LEFEVRE please promise me

Ladies and gentlemen - Madame Giry, thank you'll try.

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.
When you find
that, once
again, you long
to take your heart and be free . . .
(As CARLOTTA is singing a backdrop crashes to the
floor cutting her off from half the cast)

(Polite applause. Some bowing. MEG/BALLET GIRLS/CHORUS

CARLOTTA makes her presence felt) He's here:
the Phantom of the Opera . . .
Gentlemen, Signora Carlotta Giudicelli, our He is with us . . .
leading soprano for five seasons now. It's the ghost . . .

ANDRE PIANGI (looking up, furiously)

Of course, of course. I have experienced all You idiots!
your
greatest roles, Signora. (He rushes over to CARLOTTA)
Cara! Cara! Are you hurt?
LEFEVRE
And Signor Ubaldo Piangi. LEFEVRE
Signora! Are you all right? Buquet!
FIRMIN Where is Buquet ?
An honour, Signor.
PIANGI
ANDRE Is no one concerned for our prima donna?
If I remember rightly, Elissa has a rather
fine aria in Act Three of "Hannibal". I LEFEVRE
wonder, Signora, if, as a personal favour, Get that man down here !
you would oblige us with a private (to ANDRE and FIRMIN)
rendition? (Somewhat acerbic). Unless, of Chief of the flies. He's responsible for this.
course, M. Reyer objects . . .
(The drop is raised high enough to reveal upstage an old
CARLOTTA stagehand, JOSEPH BUQUET, holding a length of rope,
My manager commands . . . which looks almost like a noose)
M. Reyer?
LEFEVRE
REYER Buquet! For God's sake, man, what's going on up there?
If My diva commands.
BUQUET
FIRMIN Please monsieur
Two bars will be quite sufficient don't look at me:
as God's my witness,
REYER (ensuring that CARLOTTA is ready) I was not at my post.
Signora?
Please monsieur
CARLOTTA there's no one there:
Maestro. and if there is, well
(The introduction is played on the piano) then, it must be a ghost . . .

MEG (looking up)

CARLOTTA He's there; the Phantom of the Opera ...
Think of me,
think of me fondly, ANDRE
when we've said Good heavens!
goodbye. Will you show a little courtesy?
Remember me
once in a while - FIRMIN (to MEG and the OTHERS)
Mademoiselle, please! In our box.

ANDRE (to CARLOTTA) ANDRE

These things do happen. Madame, who is the understudy for this role?

CARLOTTA REYER
Si! These things do happen! Well, until you stop these There is no understudy, monsieur - the
things happening, this thing does not happen! production is new.

Ubaldo! Andiamo! MEG

(PIANGI dutifully fetches her furs from the wings) Christine Daae could sing it, sir.

PIANGI FlRMIN
Amateurs ! The chorus girl ?

LEFEVRE MEG (to FIRMIN)

I don't think there's much more to assist you, She's been taking lessons from a great teacher
gentlemen. Good luck. If you need me, I shall be in
Australia . ANDRE
From whom ?
(He leaves. The COMPANY looks anxiously at the NEW
MANAGERS) CHRISTINE (uneasily)
I don't know his name sir, sir . . .
ANDRE
La Carlotta will be back. FIRMIN
Oh, not you as well!
(turning to ANDRE)
GIRY Can you believe it? A full house - and we have to cancel !
You think so, messieurs? I have a message, sir, from the
Opera Ghost. GIRY
Let her sing for you, monsieur. She has been well taught.
(The GIRLS twitter and twirl in fear)
REYER (after a pause)
FIRMIN From the beginning of the aria then, mam'selle.
God in Heaven, you're all obsessed!
CHRISTINE
GIRY Think of me
He merely welcomes you to his opera house and think of me fondly,
commands you to continue to leave Box Five empty for when we've said goodbye.
his use and reminds you that his salary is due. Remember me
once in a while -
FIRMIN please promise me
His salary? you'll try.

GIRY FIRMIN
Monsieur Lefevre paid him twenty thousand francs a Andre, this is doing nothing for my nerves.
month. Perhaps you can afford more, with the Vicomte de
Chagny as your patron. ANDRE
Don't fret, Firmin.
(Reaction to this from the BALLET GIRLS.
CHRISTINE takes hold of MEG nervously) CHRISTINE
When you find
ANDRE (to GIRY) that, once
Madame, I had hoped to have made that again, you long
announcement myself. to take your heart back
and be free -
GIRY (to FIRMIN) if you
Will the Vicomte be at the performance tonight, ever find
monsieur? a moment,
spare a thought
FIRMIN for me
 She may
(Transformation to the Gala. CHRISTINE is not remember
revealed in full costume) me, but
I remember
her...
We never said
our love CHRISTINE
was evergreen, We never said
or as unchanging our love
as the sea - was evergreen,
but if or as unchanging
you can still as the sea -
remember but please
stop and think promise me,
of me . . . that sometimes
you will think
Think of all the things of me!
we've shared and seen -
don't think about the things Scene 2
which might have been . . . AFTER THE GALA

Think of me, (The curtain closes upstage. BALLET GIRLS, from the
think of me waking, wings gush around CHRISTINE who hands each a flower
silent and from her bouquet. REYER stiffly gives his approval)
resigned.
GIRY (to CHRISTINE)
Imagine me, Yes, you did well. He will be pleased.
trying too hard (to the DANCERS)
to put you And you! You were a disgrace tonight! Such ronds de
from my mind. jambe! Such temps de cuisse!
Here we rehearse. Now!
Recall those days (She emphasizes this with her cane.
look back The BALLET GIRLS settle into rehearsal upstage, GlRY
on all those times, keeping time with her stick. Variations on this continue
think of the things throughout the scene)
we'll never do -
there will (CHRISTINE moves slowly, downstage, away from the
never be DANCERS as her dressing room becomes visible.
a day, when Unseen by her, MEG also moves away and follows her.
I won't think As CHRISTINE is about to open the dressing room door,
of you . . she hears the PHANTOM's voice out of nowhere)

(Applause, bravos. Prominent among the bravos, those PHANTOM'S VOICE

of the young RAOUL in the MANAGERS' box) Bravi, bravi, bravissimi . . .

RAOUL (CHRISTINE is bewildered by the voice. MEG,

Can it be? following, has not heard it. CHRISTINE turns in
Can it be Christine? surprise, and is relieved to see her)

Bravo! MEG
Where in the world
(he raises his opera-glasses) have you been hiding?
Really, you were
What a change! perfect!
You're really
not a bit I only wish
the gawkish girl I knew your secret!
that once you were... Who is this new
tutor?
(lowering his opera-glasses)
CHRISTINE (abstracted, entering the dressing room)
Father once spoke
of an angel . . . CHRISTINE
I used to dream he'd It frightens me . . .
appear . . .
MEG
Now as I sing, Don't be frightened . . .
I can sense him . . .
And I know (THEY look at each other The moment is broken
he's here . . . by the arrival of GIRY)
(trance-like)
GIRY
Here in this room Meg Giry. Are you a dancer? Then come and
he calls me softly . . . practice.
somewhere inside . . .
hiding . . . (MEG leaves and joins the DANCERS)
My dear, I was asked to give you this.
Somehow I know
he's always with me . . . (She hands CHRlSTlNE a note, and exits.
he - the unseen CHRISTINE opens it and reads)
genius . . .
CHRISTINE
MEG (uneasily) A red scarf . . . the attic . . . Little Lotte . . .
Christine, you must have
been dreaming . . .
stories like this can't Scene 3
come true . . . CHRISTINE 'S DRESSING ROOM

Christine, you're talking (Meanwhile RAOUL ANDRE, FIRMIN, and MME.

in riddles . . . FIRMIN are seen making their way towards the dressing
and it's not room, the MANAGERS in high spirits, bearing
like you . . . champagne)

CHRISTINE (not hearing her, ecstatic) ANDRE

Angel of Music! A tour de force! No other way to describe it!
Guide
and guardian! FIRMIN
Grant to me your What a relief ! Not a single refund!
glory!
MME. FIRMIN
MEG (to herself) Greedy.
Who is this angel?
This . . . ANDRE
Richard, I think we've made quite a discovery in Miss
BOTH Daae!
Angel of Music!
Hide no longer! FIRMIN (to RAOUL, indicating CHRISTINE 'S
Secret and strange dressing room)
angel . . . Here we are, Monsieur le Vicomte.

CHRISTINE (darkly) RAOUL

He's with me, even now . . . Gentlemen if you wouldn't mind. This is one visit I
should prefer to make unaccompanied.
MEG (bewildered)
Your hands are cold . . . (He takes the champagne from FIRMIN)

CHRISTINE; ANDRE
All around me . . . As you wish, monsieur.

MEG (They bow and move off)

Your face, Christine,
it's white . . . FIRMIN
They appear to have met before . . . head!"

(RAOUL knocks at the door and enters) CHRISTINE (turning in her chair to look at him)
Father said, "When I'm in heaven, child, I will send the
RAOUL Angel of Music to you". Well, father is dead, Raoul, and
Christine Daae, where is your scarf? I have been visited by the Angel of Music.

CHRISTINE RAOUL
Monsieur? No doubt of it. And now we'll go to supper!

RAOUL CHRISTINE
You can't have lost it. After all the trouble I took. No, Raoul, the Angel of Music is very strict.
I was just fourteen and soaked to the skin . . .
RAOUL
CHRISTINE I shan't keep you up late!
Because you had run into the sea to fetch my scarf.
Oh, Raoul. So it is you! CHRISTINE
No, Raoul . . .
RAOUL
Christine. RAOUL
You must change. I must get my hat. Two minutes Little
(They embrace and laugh. She moves away and sits at her Lotte.
dressing table)
(He hurries out)
RAOUL
"Little Lotte let her mind wander . . ." CHRISTINE (calling after him)

CHRISTINE Raoul!
You remember that, too . . .
(quietly picking up her hand mirror)
RAOUL (continuing)
". . . Little Lotte thought: Am I fonder Things have changed, Raoul.
of dolls . . ."
(Tremulous music. CHRISTINE hears the
BOTH (CHRISTINE joining in) PHANTOM'S voice, seemingly from behind her dressing
". . . or of goblins, room mirror)
of shoes . . ."
PHANTOM'S VOICE
CHRISTINE Insolent boy!
". . . or of riddles. This slave
of frocks . . ." of fashion
basking in your
RAOUL glory!
Those picnics in the attic . . .
". . . or of chocolates . . ." Ignorant fool!
This brave
CHRISTINE young suitor,
Father playing the violin . . . sharing in my
triumph!
RAOUL
As we read to each other CHRISTINE (spell-bound)
dark stories of the North . . . Angel! I hear you!
Speak -
CHRISTINE I listen . . .
"NoQwhat I love best, Lotte said, stay by my side,
is when I'm asleep in my bed, guide me!
and the Angel of Music sings songs in my
head!" Angel, my soul was weak -
forgive me . . .
BOTH enter at last,
". . . the Angel of Music sings song in my Master!
 strange journey to the PHANTOM'S lair. Candles
PHANTOM'S VOICE rise from the stage. We see CHRISTINE and the
Flattering child, PHANTOM in a boat which moves slowly across
you shall know me, the misty waters of the underground lake)
see why in shadow
I hide! CHRISTINE
In sleep
Look at your face he sang to me,
in the mirror - in dreams
I am there he came . . .
inside! that voice
which calls to me
(The figure of the PHANTOM becomes discernible and speaks
behind the mirror) my name . . .

