, I think -
(MANON crosses L. and hides behind L.
rail)
Herr Schlick
You are sure that you would not rather have Lotte or perhaps
Hansi -
Herr Schlick
You see this English girl is the wife of my orchestra leader -
they are said to be in love -
(Laughs)
It will be a little difficult --
Captain
(Rising)
I hope I have made myself quite clear -
Herr Schlick
But, Captain -
Captain
You will please arrange things as I have suggested - tonight
I wish no allowances to be made.
(HE bows and goes towards R.)
Captain
(Cont'd)
(As CAPTAIN is about to exit, he meets
SARI coming on. She has grown more
poised and mature during the years spent
with Carl. She starts visibly on seeing
Captain August - HE clicks his heels
and bows)
Good morning.
Captain
It is a beautiful morning.
Sari
It is very warm out.
Captain
Would you honour me by lunching with me?
Sari
I'm so sorry, but I am already engaged.
Captain
Perhaps a drive a little later on, we might go up to Cobenzil -
Sari
Please forgive me, but today it is impossible.
Captain
I am expecting you to have supper with me tonight.
Sari
Thank you very much, but I'm afraid I have another appointment.
(He bows again and exits up R.)
Herr Schlick
(Furiously)
It may interest you to know that you are losing me one of my
most valued clients - I'll deal with you later. Captain -
a moment, please - Captain.
(He rushes off)
(SARI looks after him pensively for
a moment and then sighs)
(MANON comes down from the dais)
Manon
Don't look so startled -
Sari
I came to find Carl. Have you seen him?
Manon
Yes, I've just been rehearsing with him.
Manon
He's about somewhere.
(She turns to go, cross L)
Manon
Don't go, Sari, I want to speak to you.
Sari
(Coldly)
Yes? What is it?
Manon
Oh, why do you always look at me like that?
Manon
So aloof and superior.
Sari
I wasn't conscious of being either of those things.
Manon
Yes, you were - you know you were - you always are with me.
But, listen, never mind about that now - I heard Schlick
arranging for you to have your supper in a private room with
Captain August tonight.
Sari
(Incredulously)
You heard Schlick arranging for me -
Manon
Yes - yes, yes - I thought you might like to know.
Manon
Not so horrible as all that, lots of girls here would be
glad of the chance, but as Carl is in love with you and
you are apparently in love with him, I thought -
Sari
(Rather stiffly)
Thank you, Manon.
(She turns to go R.)
Sari
If my manner is - well, unkind.
Manon
(Patting her arm)
Ce ne faire rien, mon chere - I don't love him any more, really,
at least I don't think I do, and anyhow you have no reason to
be jealous, nothing to be afraid of. Look at me, and then look
in the glass.
(She kisses her lightly, and goes off
humming a reprise of her former song)
(CARL enters from L)
Carl
Darling!
(He kisses her fondly)
How quick you've been dressing. I crept out without waking
you.
Sari
Yes, I know, you must never do that again.
Carl
Why - what's the matter?
Sari
I dreamt - something dreadful. I awoke terrified - I came
straight here without any coffee or anything - to see if you
were safe.
Carl
I safe? Why of course I'm safe - why wouldn't I be? What
could have happened to me? Don't be silly.
(NO. 11-A)
Sari
I don't know, I'm frightened. I hate this place - let's go
away. I'd rather go back to singing in the streets again,
at least we were independent then and together.
Carl
We're together now - always. You know we're always together.
Sari
(Cross R. wildly)
No, no - not here we're not - we're seperated by hundreds of
things and people - you're the chef d'orchestra and I'm a
professional dance partner. I hate it I tell you - I can't
be gay and enjoy it like the other girls - because I love you -
(CARL goes to her)
I can't feel happy when the cavalry officers put their arms
around my waist and dance and flirt with me because I love
you, and because I'm scared.
Sari
Something terrible will happen if we stay here, I know it, I
feel it -
Carl
(Cross L.)
Come along and have a little lunch, then you'll feel better.
We're going to Gussi's flat - she's got a present for you -
you know that red coat -
Sari
Oh, Carl, Carl, you don't understand!
(Goes to table and sits)
(CARL goes to her)
Carl
Well, we'll go away then - tomorrow!
