密室逃脱23迷失俱乐部游戏的第6关通关攻略
密室逃脱23迷失俱乐部是一款密室逃脱系列的益智类手机游戏，游戏中玩家进入到一个俱乐部中，探索各种不同的关卡，收集线索，解开一个个谜题，下面就让我为大家带来密室逃脱23迷失俱乐部第6关的通关攻略吧！
密室逃脱23迷失俱乐部第6关通关攻略：
1、要求：带走跑车
2、首先我给大家圈一下本关的线索物品点。本关的难点主要是把跑车调出来！对控制台的操作比较多！
首先需要拾取架子上的扳手，记住报纸上的线索49643020，下面是详细的步骤！
点开右下角操作台，出来一个拼图，很简单的华容道，操作简单，点击A和B之后，AB图案就调换了，拼成正确图形之后，三辆跑车的控制界面就出来了，如上图所示！
操作台按键的操作是这样的，上下三角形是将车辆上升和下降，转向就是将车调转方向。首先用上三角形和转向把蓝色跑车升上来，这个时候看到蓝色跑车的车牌，点击拾取4个螺丝刀和车牌。再讲蓝色跑车降下去，把红色跑车放上来，将卸下的车牌和螺丝安装上去，用扳手拧紧！
红色跑车车牌安装好之后，点击IGNTIONCONTROL，再点左下角绿色，进入车子内部。按照提示移动光标到4964*3020，OK。
这样点击门口就可以将车子开出去了！
[create_time]2022-11-21 07:49:51[/create_time]2022-12-04 17:10:01[finished_time]1[reply_count]0[alue_good]二次元少女喵酱[uname]https://himg.bdimg.com/sys/portrait/item/wise.1.9cef9828.2izdU4dx6Orn17mMR3Xq9Q.jpg?time=6646&tieba_portrait_time=6646[avatar]TA获得超过114个赞[slogan]这个人很懒，什么都没留下![intro]18[view_count]
torture chamber是什么意思
torture chamber[英]?t?:t?? ?t?eimb?[美]?t?rt?? ?t?emb?[法]刑讯室[例句]Dan was taken to the torture chamber by guards.丹被保镖带到了刑讯室。如果你认可我的回答，敬请及时采纳，~如果你认可我的回答，请及时点击【采纳为满意回答】按钮~~手机提问的朋友在客户端右上角评价点【满意】即可。~你的采纳是我前进的动力~~O(∩_∩)O，记得好评和采纳，互相帮助
[create_time]2014-12-03 17:53:45[/create_time]2014-12-03 19:22:35[finished_time]2[reply_count]2[alue_good]芊云说电影[uname]https://gips0.baidu.com/it/u=3988084345,1343479589&fm=3012&app=3012&autime=1697279697&size=b200,200[avatar]每个回答都超有意思的[slogan]生活不止有眼前的苟且，还有诗和远方[intro]241[view_count]
第4关攻略 密室逃脱23迷失俱乐部第4关怎么过
通关攻略1.到椅子坐标的矮桌处，在桌子上找到一个木质旋钮。2.到左侧白瓷墙壁处，移开几块石头，找到一个带缺口的螺丝。3.到右侧柜子处，在右下角的抽屉里找到另外一个带缺口的螺丝。4.到左侧灯座处，将两个带缺口的螺丝按到桌子上，然后将4个角的螺丝都旋到缺口朝里，打开抽屉在图纸上看到各按钮位置：左上1 右上3 左下2 右下1。5.到正面箱子处，将木质旋钮安到箱子上，然后按照左上1 右上3 左下2 右下1的位置拉动旋钮，即可打开箱子得到目标物品。6.获得目标物品以后右侧的门会自动打开，进入门内即可顺利过关。
[create_time]2018-08-01 08:24:03[/create_time]2018-08-14 21:09:49[finished_time]1[reply_count]0[alue_good]繁华有一梦f0d6d8[uname]https://himg.bdimg.com/sys/portrait/item/wise.1.78df3c96.ojwIOlGTyq1BmyVExGfdhg.jpg?time=3434&tieba_portrait_time=3434[avatar]关注我不会让你失望[slogan]这个人很懒，什么都没留下![intro]235[view_count]黑匣子鬼屋的游玩项目