CHRISTINE (ecstatic) And do

Angel of Music! I dream again?
Guide and guardian! For now
Grant to me your I find
glory! the Phantom of the Opera
is there -
Angel of Music! inside my mind . . .
Hide no longer!
Come to me, strange PHANTOM
angel... Sing once
again with me
PHANTOM"S VOICE our strange
I am your Angel ... duet . . .
Come to me: Angel of Music ... My power
over you
(CHRISTINE walks towards the glowing, grows stronger
shimmering glass. Meanwhile, RAOUL has yet . . .
returned. He hears the voices and is puzzled. He
tries the door It is locked) And though
you turn from me,
RAOUL to glance
Whose is that voice . . .? behind,
Who is that in there . . .? the Phantom of the Opera
is there -
(Inside the room the mirror opens. Behind it, in inside your mind . . .
an inferno of white light, stands the PHANTOM.
He reaches forward and takes CHRISTINE firmly, CHRISTINE
but not fiercely, by the wrist. His touch is cold, Those who
and CHRISTINE gasps) have seen your face
draw back
PHANTOM in fear . . .
I am your Angel of Music . . . I am
Come to me: Angel of Music . . . the mask you wear . . .

(CHRISTINE disappears through the mirror, PHANTOM

which closes behind her The door of the dressing
room suddenly unlocks and swings open, and It's me
RAOUL enters to find the room empty) they hear . . .

RAOUL BOTH
Christine! Angel! Your/my spirit
and your/my voice,
Scene 4 in one
THE LABYRINTH UNDERGROUND combined:
the Phantom of the Opera
(The PHANTOM and CHRISTINE take their is thereQ
inside your/my mind . . . for one purpose,
and one alone . . .
OFFSTAGE VOICES Since the moment
He's there, I first heard you sing,
the Phantom of the Opera . . . I have needed
Beware you with me,
the Phantom of the Opera . . . to serve me, to sing,
for my music . . .
PHANTOM my music . . .
In all
your fantasies, (changing mood)
you always
knew Night-time sharpens,
that man heightens each sensation . . .
and mystery . . . Darkness stirs and
wakes imagination . . .
CHRISTINE Silently the senses
. . . were both abandon their defences . . .
in you . . .
Slowly, gently
BOTH night unfurls its splendour . . .
And in Grasp it, sense it -
this labyrinth, tremulous and tender . . .
where night Turn your face away
is blind, from the garish light of day,
the Phantom of the Opera turn your thoughts away
is there/hereQ from cold, unfeeling light -
inside your/my mind . . . and listen to
the music of the night . . .
Sing, my Angel of Music!
Close your eyes
CHRISTINE and surrender to your
He's there, darkest dreams!
the Phantom of the Opera . . . Purge your thoughts
of the life
(She begins to vocalise strangely, her song becoming you knew before!
more and more extravagant.) Close your eyes,
let your spirit
start to soar!
And you'll live
as you've never
lived before . . .
Scene 5
BEYOND THE LAKE THE NEXT MORNING Softly, deftly,
music shall surround you . . .
(Finally they arrive in the PHANTOM'S lair. Downstage Feel it, hear it,
the candles in the lake lift up revealing giant closing in around you . . .
candelabrums outlining the space. The boat turns into a Open up your mind,
bed. There is a huge pipe organ. The PHANTOM sits at let your fantasies unwind,
the organ and takes over the accompaniment) in this darkness which
you know you cannot fight -
PHANTOM the darkness of
I have brought you the music of the night . . .
to the seat of sweet
music's throne . . . Let your mind
to this kingdom start a journey through a
where all must pay strange new world!
homage to music . . . Leave all thoughts
music . . . of the world
you knew before!
You have come here, Let your soul
Take you where you in the mask?
long to be !
Only then (She finally succeeds in tearing the mask from his face.
can you belong The PHANTOM springs up and rounds on her furiously.
to me . . . She clearly sees his face. The audience does not, as he is
standing in profile and in shadow)
Floating, falling,
sweet intoxication! PHANTOM
Touch me, trust me Damn you!
savour each sensation! You little prying
Let the dream begin, Pandora!
let your darker side give in You little demon -
to the power of the music that I write - is this what you wanted to see?
the power of the music of the night . . .
Curse you!
(During all this, the PHANTOM has conditioned You little Iying
CHRISTINE to the coldness of his touch and her fingers Delilah!
are brave enough to stray to his mask and caress it, with You little viper!
no hint of removing it. The PHANTOM leads her to a now you cannot ever be free!
large mirror from which he removes a dust cover and in
which we see the image of CHRISTINE, a perfect wax- Damn you . . .
face impression, wearing a wedding gown. CHRISTINE Curse you . . .
moves slowly towards it when suddenly the image thrusts
its hands through the mirror towards her She faints. The (a pause)
PHANTOM catches her and carries her to the bed, where
he lays her down.) Stranger
than you dreamt it -
PHANTOM can you even
You alone can make my song take flight - dare to look
help me make the music of the night . . . or bear to
think of me:
Scene 6 this loathsome
gargoyle, who
THE NEXT MORNING burns in hell, but secretly
(As the light brightens, we see the PHANTOM seated at yearns for heaven,
the organ playing with furious concentration. He breaks secretly . . .
off occasionally to write the music down. There is a secretly . . .
musical box in the shape of a barrel organ beside the bed.
Mysteriously, it plays as CHRISTINE But, Christine . . .
wakes up. The music keeps her in a half-trance)
Fear can
CHRISTINE Turn to love - you'll
I remember learn to see, to
there was mist . . . find the man
swirling mist behind the
upon a vast, glassy lake . . . monster: this . . .
repulsive
There were candles carcass, who
all around seems a beast, but secretly
and on the lake there dreams of beauty,
was a boat, secretly . . .
and in the boat secretly . . .
there was a man . . .
Oh, Christine . . .
(She rises and approaches the PHANTOM who does not
see her As she reaches for his mask, he turns, almost (He holds out his hand tor the mask, which she gives to
catching her. This happens several times) him. He puts it on, turning towards the audience as he
sings):
Who was that shape
in the shadows? Come we must return -
Whose is the face those two fools
who run my theatre we are mystified -
will be missing you. we suspect foul play!"

(The lair sinks into the floor as the PHANTOM and (He lowers the paper)
CHRISTINE leave)
Bad news on
Scene 7 soprano scene -
BACKSTAGE first Carlotta,
(BUQUET mysteriously appears, a length of fabric now Christine!
serving as a cloak, and a piece of rope as the Punjab Still, at least
lasso. He is showing off to the BALLET GIRLS) the seats get soldQ
gossip's worth
BUQUET its weight in gold . . .
Like yellow parchment
is his skin . . . What a way to
a great black hole served as the run a business!
nose that never grew . . . Spare me these
unending trials!
(Demonstrating his method of self-defence against the Half your cast disappears,
Punjab lasso, he inserts his hand between his neck and but the crowd still cheers!
the noose, and then pulls the rope taut. With a mixture of Opera!
horror and delight, the BALLET GIRLS applaud this To hell with Gluck and Handel -
demonstration) It's a scandal that'll
pack 'em in the aisles!
(explaining to them)
You must be always (ANDRE bursts in, in a temper)
on your guard,
or he will catch you with his ANDRE
magical lasso! Damnable!
Will they all walk out?
(A trap opens up centre stage casting a shadow of the This is damnable!
PHANTOM as he emerges. The GIRLS, linking hands,
run off terrified. The PHANTOM, leading CHRISTINE, FIRMIN
fixes his stare on BUQUET. Sweeping his cape around Andre, please don't shout . . .
CHRISTINE, he exits with her But before they go GIRY
has entered, observing. She turns on BUQUET) It's publicity!
And the take is vast!
Free publicity!
GIRY
Those who speak ANDRE
of what they know But we have no cast . . .
find, too late, that prudent
silence is wise. FIRMIN (calmly)
Joseph Buquet, But Andre,
hold your tongueQ have you seen the queue?
he will burn you with the
heat of his eyes . . . (He has been sorting mail on his desk. Finding the two
letters from the PHANTOM):
Scene 8
THE MANAGERS' OFFICE Oh, it seems
(Desk, chairs, papers. FIRMIN is scornfully eyeing a you've got one too . . .
newspaper article)
(He hands the letter to ANDRE, who opens it and reads):
FIRMIN
"Mystery ANDRE
after gala night," "Dear Andre
if says, "Mystery what a charming gala!
of soprano's flight!" Christine enjoyed a great success!
We were hardly bereft
"Mystified when Carlotta left -
baffled Surete say, otherwise
the chorus was entrancing, where is she?
but the dancing was a
lamentable mess!" FIRMIN
Well, how should we know?
FIRMIN (reading his)
"Dear Firmin, RAOUL
just a brief reminder: I want an answer -
my salary has not been paid. I take it that you sent me this note?
Send it care of the ghost,
by return of postQ FIRMIN
P.T.O.: What's all this nonsense?
No-one likes a debtor,
so it's better if my ANDRE
orders are obeyed!" Of course not!