Carl
We have a little money saved anyhow, and I hate Schlick and
this place as much as you do really - tonight is the end of
it - we'll go to Budapest, Fritz is there, and he'll help us!
Sari
Tonight is the end of it!
Carl
You remember Fritz, with the long brown beard. You laughed
at him.
Sari
Yes! He was funny, but I like him!
Carl
Do you remember when he threw the chicken at his wife?
(HE laughs)
Sari
(Laughing)
Yes! And she was so angry, and the gravy ran all down the
front of her.
(They both laugh)
That's it, laugh at me, laugh everything away. Stop me being
solemn.
Carl
D'you feel happier now?
Sari
Much - much happier.
Carl
So do I! Soon we shall be able to start our own little cafe!
Sari
That's right, let's talk about the cafe - where shall we have
it - how shall we manage it? Shall I be able to sing your
songs there?
(Music Cue)
One day I might make them famous - I love your music so very
much - I want it to be known all over the world, and one day
it will be, I'm sure of it!
(THEY kiss)
NO. 12 "LITTLE CAFE"
1.
Carl:
We share a mutual ambition
Which naught can disarrange
Sari
Based on the hopeful supposition
That soon our luck will change.
Carl:
Tho' we very often wonder whether
Poverty will win the day
Sari
Just as long as we remain together
Troubles seem to fade away.
Both:
However hard the bed one lies on
The same old dreams begin
We're always scanning the horizon
For when our ship comes in -
(THEY bring chairs down)
REFRAIN
Carl:
We'll have a sweet little cafe
In a neat little square
Sari
We'll find our fortune
And our happiness there
Carl:
We shall thrive on the vain and resplendent
Sari
And contrive to remain independent
Carl:
We'll have a meek reputation
And a chic clientele
Sari
Kings will fall under our spell
Both:
We'll be so zealous
That the world will be jealous
Of our sweet little cafe in our square.
2.
Sari
Can you imagine our sensations
When we've security?
Carl:
And all our dreary deprivations
Are just a memory.
Sari
Tho' we're very often driven frantic
Peace is very hard to find
Carl:
All these dreadful days will seem romantic
When we've left them far behind
Both:
Fate needn't be quite such a Dragon
He knows how Tired we are
We'll hitch our hopeful little wagon
On to a lucky star.
REFRAIN
Carl:
We'll have a sweet little cafe
In a neat little square
Sari
We'll find our fortune
And our happiness there
Carl:
We shall thrive on the vain and resplendent
Sari
And contrive to remain independent
Carl:
We'll have a meek reputation
And a chic clientele
Sari
Kings will fall under our spell
Both:
We'll be so zealous
That the world will be jealous
Of our sweet little cafe in our square.
(FADE OUT on word "World" in repeat
refrain. Lower black and House Curtain,
take away black)
ACT TWO
Scene 2
The scene is the same as Act Two,
Scene 1., excpet that the atmosphere
has changed from a [illegible] daylight
squalor to a tinselled gas-light
gaiety.
It is about 9 p.m.
NO. 13 WHEN THE CURTAIN RISES everyone is
waltzing. CARL is conducting the
orchestra on the dais. Some of the
Girls have male partners and some
are dancing with one another. The
stage should look as hot and crowded
as possible. At the end of the opening
waltz CARL stops his orchestra
and the theatre orchestra takes up
the Officers' entrance music.
About a dozen smart OFFICERS come
marching on in attractive undress
uniform. They sing a concerted
introductory number with the GIRLS.
NO. 14. OFFICERS' CHORUS
Officers:
We wish to order wine, please
Expressly from the Rhine, please.
The year we really don't much care
Ladies:
Oh dear,
Now that you're here
Think of the wear and tear
Officers:
We hope without insistence
To overcome resistence
In all you ladies fair
Ladies:
Oh well
How can we tell
Whether you'd really dare
We sincerely hope it's really not a thankless task
Amusing us
Won't you please agree?
Officers:
You could quickly break our hearts by everything we ask
Refusing us
That cruel would be
Ladies, can't you see!
We're officers and gentlemen
Reliable and true
Considerate and chivalrous
In everything we do.