1.密苏里州圣路易斯市的“黑暗鬼屋”开心大碗“黑暗鬼屋”已有15年历史，主要有三大场景，其中包括3D技术打造的“恐怖影像”（TerrorVisions）。进入“死亡禁区”後，你会遇到大批人身牛头怪以及霸王龙，然後是砍头野人、大量怪兽和扑面而来的蛇。2.宾夕法尼亚州费城的“贝兹汽车旅馆”大贝兹汽车旅馆最为知名的是其夜间出游，在闹鬼活动中使用骇人的烟火。该景点注重讲鬼故事、恐怖场景设计，并且在一栋最怪异的建筑内设置了令人不寒而栗的恐怖场景。3.俄亥俄州阿克伦城的“闹鬼校舍”这是美国尚在使用的最古老鬼屋，其历史可追溯到30年前。它有5层恐怖场景，并展示了一些最好的场景设计。4.得克萨斯州奥斯汀市的“酷刑室”碗大“酷刑室”采用好莱坞大片的场景、灯光及声效设计，让你四处逃散。5.路易斯安那州巴屯鲁日市的“13号鬼屋”由于细节设计出色，该景点已连续两年被评为美国最佳鬼屋。在13个室内外场景里迎接你的恶梦之旅吧，你需要穿越焚烧炉和破旧的灵车，迷失在黑暗的隧道中，走过摇摇晃晃的吊桥，而下面爬满能够以假乱真的蛇。6.乔治亚州亚特兰大市的“地狱鬼屋”该景点是少数几家在顾客排队时派出怪物吓人的鬼屋之一，当进入鬼屋後，你还将遇到其它几百种怪物。在“嗜血之夜”（BloodNight）和"僵尸暴乱"（ZombieRampage）两大场景内，你需要躲避树妖和吸血鬼。扩展资料：相关介绍：此次由上海地风升文化传播有限公司联合美国鬼屋团队重金打造的“黑匣子”，让您第一次近距离的体会来自背后和空气里的恐怖元素，让你体验前所未有的感官冲击，如果您胆子够大，那么来“黑匣子”体会一下头皮发麻，双腿绵软，脊背冰冷的感觉吧。上海“黑匣子”坐落在卢湾区鲁班路909号，这里是恐怖鬼屋的源泉。联合美国专业特效团队打造，将美式恐怖与老上海风情完美结合，带来超乎想象的多感挑战！从鬼屋到恐怖食物，从复活的主角到暗黑派对，让你领教什么才是真正的鬼文化！地处上海码头新地标，一览世博园区与浦江风情，这是目前国内唯一可与国际媲美的超猛鬼屋！！参考资料来源：百度百科-黑匣子鬼屋
[create_time]2019-10-01 11:54:40[/create_time]2016-05-28 12:18:54[finished_time]2[reply_count]1[alue_good]休闲娱乐助手之星M[uname]https://himg.bdimg.com/sys/portrait/item/wise.1.58de7cba.dxIvYw5WIKDtGNFFQCTVIQ.jpg?time=5018&tieba_portrait_time=5018[avatar]TA获得超过53.6万个赞[slogan]生活领域解题小助手。[intro]1337[view_count]黑匣子鬼屋的游玩项目
1.密苏里州圣路易斯市的“黑暗鬼屋”开心大碗“黑暗鬼屋”已有15年历史，主要有三大场景，其中包括3D技术打造的“恐怖影像”（TerrorVisions）。进入“死亡禁区”後，你会遇到大批人身牛头怪以及霸王龙，然後是砍头野人、大量怪兽和扑面而来的蛇。2.宾夕法尼亚州费城的“贝兹汽车旅馆”大贝兹汽车旅馆最为知名的是其夜间出游，在闹鬼活动中使用骇人的烟火。该景点注重讲鬼故事、恐怖场景设计，并且在一栋最怪异的建筑内设置了令人不寒而栗的恐怖场景。3.俄亥俄州阿克伦城的“闹鬼校舍”这是美国尚在使用的最古老鬼屋，其历史可追溯到30年前。它有5层恐怖场景，并展示了一些最好的场景设计。4.得克萨斯州奥斯汀市的“酷刑室”碗大“酷刑室”采用好莱坞大片的场景、灯光及声效设计，让你四处逃散。5.路易斯安那州巴屯鲁日市的“13号鬼屋”由于细节设计出色，该景点已连续两年被评为美国最佳鬼屋。在13个室内外场景里迎接你的恶梦之旅吧，你需要穿越焚烧炉和破旧的灵车，迷失在黑暗的隧道中，走过摇摇晃晃的吊桥，而下面爬满能够以假乱真的蛇。6.乔治亚州亚特兰大市的“地狱鬼屋”该景点是少数几家在顾客排队时派出怪物吓人的鬼屋之一，当进入鬼屋後，你还将遇到其它几百种怪物。