FIRMIN/ANDRE FIRMIN
Who would have the gall Don't look at us!
to send this?
Someone with a puerile brain! RAOUL
She's not with you, then?
FIRMIN (examining both letters)
These are both signed "O.G." . . . FIRMIN
Of course not!
ANDRE
Who the hell is he? ANDRE
We're in the dark . . .
BOTH (immediately realizing)
Opera ghost! RAOUL
Monsieur, don't argue -
FIRMIN (unamused) Isn't this the
It's really not amusing! letter you wrote?

ANDRE FIRMIN
He's abusing And what is it, that we're
our position! meant to have wrote?

FIRMIN (Realizing his mistake)

In addition
he wants money! Written !
(RAOUL hands the note to ANDRE, who reads it)
ANDRE
He's a funny ANDRE
sort of spectre . . . "Do not fear for Miss Daae.
The Angel of Music
BOTH has her under his wing.
. . . to expect a Make no attempt to see her again."
large retainer!
Nothing plainer - (The MANAGERS look mystified)
he is clearly quite insane!
RAOUL
(They are interrupted by the arrival of RAOUL, who If you didn't write it, who did?
brandishes another of the PHANTOM'S notes)
(CARLOTTA bursts in. She too has a letter, which has
RAOUL cheered her no more than the others)
Where is she?
CARLOTTA
ANDRE Where is he?
You mean Carlotta?
ANDRE
RAOUL Ah, welcome back!
I mean Miss Daae -
CARLOTTA
Your precious patron - GIRY
where is he? Miss Daae has returned.

RAOUL FIRMIN (drily)

What is it now? I trust her midnight oil
is well and truly burned.
CARLOTTA (to RAOUL)
I have your letter - ANDRE
a letter which I Where precisely is she now?
rather resent!
GIRY
FIRMIN (to RAOUL) I thought it best
And did you send it? that she went home . . .

RAOUL MEG
Of course not! She needed rest.

ANDRE RAOUL
As if he would! May I see her?

CARLOTTA GIRY
You didn't send it? No, monsieur,
she will see no-one.
RAOUL
Of course not! CARLOTTA
Will she sing?
FIRMIN Will she sing?
What's going on . . .?
GIRY
CARLOTTA (to RAOUL) Here, I have a note . . .
You dare to tell me,
that this is not the RAOUL/CARLOTTA/ANDRE
letter you sent ? ! Let me see it!

RAOUL FIRMIN (snatching it)

And what is it that I'm Please!
meant to have sent?
FIRMIN (Opens the letter and reads. The PHANTOM'S
(RAOUL takes the letter and reads it) voice gradually lakes over)
"Gentlemen, I have now sent you several notes of the
"Your days most amiable nature, detailing how my theatre is to be
at the Opera Populaire are numbered. run. You have not followed my instructions.
Christine Daae I shall give you one last chance . . ."
will be singing on your behalf tonight.
Be prepared PHANTOM'S VOICE (taking over)
for a great misfortune, Christine Daae has returned to you,
should you attempt and I am anxious her career
to take her place." should progress.
In the new production of "Il Muto",
(The MANAGERS are beginning lo tire of the intrigue) you will therefore cast Carlotta
as the Pageboy, and put Miss Daae
ANDRE/FIRMIN in the role of Countess.
Far too many The role which Miss Daae plays
notes for my taste - calls for charm and appeal.
and most of them The role of the Pageboy is silent -
about Christine! which makes my casting,
All we've heard since we came in a word
is Miss Daae's name . . . ideal.

(GIRY suddenly appears, accompanied by MEG) I shall watch the performance from my normal seat in
Box Five, which will be kept empty for me. Should We don't take orders!
these commands be ignored, a disaster beyond your
imagination will occur. FIRMIN (announcing it to EVERYONE)
Miss Daae will be playing
FIRMIN (taking over) the Pageboy - the silent role . . .
"I remain, Gentlemen,
Your obedient servant, O.G." ANDRE/FIRMIN
Carlotta will be playing
CARLOTTA the lead!
Christine!
CARLOTTA (waxing melodramatic)
ANDRE It's useless trying to
Whatever next . . .? appease me!
You're only saying this
CARLOTTA to please me!
It's all a ploy to help Christine! Signori, e vero?
Non, non, non voglio udire !
FIRMIN Lasciatemi morire!
This is insane . . . O padre mio!
Dio!
CARLOTTA
I know who sent this: GIRY
(pointing an accusing finger) Who scorn his word,
The Vicomte - her lover! beware to those . . .

RAOUL (ironical) CARLOTTA (to MANAGERS)

Indeed? You have reviled me!
(to the OTHERS)
Can you believe this? GIRY
The angel sees,
ANDRE (to CARLOTTA, in protest) the angel knows . . .
Signora!
RAOUL
CARLOTTA (half to the MANAGERS, half to herself) Why did Christine
O traditori! fly from my arms . . .?

FIRMIN (to CARLOTTA) CARLOTTA

This is a joke! You have rebuked me!

ANDRE ANDRE/FIRMIN
This changes nothing! Signora, pardon us . . .

CARLOTTA CARLOTTA
O mentitori! You have replaced me!

FIRMIN ANDRE/FIRMIN
Signora! Please, Signora,
we beseech you . . .
ANDRE
You are our star! GIRY
This hour shall see
FIRMIN your darkest fears . . .
And always will be!
MEG/RAOUL
ANDRE I must see her . . .
Signora . . .
CARLOTTA
FIRMIN Abbandonata!
The man is mad! Deseredata!
0, sventurata!
ANDRE
GIRY
The angel knows, BOTH
the angel hears . . . Prima donna,
enchant us once again!
RAOUL
Where did she go . . .? ANDRE
Think of your muse . . .
CARLOTTA
Abbandonata! FIRMIN
Disgraziata! And of the queues
round the theatre!
ANDRE/FIRMIN
Signora, sing for us! BOTH
Don't be a martyr . . . Can you deny us the triumph
in store?
RAOUL/GIRY/MEG Sing, prima donna, once more!
What new surprises
lie in store . . .? (CARLOTTA registers her acceptance as the
MANAGERS continue to cajole and the OTHERS reflect
ANDRE/FIRMIN variously on the situation)
Our star . . .!
RAOUL
CARLOTTA Christine spoke of an angel . . .
Non vo' cantar!
CARLOTTA (to herself, in triumph)
(ALL look at CARLOTTA, as the MANAGERS approach Prima donna
her lovingly) your song shall live again!

ANDRE ANDRE/FIRMIN (to CARLOTTA)

Your public needs you! Think of your public!

FIRMIN CARLOTTA
We need you, too! You took a snub
but there's a public
CARLOTTA (unassuaged) who needs you!
Would you not
rather have your GIRY (referring to CHRISTINE)
precious little She has heard the voice
ingenue? of the angel of music . . .

ANDRE/FIRMIN ANDRE/FIRMIN (to CARLOTTA)

Signora, no! Those who hear your voice
the world wants you! liken you to an angel!

(The MANAGERS adopt their most persuasive attitudes) CARLOTTA

Think of their cry
ANDRE/FIRMIN of undying
Prima donna support !
first lady of the stage!
Your devotees RAOUL
are on their knees Is this her angel of music . . .?
to implore you !
ANDRE (to FIRMlN)
ANDRE We get our opera . . .
Can you bow out
when they're shouting FIRMIN (to ANDRE)
your name? She gets her limelight!

FIRMIN CARLOTTA
Think of how they all Follow where the limelight
adore you! leads you!
 RAOUL
MEG . . .I must see
Is this ghost these demands are rejected!
an angel or a madman . . .?
MEG
RAOUL . . . if his threats
Angel or madman . . .? and demands are rejected!

ANDRE/FIRMIN (aside) ANDRE/FIRMIN

Leading ladies are a trial! Who'd believe a diva
happy to relieve a chorus girl,
GIRY who's gone and slept with the patron?
Heaven help you, Raoul and the soubrette,
those who doubt . . . entwined in love's duet!
Although he may demur,
CARLOTTA he must have been with her!
You'll sing again,
and to unending MEG/RAOUL
ovation! Christine must be protected!

CARLOTTA
RAOUL 0, fortunata!
Orders! Warnings! Non ancor
Lunatic demands! abbandonata!

GIRY ANDRE/FIRMIN
This miscasting You'd never get away
will invite damnation . . . with all this in a play,
but if it's loudly sung
ANDRE/FIRMIN and in a foreign tongue
Tears . . . oaths . . . it's just the sort of story
Iunatic demands audiences adore,
are regular occurrences! in fact a perfect opera!

MEG RAOUL
Bliss or damnation? His game is over!
Which has claimed her . . .?
GIRY
CARLOTTA This is a game
Think how you'll shine you cannot hope to win!
in that final encore!
Sing, prima donna, RAOUL
once more! And in Box Five
a new game will begin . . .
GIRY
Oh fools, to have flouted his warnings! GIRY
For, if his curse is on this opera . . .
RAOUL
Surely, for her sake . . . MEG
But if his curse is on this opera . . .
MEG
Surely he'll strike back . . . ANDRE/FIRMIN
Prima donna
ANDRE/FIRMIN the world is at your feet!
Surely there'll be further scenes - A nation waits,
worse than this! and how it hates
to be cheated!
GIRY
Think, before CARLOTTA
these demands are rejected! The stress that falls upon a
famous prima donna!
Terrible diseases, JEWELLER is attended by MEG. There is also an OLDER
coughs and colds and sneezes! WOMAN, the COUNTESS' confidante. All a part from
Still, the dryest throat MEG are gossiping with relish aboutt he COUNTESS'
will reach the highest note, current liaison with SERAFIMO)
in search of perfect
opera! CONFIDANTE
They say that this youth
MEG/GIRY has set my Lady's
. . . then I fear the outcome . . . heart aflame!

RAOUL 1ST FOP

Christine plays the Pageboy, His Lordship sure
Carlotta plays the Countess . . . would die of shock!

GIRY 2ND FOP

. . . should you dare to . . His Lordship is
a laughing-stock!
MEG
. . . when you once again . . . CONFIDANTE
Should he suspect her
ALL God protect her!
Light up the stage
with that age old ALL THREE
rapport! Shame! Shame! Shame!
Sing, prima donna,
once more! This faithless lady's
bound for Hades!
PHANTOM'S VOICE Shame! Shame! Shame!
So, it is to be war between us! If these demands are not
met, a disaster beyond your imagination will occur! (The canopy drapes part and we see the COUNTESS
kissing SERAFlMO passionately. As the recitative
ALL begins, the lights and music dim on stage, and our
Once more! attention turns to the MANAGERS in their box)

IN THE BOX
Scene 9
: ANDRE
A PERFORMANCE OF 'IL MUTO' BY ALBRIZZI0 Nothing like the old operas!
(During the overture RAOUL, ANDRE and FIRMIN take
their respective seats - RAOUL in Box Five, the FIRMIN
MANAGERS in a box opposite) Or the old scenery . . .