Though we're gay and drink a trifle
All our laughter we should stifle
Were we summoned by a bugle call
We're amorous and passionate
But dignified and stern
Which if you play us false you'll quickly learn
Do not let our presence grieve you
When we've loved you, we shall leave you
For we're officers and gentlemen, that's all!
(After song CAPTAIN SCHENZ enters R. and
he and OFFICERS sing "Tokay" of which
everyone joins in the last Refrain)
NO. 15 "TOKAY" CAPTAIN SCHENZ AND CHORUS
Verse
Captain S:
When we're thoroughly wined and dined
And the barracks are left behind,
We come down to the town to find
Some relief from the daily grind.
Love is kind.
Love is blind.
Captain S:
When the thoughts of a man incline
To the grapes of a sunlit vine
On the banks of the golden Rhine
Slowly ripening pure and fine
Sweet divine
Lover's wine
Lift your voices till the rafters ring
Fill your glasses to the brim and sing:
Refrain
Tokay!
The golden sunshine of a summer day
Tokay!
Will bear the burden of your cares away
Here's to the love in you
The hate in you
Desire in you
Officers:
Wine of the sun that will waft you along
Lifting you high on the wings of a song
Captain S:
Dreams in you
The flame in you
The fire in you
Tokay - Tokay.
Officers:
So while forgetfulness we borrow
Never minding what tomorrow has to say
All:
The only call we all obey
Tokay! - Tokay! - Tokay!
(Some go off to the bar, others seat themselves
at tables and order wine)
No. 15. (The Band strikes up a waltz, and dancing
begins. SARI enters up L. crosses behind
and makes her way centre, where she is met
by CAPTAIN LUTTE, who has entered down L.
and is eyeing her. He bows, she brushes
him aside and sits at table L. CAPTAIN
LUTTE goes furiously across to HERR SCHLICK
who crosses at once to reprimand Sari. He leaves
SARI who sinks miserably into her chair.
HANSI and FREDA try to comfort her and give her
some wine. SCHLICK advances to the middle of
the floor to announce the commencement of the
entertainment)
Sari
Ladies and gentlemen, I crave your kind attention for the most
superb musical entertainment ever offered in Vienna.
(Everyone applauds)
Thank you. Thank you. - My first number will be my six magnificient
dancing girls - trained exclusively in the finest
ballet schools in the world. Lisa, Trude, Fritz, Toni, Crete,
and Ela, the Prater Girls!
No. 17. (SIX GIRLS enter from R. and make a
line in the middle of the floor.)
(There is a lot of applause. CARL
strikes up their music and they
dance, after which they exit amid
cheers. SCHLICK again takes the
floor)
Gentleman - Ladies and Gentlemen - I beg attention for my
favorite, your favorite, the world' favorite star - MANON
LA CREVETTE.
(He steps aside and MANON comes
running on L.C. She is greeted
with vociferous applause. She
sings a very saucy French song:
"Bonne Nuit, Merci!" interspersed
with a good deal of backchat and
ogling)
No. 18 - SONG: "BONNE NUIT, MERCI!"
Verse 1.
Manon:
Lorsque j'etais petite fille
En marchant parmi les pres
J'entendit la voix d'ma tante
Qui murmurs a cote
N'Oublie pas la politesse
Lorsque viendra un amant
Car tout la bonheir reside la dedans.
Refrain
C'est pourquoi dans mes affaires
Soit de coeur ou soit d'esprit
C'est pourqui je tache de plaire
Toute la Foule de mes amis
Soit qu'ils m'offrent pied a terre
Ou me montre une bonne affaire
J'leurs responds vas-y Bonne Nuit, Merci!
(Applause and laughter)
O-oh! La! La! Je ne suis pas fini!
2nd Verse
Lorsque je suis v'une a Paris
J'etais sage de nature
Mais que faire dans le vio
Etant jeune pour rester pur!
Quand ma politesse m'oubligea
Lorsqu' je suivait par hasard
Une advanture dans les boites des boulevards.
2nd Refrain
Et j'ai recontre en villa
Un monsieur bien comme il faut
Il m'a dit ma petite fille
Veux tu faire un p'tit do-do?
Losq' j'arrive chez lui toute suite
L'me dit 'Deahabilles toi vite'!