在“嗜血之夜”（BloodNight）和僵尸暴乱（ZombieRampage）两大场景内，你需要躲避树妖和吸血鬼。7.世界上最大最恐怖的鬼屋——日本富士急鬼屋注:此鬼屋已经被承认为世界吉尼斯记录中最大最恐怖的鬼屋。这里是以一整栋大楼为鬼屋，鬼屋的外型是个破旧、凄凉、颤栗的医院。里面和其他鬼屋不同,并没有规定的路线，而是让游客在整个医院里随意行走。这里真正意义做到了身临其境，而设计者在恐怖机关设置方面完全不遗余力，简直就是以吓破你的胆为目标。里面鬼魂的光影效果以及令人颤栗的血腥场面做的非常逼真，里面有很多要你亲自打开的门等机关，让你在黑暗中体验未知的恐惧。里面除了人造的恐怖效果外，还会有很多工作人员化妆成鬼魂、丧尸的摸样在各个角落做些“小动作”，而化妆的水准完全是恐怖电影中的效果。上海黑匣子地址：鲁班路909号（卢浦大桥观光处旁，临近世博会一号入口）交通方式: 地铁4号线鲁班路站，（2号出口出来后，右转沿鲁班立交桥方向直走到底）下车后步行约10分钟世博公交：17,18,19,27,29，下车后步行约1分钟卢浦大桥终点站：36，146，205，253，733，806,下车后步行约1分钟中山南一路打浦路站：45，144，大桥六线,下车后步行约3分钟营业时间：周一至周四18:00-22:00周五16:00-22:00周六日12:00-22:00
[create_time]2016-05-14 21:25:24[/create_time]2016-05-29 12:18:54[finished_time]1[reply_count]0[alue_good]百度网友7e1ea90dd1[uname]https://himg.bdimg.com/sys/portrait/item/wise.1.b93a5eb0.nNChEWT4dVTnBWjFHLiJrw.jpg?time=3371&tieba_portrait_time=3371[avatar]TA获得超过101个赞[slogan]这个人很懒，什么都没留下![intro]5[view_count]歌剧魅影的作品目录
章节名称前言这本奇书的作者讲述的是，他如何经过追踪调查最后确信歌剧院幽灵确有其人第一章是幽灵第二章新玛格丽特第三章德比埃纳先生和波里尼先生首次向歌剧院的新任经理阿尔芒·蒙沙尔曼先生和菲尔曼·里夏尔先生私下透露他们离开巴黎歌剧院的真实而神秘的原因第四章5号包厢第五章5号包厢（续）第六章施过魔法的小提琴第七章探视5号包厢第八章菲尔曼·里夏尔先生和阿尔芒·蒙沙尔曼先生大胆决定在一个“倒霉的”剧场里上演《浮士德》，以及由此引起的可怕后果第九章神秘的双座轿式马车第十章假面舞会第十一章必须忘记“那个男人的声音”和他的名字第十二章舞台地板上的活板暗门第十三章阿波罗的竖琴第十四章喜欢摆弄活板暗门的人出手不凡第十五章对待一枚保险别针的奇怪态度第十六章“克里斯蒂娜！克里斯蒂娜！”第十七章吉里太太一语惊天，道破她和歌剧院幽灵的私人关系第十八章对待一枚保险别针的奇怪态度（续）第十九章警长、子爵和波斯人第二十章子爵和波斯人第二十一章在歌剧院的地下室里第二十二章波斯人在歌剧院地下室里的磨难既有趣又无教益（波斯人的记述）第二十三章在酷刑室里（波斯人的记述之二）第二十四章酷刑开始（波斯人的记述之三）第二十五章“卖酒桶啰！卖酒桶啰！有什么空酒桶要卖吗?” （波斯人的记述之四）第二十六章转动蝎子还是蚱蜢?（波斯人的记述之五）第二十七章幽灵的爱情结局后记
[create_time]2016-05-09 15:23:05[/create_time]2016-05-21 22:59:05[finished_time]1[reply_count]1[alue_good]K莫尛147[uname]https://himg.bdimg.com/sys/portrait/item/wise.1.8b324732.Amz3X2UUdUJF73bZkWAqRw.jpg?time=3626&tieba_portrait_time=3626[avatar]TA获得超过131个赞[slogan]这个人很懒，什么都没留下![intro]168[view_count]剧院魅影这个故事是不是真的？