RAOUL ANDRE
Gentlemen, if you would care to take your seats? I shall The old singers . . .
be sitting in Box Five.
FIRMIN
ANDRE The old audience . . .
Do you really think that's wise, monsieur?
ANDRE
RAOUL And every seat sold!
My dear Andre, there would appear to be no seats
available, other than Box Five . . . FIRMIN
Hardly a disaster beyond all imagination!
(The front cloth rises to reveal an 18th Century salon, a
canopied bed centre-stage. The COUNTESS is played by (They chuckle and nod to RAOUL in the opposite box.
CARLOTTA. SERAFIMO, the page boy, is disguised as He acknowledges them)
her maid and is played by CHRISTINE. At this point they
are hidden behind the drapes of the bed, which are drawn. ON STAGE

In the room are TWO EPICENE MEN: one a COUNTESS

HAIRDRESSER and one a JEWELLER. The Serafimo - your disguise is perfect.
 Did I not instruct that Box Five was to be kept empty?
(A knock at the door)
MEG (terrified)
Who can this be? He's here: the Phantom of the Opera . . .

DON ATTILI0 (General reaction of bewilderment.

Gentle wife, admit your loving CHRISTINE looks fearfully about her)
husband.
CHRISTINE
ATTENTION BACK ON STAGE It's him . . . I know it . . . it's him . . .
(The COUNTESS admits DON ATTILI0. He is an old fool)
CARLOTTA (Finding a scapegoat in CHRISTINE,
DON ATTILI0 hisses at her)
My love - I am called to England on affairs of State, and Your part is silent, little toad!
must leave you with your new maid. (Aside) Though I'd
happily take (But the PHANTOM has heard her)
the maid with me.
PHANTOM'S VOICE
COUNTESS (aside) A toad, madame? Perhaps it is you
The old fool's leaving! who are the toad . . .

DON ATTILI0 (aside) (Again general unease. CARLOTTA and the

I suspect my young bride is untrue to me. I shall not CONDUCTOR confer and pick up from the opening of the
leave, but shall hide over there to observe her! scene)

DON ATTILI0 (to COUNTESS) CARLOTTA (As the COUNTESS)

Addio! Serafimo, away with this pretence!
You cannot speak, but kiss me in my croak!
COUNTESS
Addio! (Instead of singing she emits a great croak like a toad. A
stunned silence. CARLOTTA is as amazed as anyone but
BOTH (to each other) regains herself and continues. More perturbing,
Addio! however, is a new sound: the PHANTOM is laughing -
quietly at first, then more and more hysterically)
(He goes, pretending to leave, then hides and
watches the action) CARLOTTA (as the COUNTESS)
Poor fool, he makes me laugh -
COUNTESS (CARLOTTA) Hahahahaha!
Serafimo - away with this pretence! Croak, croak, croak,
croak, croak, croak, etc.
(She rips off SERAFIMO'S skirt to reveal his manly
breeches) (As before. The PHANTOM'S laughter rises. The
croaking continues as the chandelier's lights blink on
You cannot speak, but kiss me in my and off. The PHANTOM'S laughter, by this time
husband's absence! overpowering, now crescendos into a great cry):

Poor fool, he makes me laugh! PHANTOM'S VOICE

Haha, Behold! She is singing to bring down the
Haha! etc. chandelier!
Time I tried to get a better better half !
(CARLOTTA looks tearfully up at the MANAGERS ' box
COUNTESS AND CHORUS and shakes her head)
Poor fool, he doesn't know!
Hoho, CARLOTTA
Hoho! etc. Non posso piu . . .
If he knew the truth, he'd never, ever go! I cannot . . . I cannot go on . . .

(Suddenly from nowhere, we hear the voice of the PIANGI (rushing on)
PHANTOM) Cara, cara . . . I'm here . . .
is all right . . . Come . . . I'm here . . .
PHANTOM'S VOICE
(ANDRE and FIRMIN hurry out of the box onto the Don't take me back there!
stage. PIANGI ushers the now sobbing CARLOTTA
offstage, while the MANAGERS tackle the audience) RAOUL
We must return!
FIRMIN
Ladies and gentlemen, the performance will CHRISTINE
continue in ten minutes' time . . . He'll kill me!

(He addresses Box Five, keeping one eye on the RAOUL

chandelier as it returns to normal) Be still now . . .

. . . when the role of the Countess will be sung by Miss CHRISTINE

Christine Daae. His eyes will find me there!

ANDRE (improvising) RAOUL

In the meantime, ladies and gentlemen, we shall be Christine, don't say that . . .
giving you the ballet from Act Three of tonight's opera.
CHRISTINE
(to the CONDUCTOR) Those eyes that burn!

Maestro - the ballet - now! RAOUL

Don't even think it . . .
(The MANAGERS leave, the stage is cleared and music
starts again. The BALLET GlRLS enter as a sylvan glade CHRlSTlNE
flies in. They begin the Dance of the Country Nymphs. And if he has to kill
Upstage, behind the drop, a series of threatening a thousand men -
shadows of the PHANTOM. MEG is aware of them and
dances out of step. When this culminates in one RAOUL
gigantic, oppressive, bat-like shadow, the garotted body Forget this waking nightmare . . .
of JOSEPH BUQUET falls onto the stage, causing the
sylvan glade to fly out. Pandemonium.) CHRISTINE
The Phantom of the Opera will kill . . .
CHRISTINE (calling for help)
Raoul! Raoul! RAOUL
This phantom is a fable . . .
(RAOUL runs on stage and embraces her) Believe me . . .

RAOUL (to CHRISTINE, leading her away) CHRISTINE

Christine, come with me . . . . . . and kill again!

CHRISTINE RAOUL
No. . . to the roof. We'll be safe there. There is no Phantom of the Opera . . .

(CHRISTINE and RAOUL hurry off) CHRISTINE

My God, who is this man . . .
FIRMIN (Attempting to placate the audience as STAGE-
HANDS and POLICEMEN crowd onto the stage) RAOUL
Ladies and gentlemen, please remain in your seats. Do My God, who is this man . . .
not panic. It was an accident . . . simply an accident . . .
CHRISTINE
Scene 10 . . . who hunts to kill . . .?
THE ROOF OF THE OPERA HOUSE
RAOUL
(A statue of 'La Victoire Ailee' - the same as that which . . . this mask of death . . .?
tops the proscenium. It is twilight. CHRISTINE and
RAOUL rush on) CHRISTINE
I can't escape from him . . .
RAOUL
Why have you brought us here? RAOUL
Whose is this voice you hear . . .
CHRISTINE
CHRISTINE Yet in his eyes
. . .I never will! all the sadness
of the world . . .
RAOUL Those pleading eyes,
. . . with every breath . . .? that both threaten
and adore . . .
BOTH
And in this RAOUL (comforting)
labyrinth, Christine . . .
where night is blind Christine . . .
the Phantom of the Opera
is here: PHANTOM (unseen, a ghostly echo of RAOUL's words)
inside your/my mind . . . Christine . . .

RAOUL CHRISTINE
There is no Phantom of the Opera . . . What was that?

(A moment, as their eyes meet. The mood changes.)

RAOUL
CHRISTINE No more talk
Raoul, I've been there - of darkness,
to his world of Forget these
unending night . . . wide-eyed fears.
To a world where I'm here,
the daylight dissolves nothing can harm you -
into darkness . . . my words will
darkness . . . warm and calm you.

Raoul, I've seen him! Let me be

Can I ever your freedom,
forget that sight? let daylight
Can I ever dry -your tears.
escape from that face? I'm here,
So distorted, with you, beside you,
deformed, it to guard you
was hardly a face, and to guide you . . .
in that darkness . . .
darkness . . . CHRISTINE
Say you love me
(trancelike, then becoming more and more ecstatic) every
waking moment,
But his voice turn my head
filled my spirit with talk of summertime . . .
with a strange, sweet sound . . .
In that night Say you need me
there was music with you,
in my mind . . . now and always . . .
And through music promise me that all
my soul began you say is true -
to soar! that's all I ask
And I heard of you . . .
as I'd never
heard before . . . RAOUL
Let me be
RAOUL your shelter,
What you heard let me
was a dream be your light.
and nothing more . . . You're safe:
No-one will find youQ
CHRISTINE your fears are
far behind you . . . CHRISTINE
I must go -
CHRISTINE they'll wonder where I am . . .
All I want wait for me, Raoul!
is freedom,
a world with RAOUL
no more night . . . Christine, I love you!
and you
always beside me CHRISTINE;
to hold me Order your fine horses!
and to hide me . . . Be with them at the door!

RAOUL RAOUL
Then say you'll share with And soon you'll be beside me!
me one
love, one lifetime . . . CHRISTINE
Iet me lead you You'll guard me, and you'll guide me . . .
from your solitude . . .
(They hurry off. The PHANTOM emerges from
Say you need me behind the statue)
with you
here, beside you . . . PHANTOM
anywhere you go, I gave you my music . . .
let me go too - made your song take wing . . .
Christine, and now, how you've
that's all I ask repaid me:
of you . . . denied me
and betrayed me . . .
CHRISTINE He was bound to love you
Say you'll share with when he heard you sing . . .
me one
love, one lifetime . . . Christine ...
say the word Christine ...
and I will follow you . . .
RAOUL/CHRISTINE (offstage)
BOTH Say you'll share with
Share each day with me one
me, each love, one lifetime . . .
night, each morning . . . say the word
and I will follow you . . .
CHRISTINE
Say you love me . . . Share each day with
me, each
RAOUL night, each morning . . .
You know I do . . .
PHANTOM
BOTH You will curse the day
Love me - you did not do
that's all I ask all that the Phantom asked
of you . . . of you . . .!