("Oh!" laugh)
J'me suis dis "Vas'y. Bonne Nuit. Merci!"
Manon
Meadames, Messieurs, pour ma deuxieme chanson, je chantez une
petite chanson, un petit peu plus triste.
(The crowd sigh "Oh")
(The crowd sighs again)
A song of the broken heart!
(The crowd roars with laughter.
MANON points to Captain Lutte)
Il sais que ce que c'est le Broken heart, le Captain!
(LUTTE and the crowd roar at the sally)
(As encore she sings a waltz song in
which everybody joins)
No. 19 WALTZ SONG
1st Verse
'Tis time that we were parted
You and I,
However broken-hearted
'Tis goodbye!
Although our love has ended
And the darkness has descended
(up)
I call to you with one last cry:
(Chair bus)
1st Refrain
Kiss me
Before you go away!
Miss me
Through every night and day.
(Steps)
Though clouds are grey about you
You'll hear me say I love you!
Kiss me
Before you go away.
(Jumps on chair)
2nd Verse
Parmi les [illegible] tristes
De L'amour
Joles et chagrine existent
Tour a tour
It presqu'avec contrainte
On risque la douce etrelate
Qui nous separe enfin toujoure
(Puts her chair to her L)
2nd Refrain
(To Lutte)
Je T'aime
Tes balsars m'cet grises
[Illegible]
A l'houre de T'en aller
La volupte troublante
(LUTTE jumps)
Brise mos levres brulantes
Je t'aime
A l'heure de T'en aller.
(At the end of this CARL strikes up
another waltz and everybody begins to
dance. SCHLICK comes over to Sari's
table and stands behind it - After a
moment CAPTAIN AUGUST approaches and
bows, then following dialogue is
pantomined)
Captain August
Fraulein Sari has perhaps by now forgotten her other engagement.
Sari
(Rising agitatedly)
I - please - I -
Sari
You are quite right, Captain, she has forgotten.
Sari
Captain August - I am very tired - will you please forgive me
just this once.
Captain August
One dance, please.
Sari
I think you would be well advised to grant Captain August's
request.
Sari
(Pulling herself together)
Certainly, Captain, I shall be charmed.
(SHE gives one despairing look at Carl
on the dais - HE is watching anxiously,
then SHE surrenders herself to the
Captain's arms and they begin to waltz -
CARL watches all the time. As the dance
progresses CAPTAIN AUGUST is obviously
becoming more and more aggressively
amorous. CARL, with obvious agitation
perceptively quickens the tempo of the
music. Finally the CAPTAIN waltzes
SARI to the centre of the floor - stops
dead, tightens his arms round her and
kisses her on the mouth passionately,
bending her right back as he does so.
SHE gives one cry, CARL stops the music
dead with a crash and leaps over the
railing of the dais onto the middle of
the floor. He drags Sari away from
Captain August, then springing at him,
strikes him in the face. Immediately
the buzz of excitement dies down into
dead silence)
Carl
(Wildly)
Swine - filthy ill-manner drunken swine!
Sari
(In a whisper)
Carl.
Manom
(Rushing forward)
Carl - don't be a fool.
(CAPTAIN AUGUST gives an unpleasant laugh
and draws his sword)
Captain August
Tranisch - look after our foolhardy young friend here, will
you?
Tranisch
Not now - not now - wait.
Captain August
I regret - I cannot wait.
(The noise rises)
(TRANISCH draws his sword and hands it
to Carl - MANON clutches his arm)
Carl
Stand back, Manon - look after Sari - please.
(The CAPTAIN attacks him and they fight
a brief duel, the crowd making a large
ring round them - suddenly CAPTAIN AUGUST
knocks Carl's sword from his hand and
runs him through. There is a general
scream and everyone crowds forward.
SARI silently sinks to the ground taking
Carl in her arms. TRANISCH motions the
crowd back. There is silence)
Sari
(Softly - she dry-eyed)
I'll love you always - always - do you hear?
Carl
(Weakly)
Sari - Sari - my sweet, sweet Sari -
(His head falls back in her lap, and she
kneels there staring before her dazed and
hopeless)
(MANON sobs)
THE CURTAIN FALLS