不是 剧院魅影是勒鲁于1911年发表的，而劳埃德·韦伯先生改变的为音乐剧的所以1楼的回答者，我要纠正的是张国荣拍摄的《半夜歌声》是选取勒鲁小说情节改编的同时融合中国色彩所拍摄的。其实中国拍过好几部《夜半歌声》而张国荣所扮演的这部是与原著最为接近的一部。
《夜半歌声》具体可参考：http://baike.baidu.com/view/156614.htm?fr=ala0
下面是关于剧院魅影部分介绍：
歌剧魅影（The Phantom of the Opera）是一部安德鲁·劳埃德·韦伯（Andrew Lloyd Webber）作曲的百老汇音乐剧。
又译：歌声魅影、剧院魅影或歌剧院的幽灵。原著：《歌剧幽灵》作者：卡斯通·勒鲁
Gaston Leroux[加斯通·勒鲁]（1868-1927），法国著名的侦探、悬念小说家。他的作品，有据可查的达三十四部之多，体裁不仅涉及侦探小说，还包括其他方面。《黄色房间的秘密》是他的第一部作品，《剧院魅影》则是他脍炙人口的作品。
目录
上海译文出版社译本法国侦探小说及加斯通·勒鲁——代“译本序”
前言 这本奇书的作者讲述的是，他如何经过追踪调查最后确信歌剧院幽灵确有其人
第一章 是幽灵?
第二章 新玛格丽特
第三章 德比埃纳先生和波里尼先生首次向歌剧院的新任经理阿尔芒·蒙沙尔曼先生和菲尔曼·里夏尔先生私下透露他们离开巴黎歌剧院的真实而神秘的原因
第四章 5号包厢
第五章 5号包厢(续)
第六章 施过魔法的小提琴
第七章 探视5号包厢
第八章 菲尔曼·里夏尔先生和阿尔芒·蒙沙尔曼先生大胆决定在一个“倒霉的”剧场里上演《浮士德》，以及由此引起的可怕后果
第九章 神秘的双座轿式马车
第十章 假面舞会
第十一章 必须忘记“那个男人的声音”和他的名字
第十二章 舞台地板上的活板暗门
第十三章 阿波罗的竖琴
第十四章 喜欢摆弄活板暗门的人出手不凡
第十五章 对待一枚保险别针的奇怪态度
第十六章 “克里斯蒂娜!克里斯蒂娜!”
第十七章 吉里太太一语惊天，道破她和歌剧院幽灵的私人关系
第十八章 对待一枚保险别针的奇怪态度(续)
第十九章 警长、子爵和波斯人
第二十章 子爵和波斯人
第二十一章 在歌剧院的地下室里
第二十二章 波斯人在歌剧院地下室里的磨难既有趣又无教益(波斯人的记述)
第二十三章 在酷刑室里(波斯人的记述之二)
第二十四章 酷刑开始(波斯人的记述之三)
第二十五章 “卖酒桶啰!卖酒桶啰!有什么空酒桶要卖吗?” (波斯人的记述之四)
第二十六章 转动蝎子还是蚱蜢?(波斯人的记述之五)
第二十七章 幽灵的爱情结局
附：（音乐剧：剧院魅影 第一章剧本）
A C T O N E
SCENE 1
REHEARSSALS FOR 'HANNIBAL' BY CHALUMEAU
(We have reached the great choral scene in which HANNIBAL and his army return to save
Carthage from the Roman incasion under Scipio. HANNIBAL is UBALDO PIANGI; ELISSA, Queen
of Carthage (his mistress) is CARLOTTA GIUDICELLI. The two leading SLAVE GIRLS are played
by MEG GIRY and CHRISTINE DAAE. MME GIRY is the ballet mistress. M. REYER, the repetiteur,
is in charge, We join the opera towards the end of ELISSA's (CARLOTTA's) great aria. She
is alone, holding a present from the approaching HANNIBAL, a bleeding severed head)
CARLOTTA (at the climax of an extravagant cadenza)
This trophy from our saviours,
from the enslaving force
of Rome!