(They kiss) (As the roof of the opera house disappears, the opera
curtain closes and the PRINCIPALS in 'Il Muto' appear
Anywhere you go through it for their bows, CHRISTINE conspicuously
let me go too . . . dressed in CARLOTTA'S costume. simultaneously, we
Love me - hear the maniacal laughter of the PHANTOM and see him
that's all I ask high above the stage, perilously rocking the chandelier.
of you . . The lights of the
chandelier begin flickering and, at a great cry from him,
(CHRISTINE starts from her reverie) it descends, swinging more and more madly over the
orchestra pit)
 opera house. The opera ball begins. Among the
PHANTOM GUESTS are four carrying strange percussion
Go! ! instruments: a monkey with cymbals, a toy soldier
with a drum, a triangle, bells. Together they play
(The chandelier falls to the stage at CHRISTINE'S feet) weirdly throughout)

CHORUS
END OF ACT 1 Masquerade!
Paper faces on parade . . .
Masquerade!
Hide your face,
so the world will
never find you!
ACT 2
Scene 1 Masquerade!
THE STAIRCASE OF THE OPERA HOUSE Every face a different shade . . .
Masquerade!
(A gauze half conceals the tableau of guests at the Look around -
opera ball. The guests (whom we cannot yet see there's another
clearly) are in fancy dressQa peacock, a lion, a mask behind you!
dragon, Mephistopheles, a highwayman, a clown,
knights, ladies, an executioner. M. ANDRE enters. Flash of mauve . . .
He is dressed as a skeleton in an opera cape. Almost Splash of puce . . .
immediately M. FIRMIN arrives.He is also dressed Fool and king . . .
as a skeleton in an opera cape. The two skeletons see Ghoul and goose . . .
each other and approach nervously) Green and black . . .
Queen and priest . . .
ANDRE Trace of rouge . . .
M'sieur Firmin? Face of beast . . .

FIRMIN Faces . . .
M'sieur Andre? Take your turn, take a ride
on the merry-go-round . . .
(Each raises his mask to the other. They recognise each in an inhuman race . . .
other.)
Eye of gold . . .
FIRMIN Thigh of blue . . .
Dear Andre True is false . . .
what a splendid party! Who is who . . .?
Curl of lip . . .
ANDRE Swirl of gown . . .
The prologue Ace of hearts . . .
to a bright new year! Face of clown . . .

FIRMIN Faces . . .
Quite a night! Drink it in, drink it up,
I'm impressed! till you've drowned
in the light . . .
FIRMIN in the sound . . .
Well, one does
one's best . . . RAOUL/CHRISTINE
But who can name the face . . .?
ANDRE/FIRMIN (raising their glasses)
Here's to us! ALL
Masquerade!
FIRMIN Grinning yellows,
I must say, all the same, that spinning reds . . .
it's a shame that 'Phantom' Masquerade!
fellow isn't here! Take your fill -
let the spectacle
(The gauze lifts fully to reveal the staircase of the astound you!
Masquerade! MEG/GIRY
Burning glances, And we can breathe at last!
turning heads . . .
Masquerade! CARLOTTA
Stop and stare No more notes!
at the sea of smiles
around you! PIANGI
No more ghost!
Masquerade!
Seething shadows GIRY
breathing lies . . . Here's a health!
Masquerade!
You can fool ANDRE
any friend who Here's a toast:
ever knew you! to a prosperous year!

Masquerade! FIRMIN
Leering satyrs, To the new chandelier!
peering eyes . . .
Masquerade! PIANGI/CARLOTTA
Run and hide - And may its
but a face will splendour never fade!
still pursue you!
FIRMIN
(The ENSEMBLE activity becomes background, as Six months!
ANDRE, FIRMIN, MEG, GIRY, PIANGI and CARLOTTA
come to the fore, glasses in hand) GIRY
What a joy!
GIRY
What a night MEG
What a change!
MEG
What a crowd! FIRMIN/ANDRE
What a blessed release!
ANDRE
Makes you glad! ANDRE
And what a masquerade!
FIRMIN
Makes you proud! (They clink glasses and move off RAOUL and
All the creme CHRISTINE emerge. She is admiring a new acquisition:
de la creme! an engagement ring from RAOUL, which she has
attached to a gold chain around her neck.)
CARLOTTA
Watching us watching them! CHRISTINE
Think of it!
MEG/GlRY A secret engagement!
And all our fears Look - your future bride!
are in the past! Just think of it!

ANDRE RAOUL
Six months... But why is it secret?
What have we to hide?
PIANGI
Of relief! CHRISTINE
Please, let's not fight . . .
CARLOTTA
Of delight! RAOUL
Christine, you're free!
ANDRE/FIRMIN
Of Elysian peace! CHRISTINE
Wait till the time is right . . . around you!

RAOUL Masquerade!
When will that be? Grinning yellows,
It's an engagement, spinning reds . . .
not a crime! Masquerade!
Take your fill -
Christine, let the spectacle
What are you astound you!
afraid of?
(At the height of the activity a grotesque figure suddenly
CHRISTINE appears at the lop of the staircase. Dressed all in
Let's not argue . . . crimson, with a death's head visible inside the hood of
his robe, the PHANTOM has come to the party. With
RAOUL dreadful wooden steps he descends the stairs and takes the
Let's not argue . . . centre of the stage)

CHRISTINE PHANTOM
Please pretend . . . Why so silent, good messieurs?
Did you think that I had left you for good?
Have you missed me, good messieurs?
RAOUL I have written you an opera!
I can only hope I'll . . .
(He takes from under his robe an enormous bound
CHRISTINE manuscript)
You will . . .
Here I bring the finished score -
BOTH "Don Juan Triumphant" !

. . . understand (He throws it to ANDRE)

in time . . .
I advise you
(Dance section, in which CHRISTINE, almost to comply -
coquettish almost jittery, goes from man to man. But too my instructions
many of her partners seem to be replicas of the should be clear -
PHANTOM, and each spins her with increasing force. Remember
Eventually RAOUL rescues her and holds her tightly. He there are worse things
whirls her back into the dance, as the music heads than a shattered chandelier . . .
towards its climax.)
(CHRISTlNE, mesmerized, approaches as the
ALL PHANTOM beckons her. He reaches out, grasps the
Masquerade! chain that holds the secret engagement ring, and rips it
Paper faces on parade! from her throat)
Masquerade!
Hide your face, Your chains are still mine -
so the world will you will sing for me!
never find you!
(ALL cower in suspense as the music crescendos, until
Masquerade! suddenly, his figure evaporates)
Every face a different shade!
Masquerade! Scene 2
Look around - BACKSTAGE
There's another
mask behind you! (GIRY is hurrying across. RAOUL appears and calls
after her)
Masquerade!
Burning glances, RAOUL
turning heads . . . Madame Giry. Madame Giry . . .
Masquerade!
Stop and stare GIRY
at the sea of smiles Monsieur, don't ask me - I know no more than
anyone else.
RAOUL
(She moves off again. He stops her) Go on.

RAOUL GIRY
That's not true. You've seen something, haven't They never found him
you ? it was said he
had died . . .
GIRY (uneasily)
I don't know what I've seen . . . Please don't ask me, RAOUL (darkly)
monsieur . . . But he didn't die, did he?

RAOUL (desperately) GIRY

Madame, for all our sakes . . . The world forgot him,
but I never can . . .
GIRY (She has glanced nervously about her and For in this darkness
suddenly deciding to trust him, cuts in): I have seen him again . . .
Very well. It was years ago. There was a travelling
fair in the city. Tumblers, conjurors, human RAOUL
oddities . . . And so our
Phantom's this man . . .
RAOUL
Go on . . . GIRY (starts from her daze and turns to go)
I have said too much, monsieur.
GIRY (trance-like, as she retraces the past)
And there was . . . I shall never forget him: a man . . (She moves off into the surrounding blackness)
Iocked in a cage . . .
And there have been too many accidents . . .
RAOUL
In a cage . . ? RAOUL (ironical)
Accidents?!
GIRY
A prodigy, monsieur! Scholar, architect, musician . GIRY
Too many . . .
RAOUL (piecing together the jigsaw)
A composer . . . (And, before he can question her further, she has
disappeared)
GIRY
And an inventor too, monsieur. They boasted he RAOUL (running after her)
had once built for the Shah of Persia, a maze of Madame Giry . . .!
mirrors . . .
Scene 3
RAOUL (mystified and impatient, cuts in) THE MANAGERS ' OFFICE
Who was this man . . .?
(The PHANTOM'S score lies open on the desk.
GIRY (with a shudder) ANDRE is impatiently flicking through it)
A freak of nature . . .
more monster ANDRE
than man . . . Ludicrous!
Have you seen the score?
RAOUL (a murmur)
Deformed . . .? FIRMIN (entering)
Simply ludicrous!
GIRY
From birth, it seemed . . . ANDRE
It's the final straw!
RAOUL
My God . . . FIRMIN
This is lunacy!
GIRY Well, you know my views . . .
And then . . . he went missing. He escaped.
ANDRE
Utter lunacy! ANDRE
Signora, listen . . .
FIRMIN
But we daren't refuse . . . PIANGI
It's an insult!
ANDRE (groans)
Not another FIRMIN
chandelier . . . Not you as well!

FIRMIN PIANGI
Look, my friend, what Just look at this -
we have here . . . it's an insult!

(He has two notes from the PHANTOM, one of which he FIRMIN
hands to ANDRE, who opens it and reads): Please, understand . . .

ANDRE ANDRE
"Dear Andre, Signor! Signora!
Re my orchestrations:
We need another first bassoon. CARLOTTA
Get a player with tone - The things I have
and that third trombone to do for my art!
has to go!
The man could not be deafer, PIANGI (stabbing a finger at the open score)
so please preferably one If you .an call
who plays in tune!" this gibberish "art" !

FIRMIN (reading his letter) (RAOUL and CHRISTINE enter: CARLOTTA bristles)
"Dear Firmin,
vis a vis my opera: CARLOTTA (dryly)
some chorus-members must be sacked. Ah! Here's our little flower!
If you could, find out which
has a sense of pitch - FIRMIN
wisely, though, Ah Miss Daae
I've managed to assign a quite the lady
rather minor role to those of the hour!
who cannot act! "
ANDRE (explaining)
(They are interrupted by the arrival of CARLOTTA and You have
PIANGI both furiously brandishing similar notes) secured the largest role
in this "Don Juan".
CARLOTTA
Outrage! CARLOTTA (half to herself)
Christine Daae?
FIRMIN She doesn't have
What is it now? the voice!

CARLOTTA FIRMIN (hearing this, to CARLOTTA)

This whole affair is Signora, please!
an outrage!
RAOUL (to the MANAGERS)
FIRMIN Then I take it
Signora, please . . . you're agreeing.