(A STAGE HAND carries a ladder across the stage. OTHERS are seen still constructing partsof the scenery)
GIRLS' CHORUS
With feasting and dancing and song,
tonight in celebration,
we greet the victorious throng,
returned to bring salvation!
MEN'S CHORUS
The trumpets of Carthage resound!
Hear, Romans, now and tremble!
Hark to our step on the ground!
ALL
Hear the drums -
Hannibal comes!
(PIANGI enters, as HANNIBAL)
PIANGI (HANNIBAL)
sad to return to find the land we love threatened once more by Roma's far-reaching grasp.
REYER (interrupting him)
Signor ... If you please; 'Rome'. We say 'Rome', not 'Roma'.
PIANGI
Si, si, Rome, not Roma. Is very hard for me. (practicing) Rome... Rome ...)
(Enter LEFEVRE, the retiring manager of the Opera, with M.FIRMIN and M. ANDRE to whom he
has just sold it)
REYER (to PIANGI)
Once again, then if you please, Signor: 'Sad to return ...'
LEFEVRE (to ANFRE and FIRMIN)
This way, gentlemen, this way. Rehearsals, as you see, are under way, for a new production
of Chalumeau's 'Hannibal'.
(Sensing a hiatus in the rehearsal, LEFEVRE attempts to attract attention)
LEFEVRE
Ladies and geltlemen, some of you may already, perhaps, have met M. Andre and M. FIRMIN ...
(The new managers are plitely bowing, when REYER interrupts)
REYER
I'm sorry, M. Lefevre, we are rehearsing. If you wouldn't mind waiting for a moment?
LEFEVRE
My apologies. M. REYER, Proceed, proceed ...
REYER
Thank you, monsieur. (turning back to PIANGI). 'Sad to return ...', Signor ...
LEFEVRE (sotto voce to ANDRE and FIRMIN)
M. Reyer, our chief repetiteur, Rather a ttyrant, I'm afraid.
(The rehearsal continues)
PIANGI (HANNIBAL)
Sad to return to find the land we love threatened once more by Rome's far-reaching grasp.
Tomorrow we shall break the chains of Rome.
Tonight, rejoice - your army has come home.
(The BALLET GIRLS begin their dance. LEFEVRE, ANDRE and FIRMIN stand centre-stage watching
the ballet. The are in the way. The ballet continues under the following dialogue)
LEFEVRE (indicating PIANGI)
Signor Piangi, our pricipal tenor. He does play so well opposite La Carlotta.
GIRY (exasperated by their presence, bangs her cane angrily on the stage)
Gentlemen, please! If you would kindly move to one side?
LEFEVRE
My apologies, Mme. Giry.
(leading ANDRE and FIRMIN aside)
Madame Giry, our ballet mistress. I don't mind confessing, M. FIRMIN, I shan't be sorry to
be rid of the whole blessed business.
FIRMIN
I keep asking you, monsieur, why exactly are you retiring?
LEFEVRE (ignoring this, calls his attention to the continuing ballet)
We take a particular pride here in the excellence of our ballets.
(MEG becomes prominent among the dancers)
ANDRE
Who's that girl, Lefevre?
LEFEVRE
Her? Meg Giry, Madame Giry's daughter. Promising dancer. M. Andre, most promising.
(CHRISTINE becomes prominent. She has absentmindedly fallen out-of-step)
GIRY (spotting her, bangs her cane again)
You! Christine Daae! Concentrate, girl!
MEG (quietly, to CHRISTINE)
Christine ... What's the matter?
FIRMIN (to LEFEVRE)
Daae? Curious name.
LEFEVRE
Swedish.
ANDRE
Any relation to the violinist?
LEFEVRE
His daughter, I believe. Always has her head in the clouds, I'm afraid.
(The ballet continues to its climax and ends. The CHORUS resumes)
CHORUS
Bid welcome to Hannibal's guests -
the elephants of Carthage!
As guides on our conquering quests,
Dido sends
Hannibals friends!
(The ELEPHANT, a life-size mechanical replica, enters. PIANGI is lifted, in
triumph, onto its back)
CARLOTTA (ELISSA)
Once more to my
welcoming arms
my love returns
in splendour!
PIANGI (HANNIBAL)
Once more to those
sweetest of charms
my heart and soul
surrender!
CHORUS
The trumpeting elephants sound -
hear, Romans, now and tremble!
Hark to their step on the ground -
hear the drums!
Hannibal comes!
(At the end of the chorus LEFEVRE claps his hands for silence. The elephant is
led off. Two stage-hands are revealed operating it from within)
LEFEVRE
Ladies and gentlemen - Madame Giry, thank you - may I have your attention please?
As you know, for some weeks there have been rumours of my imminent retirement.
I can now tell you that these were all true, and it is my pleasure to introduce
to you the two gentlemen who now own the Opera Populaire, M. Richard Firmin and
M. Gilles Andre.
(Polite applause. Some bowing. CARLOTTA makes her presence felt)
Gentlemen, Signora Carlitta Guidicelli, our leading soprano for five seasons now.
ANDRE
Of course, of course. I have experienced all your greatest roles, Signora.
LEFEVRE
And Signor Ubaldo Piangi.
FIRMIN
An honour, Signor.
ANDRE
If I remember rightly, Elissa has a rather fine aria in Act Three of 'Hannibal'.
I wonder, Signora, if, as a personal favour, you would oblige us with a private
rendition? (Somewhat acerbic). Unless, of course, M. Reyer objects ...
CARLOTTA
My manager commands ... M. Reyer?
REYER
My diva commands. Will two bars be sufficient introduction?
FIRMIN
Two bars will be quite sufficient.
REYER (ensuring that CARLOTTA is ready)
Signora?
CARLOTTA
Maestro.
(The introduction is played on the piano)
CARLOTTA
Think of me,
think of me fondly,
when we've said
goodbye.
Remember me
once in a while -
please promise me
you'll try.
When you find
that, once
again, you long
to take your heart ...
(As CARLOTTA is singing, a backdrop crashes to the floor, cutting her off from half
the cast)
MEG/BALLET GIRLS/CHORUS
He's here:
the Phantom of the Opera ...
He is with us ...
It's the ghost ...
PIANGI (looking up, furiously)
You idiots!
(He rushes over to CARLOTTA)
Cara! Cara! Are you hurt?
LEFEVRE
Signora! Are you all right? Buquet! Where is Buquet?
PIANGI
Is no one concerned for our prima donna?
LEFEVRE
Get that man down here! (to ANDRE and FIRMIN)
Chief of the flies. He's responsible for this.
(The drop is raised high enough to reveal upstage an old stagehand, JOSEPH BUQUET,
holding a lenth of rope, which looks almost like a noose)
LEFEVRE
Buquet! For God's sake, man, what's going on up there?
BUQUET
Please, monsieur,
don't look at me:
as God's my witness,
I was not at my post.
Please, monsieur,
there's no one there:
and if there is, well
then, it must be a ghost ...
MEG (looking up)
He's there: the Phantom of the
Opera ...
ANDRE
Good heavens!
Will you show a little courtesy?
FIRMIN (to MEG and the OTHERS)
Mademoiselle, please!
ANDRE (to CARLOTTA)
These things do happen.
CARLOTTA
Si! These thing do happen! Well, until you stop these things happening, this
thing does not happen!
Ubaldo! Andiamo!
(PIANGI dutifully fetches her furs from the wings)
PIANGI
Amateurs!
LEFEVRE
I don't think these's much more to assist you, gentlemen. Good luck. If you
need me, I shall be in Frankfurt.
(He leaves. The COMPANY looks anxiously at the NEW MANAGERS)
ANDRE
La Carlotta will be back.
GIRY
You think so, messieurs? I have a message, sir, from the Opera Ghost.
(The GIRLS twitter and twirl in fear)
FIRMIN
God in heaven, you're all obsessed!