ANDRE CARLOTTA (aside)

Now what's the matter? She's behind this . . .

CARLOTTA ANDRE
Have you seen It appears we have
the size of my part? no choice.
 GIRY
CARLOTTA (unable to contain herself any longer, Please, monsieur:
points accusingly) another note.
She's the one
behind this! (The MANAGERS gesture: "read it". As she reads, ALL
Christine Daae! react variously, as they are singled out)

CHRISTINE (who has been silent till now, incensed at GIRY

this) "Fondest greetings
How dare you! to you all !
A few instructions
CARLOTTA just before
I'm not a fool! rehearsal starts:
Carlotta must be
CHRISTINE taught to act . . . ,"
You evil woman!
How dare you! (The PHANTOM'S voice gradually takes over
from her)
CARLOTTA
You think I'm blind? PHANTOM'S VOICE
. . . not her normal trick
CHRISTINE of strutting round the stage.
This isn't my fault! Our Don Juan must
I don't want any lose some weight -
part in this plot! it's not healthy in
a man of Piangi's age.
FIRMIN And my managers
Miss Daae, surely . . . must learn
that their place is in
ANDRE an office, not the arts.
But why not?
As for Miss Christine Daae . . .
PIANGI (baffled, to CARLOTTA) No doubt she'll
What does she say? do her best - it's
true her voice is
FIRMIN (reasonably) good. She knows, though,
It's your decision - should she wish to excel
she has much still
(Suddenly rounding on her) to learn, if pride will
let her
But why not? return to me, her
teacher,
CARLOTTA (to PIANGI) her teacher . . .
She's backing out!
Your obedient friend . . .
ANDRE (The PHANTOM'S voice fades out and GIRY takes over)
You have a duty!
GIRY
CHRISTINE ". . . and Angel . . ."
I cannot sing it,
duty or not! (Attention now focuses on RAOUL whose eyes are
suddenly bright with a new thought)
RAOUL (comforting)
Christine . . . RAOUL
Christine . . . We have all been
You don't have to . . . blind - and yet the
they can't make you . . . answer is staring us
in the face . . .
(MEG and GlRY arrive, the latter bearing another note This could be the
from the PHANTOM) chance to ensnare our
clever friend . . .
ANDRE GIRY
We're listening . . . Monsieur, I can't . . .

FIRMIN RAOUL
Go on. Instead of warning us . . .

RAOUL RAOUL/ANDRE/FIRMIN
We shall play his Help us!
game - perform his
work - but remember we GIRY
hold the ace . . . I wish I could . . .
For, if Miss Daae
sings, he is certain RAOUL/ANDRE/FIRMIN
to attend . . . Don't make excuses!

ANDRE (carried along by the idea) RAOUL

We make certain Or could it be that
the doors are barred . . . you're on his side?

FIRMIN (likewise) GIRY (to RAOUL)

We make certain Monsieur, believe me,
our men are there . . . I intend no ill . . .

RAOUL (to ANDRE and FIRMIN)

We make certain
they're armed . . . But messieurs, be careful -
we have seen him kill . . .
RAOUL/ANDRE/FIRMIN (savouring their victory)
The curtain falls - ANDRE/FIRMIN (to GIRY)
his reign will end! We say he'll fall
and fall he will!
(ALL have been listening intently. GIRY is the first to
express a reaction. CHRISTINE remains silent and CARLOTTA
withdrawn) She's the one behind this!
Christine!
GIRY This is all her doing!
Madness!
PIANGI
ANDRE This is the truth!
I'm not so sure . . . Christine Daae!

FIRMIN RAOUL
Not if it works . . . This is his undoing!

GIRY ANDRE/FIRMIN (to RAOUL)

This is madness! If you succeed
you free us all -
ANDRE this so called "angel"
The tide will turn! has to fall!

GIRY RAOUL
Monsieur, believe me - Angel of music,
there is no way of fear my fury -
turning the tide! Here is where you fall!

FIRMIN (to GIRY) GIRY (to RAOUL)

You stick to ballet! Hear my warning!
Fear his fury!
RAOUL (rounding on GIRY)
Then help us! CARLOTTA
What glory can he'll always be there,
she hope to gain? singing songs in my head . . .
It's clear to all
the girl's insane! (ALL stare at her)

.ANDRE (to FIRMIN) CARLOTTA

Christine sings She's mad . . .
We'll get our man . . .
RAOUL (to CHRISTINE)
PIANGI You said yourself
She is crazy! he was nothing
She is raving! but a man . . .

FIRMIN (to ANDRE) Yet while he lives,

If Christine helps he will haunt us
us in this plan . . . till we're dead . . .

RAOUL (CHRISTINE turns away unhappily)

Say your prayers,
black angel of death! CHRISTINE
Twisted every way,
CHRISTINE (vainly pleading amidst the tumult) what answer can I give?
Please don't . . . Am I to risk my life,
to win the chance to live?
ANDRE (to FIRMIN) Can I betray the man
If Christine won't, who once inspired my voice?
then no-one can . . . Do I become his prey?
Do I have any choice?
GIRY (to RAOUL)
Monsieur, I beg you, He kills without a thought,
do not do this . . . he murders all that's good . . .
I know I can't refuse
PIANGI/CARLOTTA and yet, I wish I could . . .
Gran Dio! Oh God - if I agree,
Che imbroglio! what horrors wait for me
in this, the Phantom's opera . . .?
ANDRE/FIRMIN
This will seal his fate! RAOUL (to CHRISTINE, very tenderly)
Christine, Christine,
CHRISTINE (bursting through the hubbub with a don't think that I don't care -
great cry) but every hope
If you don't stop, and every prayer
I'll go mad! ! ! rests on you now . . .

(to RAOUL, pleading) (CHRISTINE, overcome by her conflicting emotions

Raoul, I'm frightened -
don't make me do this . . .
Raoul, it scares me -
don't put me through this
ordeal by fire . . .
he'll take me, I know . . .
we'll be parted for ever . . .
he won't let me go . . .
What I once used to dream
I now dread . . .
if he finds me, it won't
ever end . . .
and he'll always be there,
singing songs in my head . . .
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)
Scene 4
A REHEARSAL FOR DON JUAN TRIUMPHANT
(REYER supervises the learning of the new piece from
the piano. Present are PIANGI, CHRISTINE, practice the phrase simultaneously)
CARLOTTA, GlRY and CHORUS)
CARLOTTA
CHORUS Ah, piu non posso! What does it matter what notes
Hide our sword now wounded knight! we sing?
Your vainglorious gasconnade
brought you to your final fight GIRY
for your pride, high price you've paid! Have patience, Signora.

CHRISTINE CARLOTTA
Silken couch and hay-filled barnQ No-one will know if it is right or if it is wrong.
both have been his battlefield. No-one will care if it is right, or if it is wrong.

PIANGI (wrong) CARLOTTA (mocking)

Those who tangle with Don Juan . . . Those who tangle
with Don Juan!
REYER (stopping him)
No, no, no! ChorusQrest, please. PIANGI (trying again)
Those who tan . . . tan . . .
Don Juan, Signor Piangi - here is the phrase.
(to CHRISTINE)
(He demonstrates it) Is right?

"Those who tangle with Don Juan . . ." CHRISTINE (to PIANGI)
If you please? Not quite, Signor:
Those who tan . . . tan . . .
PIANGI (still wrong)
Those who tangle with Don Juan . . . REYER (attempting lo restore order)
Ladies . . . Signor Piangi . . . if you please . . .
REYER
No, no. Nearly - but no. (REYER thumps the piano keys, then leaves the piano,
"Those who tan, tan, tan . . ." and attempts to attract attention using signals. Al the
height of the mayhem, the piano suddenly begins to
PIANGI (still wrong) demonstrate the music unaided. It plays with great force
Those who tangle with Don Juan . . . and rhythm. ALL fall silent and freeze then suddenly start
to sing the piece robotically and accurately. As they
CARLOTTA (to the OTHERS) continue to sing, CHRISTINE moves away from the
His way is better. At least he make it sound like group.)
music!
ALL EXCEPT CHRISTINE
GIRY (to CARLOTTA) Poor young maiden! For the thrill
Signora - would you speak that way in the on your tongue of stolen sweets
presence of the composer? you will have to pay the bill -
tangled in the winding sheets!
CARLOTTA (deaf to the implications of this remark)
The composer is not here. And if he were here, I (As the ENSEMBLE becomes background, CHRISTINE,
would . . . transfixed, sings independently):

GIRY (cutting in, ominous) CHRISTINE

Are you certain of that, Signora . . .? In sleep
he sang to me,
REYER in dreams
So, once again - after seven. he came . . .
that voice
(He gives the note and counts in) which calls to me
Five, six, seven . . . and speaks
my name . . .
PIANGI (wrong again)
Those who tangle with Don Juan . . . (The scene begins to change. Trance-like, CHRISTINE
moves slowly upstage. We hear the distant sound of
(Gradually EVERYONE starts either to talk or to bells)
 give me the strength
Little Lotte to try . . .
thought of everything and nothing . . .
Her Father promised her No more memories,
that he would send her the Angel of Music . . . no more silent tears . . .
Her father promised her . . . No more gazing across
Her father promised her . . . the wasted years . . .
Help me say
goodbye.
Scene 5
(The PHANTOM emerges from behind the cross)
A GRAVEYARD
(A mausoleum with hanging moss. In the centre a PHANTOM (very soft and enticing)
pyramid of skulls in front of a cross.) Wandering child . . .
so lost . . .
CHRISTINE so helpless . . .
You were once yearning for my
my one companion . . . guidance . . .
you were all
that mattered . . . (Bewildered, CHRISTINE looks up, and murmurs
You were once breathlessly):
a friend and father -
then my world CHRISTINE
was shattered . . . Angel . . . or father . . .
friend . . . or
Wishing you were Phantom . . . ?
somehow here again . . . Who is it there,
wishing you were staring . . . ?
somehow near . . .
Sometimes it seemed PHANTOM (more and more hypnotic)
if I just dreamed, Have you
somehow you would forgotten your Angel . . .?
be here . . .
CHRISTINE
Wishing I could Angel . . . oh, speak . . .
hear your voice again . . . What endless
knowing that I longings
never would . . . echo in this
Dreaming of you whisper . . .!
won't help me to do
all that you dreamed (RAOUL appears in the shadows and watches for a
I could . . . moment transfixed)

Passing bells PHANTOM (now drawing CHRISTINE towards him)

and sculpted angels, Too long you've wandered
cold and monumental, in winter . . .
seem, for you,
the wrong companions - RAOUL (to himself a murmur)
you were warm and gentle . . . Once again
she is his . . .
Too many years
fighting back tears . . . PHANTOM
Why can't the past Far from my
just die . . .? far-reaching gaze . . .