GIRY
He merely welcomes you to his opera house and commands you to continue to leave
Box Five empty for his use and reminds you that his salary is due.
FIRMIN
His salary?
GIRY
Monsieur Lefevre paid him twenty thousand francs a month. Perhaps you can afford more,
with the Vicomte de Chagny as your patron.
(Reaction to this from the BALLET GIRLS. CHRISTINE takes hold of MEG nervously)
ANDRE (to GIRY)
Madame, I had hoped to have made that announcement myself.
GIRY (to FIRMIN)
Will the Vicomte be at the performance tonight, monsieur?
FIRMIN
In our box.
ANDRE
Madame, who is the understudy for this role?
REYER
There is no understudy, monsieur - the production is new.
MEG
Christine Daae could sing it, sir.
FIRMIN
The chorus girl?
MEG (to FIRMIN)
She's been taking lessons from a great teacher.
ANDRE
From whom?
CHRISTINE (uneasily)
I don't know, sir ...
FIRMIN
Oh, not you as well!
(turning to ANDRE)
Can you believe it? A full house - and we have to cancel!
GIRY
Let her sing for you, monsieur. She has been well taught.
REYER (after a pause)
From the beginning of the aria then, mamselle.
CHRISTINE
Think of me,
think of me fondly,
when we've said
goodbye.
Remember me
once in a while -
please promise me
you'll try.
FIRMIN
Andre, this is doing nothing gor my nerves.
ANDRE
Don't fret, Firmin.
CHRISTINE
When you find
that, once
again, you long
to take your heart back
and be free -
if you
ever find
a moment
spare a thought
for me ...
(Transformation to the Gala. CHRISTINE is revealed in full costume)
We never said
our love
was evergreen,
or as unchanging
as the sea -
but if
you can still
remember,
stop and think
of me ...
Think of all the things
we've shared and seen -
don't think about the things
which might have been ...
Think of me,
think of me waking,
silent and
resigned.
Imagine me,
trying too hard
to put you
from my mind.
Recall those days,
look back
on all those times,
think of the things
we'll never do -
there will
never be
a day, when
I won't think
of you ...
(Applause, bravos. Prominent among the bravos, those of the young RAOUL in
the MANAGERS' box)
RAOUL
Can it be?
Can it be Christine?
Bravo!
(He raises his opera-glasses)
What a change!
You're really
not a bit
the gawkish girl
that once you were ...
(lowering his opera-glasses)
She may
not remember
me, but
I remember
her ...
CHRISTINE
We never said
our love
was evergreen,
or as unchanging
as the sea -
but please
promise me,
that sometimes,
you will think
of me!
[create_time]2009-12-11 13:22:35[/create_time]2010-02-27 15:35:36[finished_time]4[reply_count]0[alue_good]百度网友c12d7e9[uname]https://himg.bdimg.com/sys/portrait/item/wise.1.6b745689.jzTy1NNskbntnfYMKViVeQ.jpg?time=2917&tieba_portrait_time=2917[avatar]TA获得超过497个赞[slogan]这个人很懒，什么都没留下![intro]2012[view_count]
法布尔的简介
让-亨利·卡西米尔·法布尔（法语：Jean-Henri Casimir Fabre，1823年12月22日－1915年10月11日），法国博物学家、昆虫学家、科普作家，以《昆虫学回忆录》（Souvenirs entomologiques，或译《昆虫记》）一书留名后世， 该书在法国自然科学史与文学史上都具重要地位，已译成多种不同语言。 身为现代昆虫学与动物行为学的先驱，法布尔以膜翅目、鞘翅目、直翅目的研究而闻名，维克多·雨果称他为“昆虫世界的荷马”（d'Homère des insectes）。 除了昆虫，也热衷研究蕈类，他以水彩绘画的700多幅真菌图（现在只成功保存一半，其他至今仍“下落不明”），深受普罗旺斯诗人米斯特拉尔的赞赏。 他也为漂染业作出贡献，曾获得三项有关茜素的专利权。 扩展资料： 法布尔一生清贫，大部分时间都是在乡间度过，著述丰富，跟不少同时代的学者友好。 虽然他不支持进化论，但达尔文对他尊敬有加，称他为“无可追摹的观察者”（inimitable observer）。 科学研究以外，法布尔也爱编些小曲，并以普罗旺斯语做诗，生前出版过一部诗集（Oubreto Proven?alo）。 日本很早已译介法布尔，首个译本由著名的无 *** 主义者大杉荣译出。 留学日本的鲁迅、周作人从日译本认识了法布尔，因而法布尔的名字也很早传到中国。 1923年，周作人在报章上发表了〈法布尔《昆虫记》〉一文，并从英、日文转译了数篇《昆虫记》的文章。 鲁迅在晚年有意转译《昆虫记》，但不果。 中国自1920年代起不断有《昆虫记》的节译本、转译本面世，但到了2001年首套从原文翻译的足本《昆虫记》，才由广州花城出版社出版，并于2003年推出修订版（繁体字版于2002年由台湾远流出版社发行，对专有名词作了校定）。
[create_time]2022-11-06 14:41:48[/create_time]2022-11-16 14:01:34[finished_time]1[reply_count]12[alue_good]海猎o[uname]https://himg.bdimg.com/sys/portrait/item/wise.1.450af2c9.VTYH0-MQyPDYwhVsGrj64A.jpg?time=4756&tieba_portrait_time=4756[avatar]TA获得超过7868个赞[slogan]这个人很懒，什么都没留下![intro]8012[view_count]法布尔的资料简介
《法布尔昆虫记1：聪明的猎人/手术专家》：当你们听到“蜂”这个字的时候，会联想到什么呢？是香甜的蜂蜜？还是六角型形状的蜂巢？或者是蜂尾上可后的毒针呢？大家首先想到的可能是蜜蜂吧，不过，事实上蜂的种类非常多，像长腹蜂、胡蜂、节腹泥蜂、砂泥蜂、大头泥蜂、黄斑蜂、切叶蜂等等，而且每种蜂都有不同的生活习性。法布尔仔细地观察每一种蜂，有时是亲自饲养那些蜂，有时是坐在树林里或草地上连续观察几个小时，因此还发现了许多新种类的蜂。本书将介绍狩猎峰的故事。狩猎蜂为了给自己的幼虫提供安全而新鲜的食物，将捕捉到的猎物留有生命，并使猎物保持一动不动的状态。那么，狩猎究竟有什么样的神奇的狩猎技术呢？让我们一起去蜂群世界一探究竟吧！《法布尔昆虫记2：战争狂/嗜尸者》：蚂蚁和苍蝇是我们在日常生活中最常见的昆虫，大家都有无意间踩死过蚂蚁，或是抓过房间里的苍蝇的经验吧！虽然蚂蚁和苍蝇都是很不起眼的小昆虫，但是他们却拥有神奇的本领。除了找路、打架、搬运重物，就连吃东西的方法也都有很多种。不知道你有没有想过，如果没有苍蝇，世界会是什么样呢？苍蝇向来被人们认为是肮脏的害虫，其实它们为我们的世界，每天都在做着很重要的工作。当你读完蚂蚁和苍蝇的故事以后，就能了解到不管多么微不足道的昆虫，也是生命体系中重要的一部分，因此也更加能体会到生命的可贵。昆虫的身体由头部、胸部、腹部共3部分组成，从胸部长出6条腿；但是，蜘蛛的身体由头胸部和腹部2部分组成，而且有8条腿，所以不能称作昆虫。人们只是因为蜘蛛丑陋的外表，而不喜欢它们。蜘蛛不但不会危害人类，反而还会吃掉苍蝇、蚊子之类的害虫，所以它们是人类的好朋友。本书将介绍毒蜘蛛家族里的“狼蛛”，以及擅长编织的“圆网蛛”。经常被人类忽视的蜘蛛，其实具有超凡的能力。狼蛛是宁愿牺牲自己，也要舍命保护卵囊的伟大母亲；而圆网蛛会编织连人类无法模仿的蜘蛛网房子。
[create_time]2020-11-18 18:19:29[/create_time]2019-10-30 18:29:39[finished_time]21[reply_count]51[alue_good]天天打酱油的酱油[uname]https://pic.rmb.bdstatic.com/45f5cb8af57c5988638ff9a7040766c9.jpeg[avatar]原创游戏视频解说，游戏达人[slogan]原创游戏视频解说，游戏达人[intro]44187[view_count]