Wishing you were RAOUL

somehow here again . . . Once again
knowing we must she returns . . .
say goodbye . . .
Try to forgive . . . CHRISTINE (increasingly mesmerized)
teach me to live . . . Wildly my mind
beats against you . . .
Let her go! For God's sake, let her go! Christine !
PHANTOM
You resist . . . (Coming out of her trance CHRISTINE turns and
mouths the words):
PHANTOM/CHRISTINE
Yet your/the soul CHRISTINE
obeys . . . Raoul . . .

RAOUL (She turns lo RAOUL who embraces her protectively.

. . . to the arms The PHANTOM freezes for a moment and then suddenly
of her angel . . . seizes a pike upon which is impaled a skull. At a
angel or demon . . . movement from him a flash of fire streaks from the
still he calls her . . . gaping mouth of the skull and lands at RAOUL's feet)
luring her back, from the grave . . .
angel or dark seducer . . .? PHANTOM
Who are you, strange Bravo, monsieur!
angel . . .? Such spirited words!

PHANTOM (Another fireball)

Angel of Music!
You denied me, RAOUL
turning from true beauty . . . More tricks, monsieur?
Angel of Music!
Do not shun me . . . PHANTOM
Come to your strange Let's see, monsieur
Angel . . . how far you dare go!

CHRISTINE (Another fireball)

Angel of Music!
I denied you, RAOUL
turning from true beauty . . . More deception? More violence?
Angel of Music!
My protector . . . CHRISTINE (to RAOUL)
Come to me, strange Raoul, no . . .
Angel . . .
(RAOUL has begun to walk slowly and resolutely
(CHRISTINE moves towards the figure of the towards the PHANTOM the fireballs always landing
PHANTOM) just ahead of him)

PHANTOM (beckoning her) PHANTOM

I am your Angel of Music . . . That's right, that's right,
Come to me: Angel of Music . . . monsieurQ
keep walking this way!
RAOUL (suddenly calling out)
Angel of darkness! (Two more fireballs)
Cease this torment!
RAOUL
(Inexorably the PHANTOM continues to beckon You can't win her love by making her your prisoner.
CHRISTINE)
CHRISTINE
PHANTOM Raoul, don't . . .
I am your Angel of Music . . .
Come to me: Angel of Music . . . RAOUL (to CHRISTINE)
Stay back!
RAOUL (in desperation)
Christine! Christine listen to me! PHANTOM
Whatever you may believe, this man . . . I'm here, I'm here,
this thing . . . is not your father! monsieur:
the angel of death!
(to the PHANTOM) Come on, come on,
monsieur
Don't stop, don't stop!
(Three more fireballs.
RAOUL. is almost at the PHANTOM's feet. A
confrontation is imminent when CHRISTINE
suddenly rushes across to RAOUL)
CHRISTINE
Raoul! Come back . . .
(She pulls him away)
PHANTOM
Don't go!
(As they are exiting, the PHANTOM declaims
in fury):
So be it! Now let it be war upon you both!
(At a gesture from the PHANTOM, there is a flash of
lighting and the stage erupts into flame)
Scene 6
BEFORE THE PREMIERE
THE OPERA HOUSE ON THE NIGHT OF THE
PREMIERE OF "DON JUAN TRIUMPHANT''
(The orchestra is tuning. A whistle soundsQthe
CHIEF FIRE OFFICER is reviewing two FIRE
MARSHALLS in tin helmets. A worklight on a
stand illuminates them. Also present are RAOUL,
ANDRE and FIRMIN, supervising the proceedings, and a
MARKSMAN, at present hidden in the pit)
CHIEF
You understand your instructions?
FIREMEN (severally)
Sir!
CHIEF
When you hear the whistle, take up your positions.
I shall then instruct you to secure the doors. It is
essential that all doors are properly secured.
FIRMIN'
Are we doing the right thing, Andre?
ANDRE
Have you got a better idea?
CHIEF
Monsieur le Vicomte, am I to give the order?
RAOUL
Give the order.
(The CHIEF blows his whistle. The FIREMEN fan
out, leaving RAOUL, the CHIEF and the
MANAGERS on stage)
RAOUL (to the MARKSMAN)
You in the pit - do you have a clear view of this
box?
MARKSMAN (appearing from the pit)
Yes, sir.
RAOUL
Remember, when the time comes, shoot. Only if
you have to - but shoot. To kill.
MARKSMAN
How will I know, sir?
RAOUL
You'll know.
FIRMIN
Monsieur le Vicomte, are you confident that this
will work? Will Miss Daae sing?
RAOUL
Don't worry, Firmin. Andre?
ANDRE
We're in your hands, sir.
CHIEF
My men are now in position, sir.
RAOUL
Go ahead, then.
(Sounding his whistle again, the CHIEF shouts
into the auditorium):
CHIEF
Are the doors secure?
(Exit doors are slammed all over the building, The
FIREMEN answering one by one: "Secure."'
The orchestra falls silent. Very quietly from
nowhere, we hear the VOICE of the PHANTOM)
PHANTOM'S VOICE
I'm here: The Phantom of the Opera . . .
(ALL look around apprehensively. FIREMEN start to run
in the direction of the VOICE)
PHANTOM'S VOICE (from somewhere else)
I'm here: The Phantom of the Opera . . .
(Again, they follow the VOICE. This happens several
times, the PHANTOM'S VOICE darting more and more
bewilderingly from place to place. Finally it is heard
from Box Five, and in the confusion the
MARKSMAN fires a shot. RAOUL rounds on the
MARKSMAN furiously) PASSARINO
Your young guest believes I'm you -
RAOUL I, the master, you, the man.
Idiot! You'll kill someone. I said: only when the
times comes! DON JUAN
When you met you wore my cloak,
MARKSMAN with my scarf you hid your face.
But, Monsieur le Vicomte . . . She believes she dines with me,
in her master's borrowed place!
(The PHANTOM'S VOICE cuts in, filling the Furtively, we'll scoff and quaff,
building. All look up) stealing what, in truth, is mine.
When it's late and modesty
PHANTOM'S VOICE starts to mellow, with the wine . . .
No "buts"! For once, Monsieur le Vicomte is
right . . . PASSARINO
You come home! I use your voice -
Seal my slam the door like crack of doom!
fate tonight - I
hate to have to DON JUAN
cut the fun short I shall say: "come - hide with me!
but the joke's Where, oh, where? Of course - my room!"
wearing thin . . .
Let the audience in . . . PASSARINO
Let my opera begin! Poor thing hasn't got a chance!

Scene 7 DON JUAN

"DON JUAN TRIUMPHANT" Here's my hat, my cloak and sword.
(The set of the final scene of "Don Juan Conquest is assured,
TRIUMPHANT" A huge hall with an arch. Behind the if I do not forget myself and laugh . . .
arch, which has curtains, is a bed. A fine table, laid for
two. PASSARINO, DON JUAN'S servant, is (DON JUAN puts on PASSARINO's cloak and goes into
directing the STAFF as they make the room ready. the curtained alcove where the bed awaits.
They are a crowd of sixteenth century ruffians and Although we do not yet know it, the Punjab Lasso has
hoydens, proud of their master's reputation as a done its work, and SIGNOR PIANGI is no more. When
libertine) next we see DON JUAN, it will be the PHANTOM.
Meanwhile, we hear AMINTA (CHRISTINE) singing
CHORUS happily in the distance)
Here the sire may serve the dam,
here the master takes his meat! AMINTA (CHRISTINE - offstage, entering)
Here the sacrificial lamb ". . . no thoughts
utters one despairing bleat! within her head,
but thoughts of joy!
CARLOTTA AND CHORUS No dreams
Poor young maiden! For the thrill within her heart
on your tongue of stolen sweets but dreams of love!"
you will have to pay the bill -
tangled in the winding sheets! PASSARINO (onstage)
Master?
Serve the meal and serve the maid!
Serve the master so that, when DON JUAN (PHANTOM - behind the curtain)
tables, plans and maids are laid, Passarino - go away!
Don Juan triumphs once again! For the trap is set and waits for its prey . . .

(SIGNOR PIANGI, as Don Juan, emerges from behind the
arch. MEG, a gypsy dancer pirouettes coquettishly for
him.He throws her a purse. She catches it and leaves)
DON JUAN
Passarino, faithful friend,
once again recite the plan.
(PASSARINO leaves. CHRISTINE (AMINTA) enters. She
takes off her cloak and sits down. Looks about her. No-
one. She starts on an apple. The PHANTOM, disguised as
DON JUAN pretending to
be PASSARINO, emerges. He now wears PASSARINO's
robe, the cowl of which hides his face. His first words
startle her)

DON JUAN (PHANTOM)
You have come here
in pursuit of
your deepest urge,
in pursuit of
that wish,
which till now
has been silent,
silent . . .
I have brought you,
that our passions
may fuse and merge -
in your mind
you've already
succumbed to me
dropped all defences
completely succumbed to me -
now you are here with me:
no second thoughts,
you've decided,
decided . . .
Past the point
of no return -
no backward glances:
the games we've played
till now are at
an end . . .
Past all thought
of "if" or "when" -
no use resisting:
abandon thought,
and let the dream
descend . . .
What raging fire
shall flood the soul?
What rich desire
unlocks its door?
What sweet seduction
lies before
us . . .?
Past the point
of no return,
the final threshold -
what warm,
unspoken secrets
will we learn?
Beyond the point
of no return . . .
AMINTA (CHRISTINE)
You have brought me
to that moment
where words run dry,
to that moment
where speech
disappears
into silence,
silence . . .
I have come here,
hardly knowing
the reason why . . .
In my mind,
I've already
imagined our
bodies entwining
defenceless and silent -
and now I am
here with you:
no second thoughts,
I've decided,
decided . . .
Past the point
of no return -
no going back now:
our passion-play
has now, at last,
begun . . .
Past all thought
of right or wrong -
one final question:
how long should we
two wait, before
we're one . . .?
When will the blood
begin to race
the sleeping bud
burst into bloom?
When will the flames,
at last, consume
us . . .?
BOTH
Past the point
of no return
the final threshold -
the bridge
is crossed, so stand
and watch it burn . . .
We've passed the point
of no return . . .
(By now the audience and the POLICE have realised
that SIGNOR PIANGI is dead behind the curtain, and it is
the PHANTOM who sings in his place. CHRISTINE
knows it too. As final confirmation, the PHANTOM
sings):
PHANTOM
Say you'll share with
me one
love, one lifetime . . .
Lead me, save me
from my solitude . . . You must. But remember: your hand at the level of
your eyes!
(He takes from his finger a ring and holds it out to her.
Slowly she takes it and puts it on her finger.) RAOUL
But why . . .?
Say you want me
with you, GIRY
here beside you . . . Why? The Punjab lasso, monsieur. First Buquet.
Anywhere you go Now Piangi.
let me go too -
Christine MEG (holding up her hand)
that's all I ask of . . . Like this, monsieur. I'll come with you.

(We never reach the word 'you', for CHRISTINE quite GIRY
calmly reveals the PHANTOM'S face to the audience. As No, Meg! No, you stay here!
the FORCES OF LAW close in on the horrifying skull,
the PHANTOM sweeps his cloak around her and (to RAOUL)
vanishes.
Come with me, monsieur. Hurry, or we shall be too
MEG pulls the curtain upstage, revealing PIANGI'S late . . .
body garotted, propped against the bed, his head
gruesomely tilted to one side. She screams.) Scene 8
THE LABYRINTH UNDERGROUND
TRANSFORMATION TO:
(Meanwhile, down below, we see the PHANTOM and
REVERSE VIEW OF THE STAGE CHRISTINE in the boat, crossing the underground
(POLICE, STAGEHANDS, etc. rush onto the stage in lake)
confusion. Also: ANDRE, FIRMIN, RAOUL, GIRY,
CARLOTTA and MEG) PHANTOM (furiously propelling the boat onwards)
Down once more
CARLOTTA to the dungeon
What is it? What has happened? Ubaldo! of my black despair!
Down we plunge
ANDRE to the prison
Oh, my God . . . my God . . . of my mind!
Down that path
FIRMIN into darkness
We're ruined, Andre - ruined! deep as hell!

(He rounds on her, bitterly)

GIRY (to RAOUL)
Monsieur le Vicomte! Come with me! Why, you ask,
was I bound and chained
CARLOTTA (rushing over to PIANGI's body) in this cold and dismal place?
Oh, my darling, my darling . . . who has done Not for any
this ...? mortal sin, but the
wickedness of
(hysterical, attacking ANDRE) my abhorrent face!

You! Why did you let this happen? (He hears the offstage voices of the pursuing MOB)

(She breaks down, as PIANGI's body is carried off on a MOB (offstage)

stretcher) Track down this murderer!
He must be found!
GIRY
Monsieur le Vicomte, I know where they are. PHANTOM (moving off again)
Hounded out by
RAOUL everyone!
But can I trust you? Met with hatred
everywhere!
GIRY No kind word from
anyone!
No compassion CHRISTINE
anywhere! Have you gorged yourself
at last, in your
Christine, Christine . . . lust for blood?
Why, why . . .?
(no reply)
(RAOUL and GIRY appear above. They make their way
down, meeting a pack of rats. GlRY screams and lowers Am I now to be
her guard. The rats and the RATCATCHER pass them. prey to your
GIRY raises her hand again) lust for flesh?

GIRY PHANTOM (Coldly)

Your hand at the level of your eyes! That fate, which
condemns me
RAOUL to wallow in blood
. . . at the level of your eyes . . . has also
denied me
MOB (offstage) the joys of the flesh . . .
Your hand at the level of your eyes! this face -
the infection
GIRY which poisons our love . . .
He lives across the lake, monsieur. This is as far as
I dare go. (He lakes the bridal veil front the dummy, and moves
slowIy towards her)
RAOUL
Madame Giry, thank you. This face,
which earned
(She turns to go back up the slope. RAOUL looks at the a mother's fear
water. He removes his coat and plunges in. The MOB and loathing . . .
appears at the top of the slope. They come A mask,
down to the lake edge, their torches flickering.) my first
unfeeling scrap
MOB of clothing . . .
Track down this
murderer - (He places the veil on her head)
He must be found!
Hunt out this Pity comes
animal, too late -
who runs to ground! turn around
Too long he's and face your fate:
preyed on us - an eternity of this
but now we know: before your eyes!
the Phantom of the Opera
is there (They are almost touching. She looks calmly and coldly
deep down below . . . into his face)

He's here: the Phantom of the Opera . . . CHRISTINE

This haunted face
(They turn back up the slope. Perhaps there is another holds no horror
way in. The gate to the lair descends, as the rest of the for me now . . .
lair appears.) It's in your soul
that the true
Scene 9 distortion lies . . .
BEYOND THE LAKE
(The PHANTOM suddenly senses RAOUL'S presence.
(The dummy of CHRlSTlNE sits crumpled on a large Behind the portcullis, RAOUL climbs out of the water)
throne. The PHANTOM drags CHRISTINE roughly out of
the boat. She frees herself and backs away as he stares PHANTOM
blackly out front. Braving her terror, she addresses him
fiercely). Wait! I think, my dear,
we have a guest! (taunting)
Order your fine horses now!
(to RAOUL) Raise up your hand to the level of your eyes!
Nothing can save you now -
Sir, this is indeed except perhaps Christine . . .
an unparalleled delight!
I had rather hoped (He turns to her)
that you would come.
And now my wish comes true - Start a new life with me -
you have truly made my night! Buy his freedom with your love!
Refuse me, and you send your lover to his
RAOUL (pleading, grasping the bars of the gate) death!
Free her! This is the choice -
Do what you like This is the point of no return!
only free her!
Have you no pity? CHRISTINE (to the PHANTOM)
The tears I might have shed
PHANTOM (to CHRISTINE, dryly) for your dark fate
Your lover makes grow cold, and turn to tears
a passionate plea! of hate . . .

CHRISTINE RAOUL (despairing)

Please, Raoul, it's useless . . . Christine, forgive
me please forgive me . . .
RAOUL I did it all
I love her! for you, and all for
Does that mean nothing? nothing . . .
I love her!
Show some compassion . . . CHRISTINE (looking at the PHANTOM but to
herself)
PHANTOM (snarls furiously at RAOUL) Farewell
The world showed no my fallen idol
compassion to me! and false friend . . .
One by one
RAOUL I've watched
Christine . . . illusions shattered . . .
Christine . . .
PHANTOM
(to PHANTOM) Past all hope
of cries for help:
Let me see her . . . no point in fighting -

PHANTOM (drily) RAOUL

Be my guest, sir . . Either way
you choose,
(He gestures, and the fence rises. RAOUL enters) he has to win . . .

Monsieur, I PHANTOM
bid you welcome! For either way
Did you think that you choose,
I would harm her? you cannot win!
Why should I make
her pay So, do you end
for the sins which your days with me,
are yours? or do you send
him to his grave?
(So saying, he takes the Punjab lasso and, before RAOUL
has a chance to move, catches him by the neck. The end RAOUL (to PHANTOM)
of the rope, of which the PHANTOM has let go, remains Why make her lie
magically suspended in mid-air) to you, to save
me?
 to show you
CHRISTINE you are not
Angel of Music . . . alone . . .

PHANTOM (Now calmly facing him, she kisses him long and full on
Past the point the lips. The embrace lasts a long time. RAOUL watches
of no return - in horror and wonder.

RAOUL The PHANTOM lakes a lighted candle and holds it

For pity's sake, above RAOUL's head. A tense moment. But the
Christine, say no! suspended rope suddenly falls harmlessly - the
PHANTOM has burned the thread by which the noose was
CHRISTINE held. Resigned, he addresses RAOUL, as we hear the
. . . why this torment? offstage voices of the approaching MOB)

PHANTOM MOB
. . . the final threshold . . . Some:
Track down this
RAOUL murderer -
Don't throw your life he must be found!
away for my sake . . . Hunt out this
animal,
CHRISTINE who runs to ground!
When will you see
reason . . .? Too long he's
preyed on us -
PHANTOM but now we know:
His life is now the prize the Phantom of the Opera
which you must earn! is there
deep down below . .
RAOUL
I fought so hard Others:
to free you . . . Who is this monster,
this murdering beast?
CHRISTINE Revenge for Piangi!
Angel of Music . . . Revenge for Buquet!
This creature
PHANTOM must never go free . . .
You've passed the point
of no return . . . PHANTOM
Take her - forget me - forget all of this . . .
CHRISTINE Leave me alone - forget all you've seen . . .
. . . you deceived me - Go now - don't let them find you!
I gave my mind Take the boat - leave me here - go now,
blindly . . . don't wait . . .
Just take her and go - before it's too late . . .
PHANTOM (to CHRISTINE) Go . . .
You try my patience - Go now - go now and leave me!
make your choice!
(RAOUL and CHRISTINE move off towards the boat.
(She reflects for a moment, then with resolution moves The PHANTOM looks mockingly at his mask. The
slowly towards the PHANTOM) musical box starts up magically, and he listens to it)

CHRISTINE (quietly at first, then with growing Masquerade . . .

emotion) Paper faces on parade . . .
Pitiful creature Masquerade . . .
of darkness . . . Hide your face
What kind of life so the world will
have you known . . .? never find you . . .

God give me courage (CHRISTINE re-enters and walks slowly towards him.
She takes off her ring and gives it to the PHANTOM)

PHANTOM
Christine, I love you . . .

(She hurries off The PHANTOM puts the ring on his

finger)

CHRISTINE (In the distance, to RAOUL, as the boat

pulls away in the shadow)
Say you'll share with
me, one
love, one lifetime . . .
say the word
and I will follow you . .

RAOUL
Share each day with me . . .

CHRISTINE
. . . each night . . .

BOTH
. . . each morning . . .

PHANTOM (looking after her)

You alone
can make my song take flight -
it's over now, the music of the night . . .

(The PHANTOM walks slowly towards the throne. He

takes his place on it, sitting on his cloak.

The MOB including MEG, appears above, climbing

down the portcullis. As the MOB enters the lair, the
PHANTOM wraps his cloak around himself and
disappears.

MEG crosses to the throne and picks up his mask in her

small hand)

END OF ACT 2