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The
Phantom of the Opera
Music: Andrew Lloyd Webber
Lyrics:
Charles Hart + Richard Stilgoe
Book: Andrew Lloyd Webber +
Richard Stilgoe
Premiere: Thursday, October 9,
1986
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THE
STAGE OF THE PARIS OPERA, 1905
(The contents of the opera house
is being
auctioned off. An AUCTIONEER, PORTERS,
BIDDERS, and
RAOUL, seventy now, but still
bright of eye. The action
commences with a
blow from the AUCTlONEER's
gavel)
AUCTIONEER
Sold. Your number, sir? Thank
you.
Lot 663, then, ladies and gentlemen: a poster
for
this house's production of "Hannibal" by
Chalumeau.
PORTER
Showing here.
AUCTIONEER
Do I have ten francs? Five then. Five I am bid.
Six, seven.
Against you, sir, seven. Eight.
Eight once. Selling twice. Sold,
to Raoul,
Vicomte de Chagny.
Lot 664: a wooden pistol and
three human
skulls from the 1831 production of "Robert le
Diable" by Meyerbeer. Ten francs for this. Ten,
thank you.
Ten francs still. Fifteen, thank you,
sir Fifteen I am bid.
Going at fifteen. Your
number, sir?
665, ladies and
gentlemen: a papier-mache
musical box, in the shape of a
barrel-organ.
Attached, the figure of a monkey in Persian
robes playing the cymbals. This item,
discovered in the
vaults of the theatre, still in
working order.
PORTER
(holding it up)
Showing here. (He sets it in
motion)
AUCTIONEER
My I start at twenty francs? Fifteen,
then?
Fifteen I am bid.
(the bidding continues. RAOUL.
eventually
buys the box for thirty francs)
Sold, for
thirty francs to the Vicomte de
Chagny. Thank you,
sir.
(The box is handed across to RAOUL. He studies it, as
attention focuses on him for a moment)
RAOUL (quietly,
half to himself, half to the
box)
A collector's piece indeed
. . .
every detail exactly as she said . . .
She often
spoke of you, my friend ....
Your velvet lining, and your
figurine of lead...
Will you still play,
when all the
rest of us are dead?
(Attention returns to the AUCTIONEER, as
he
resumes)
AUCTIONEER
Lot 666, then: a chandelier
in pieces. Some of
you may recall the strange affair of the
Phantom of the Opera: a mystery never fully
explained. We
are told ladies and gentlemen,
that this is the very chandelier
which figures in
the famous disaster. Our workshops have
restored it and fitted up parts of it with wiring
for the
new electric light, so that we may get a
hint of what it may
look like when re-
assembled. Perhaps we may frighten away the
ghost of so many years ago with a little
illumination,
gentlemen?
(The AUCTIONEER switches on the chandelier
There is an enormous flash, and the OVERTURE
begins. During
the overture the opera house is
restored to its earlier
grandeur. The chandelier
immense and glittering, rises magically
from
the stage, finally hovering high above the
stalls)
ACT 1
Scene 1
REHEARSALS FOR "HANNIBAL" BY
CHALUMEAU
(We have reached the great choral scene in
which HANNIBAL and his army return to save
Carthage from the
Roman invasion under
Scipio. HANNIBAL is UBALDO PIANGI;
ELISSA, Queen of Carthage (his mistress) is
CARLOTTA
GUIDICELLI. 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 pre. from the approaching HANNIBAL, a
bleeding severed head)
CARLOTTA (at the climax of an
extravagant cade)
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
parts
of 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.
(practising) 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 ANDRE and
FIRMIN)
This way, gentlemen, this way. Rehearsals, as
you
see, are under way, for a new production of
Chalumeau's
"Hannibal".
(seeing a hiatus in the rehearsal, LEFEVRE
attempts to
attract attention.)
LEFEVRE
Ladies and
gentlemen, some of you may already,
perhaps, have met M. Andre
and M. Firmin ...
(the new managers are politely bowing, when
REYER
interrupts)
REYER
I'm sorry, M. Lefevre, we are
rehearsing. If you wouldn't
mind waiting 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
tyrant, 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.
BALLET GIRLS begin their dance.
LEFEVRE, ANDRE and
FIRMIN
stand centr-stage watching the
ballet. They are in
the way. The
ballet continues under the
following
dialogue.)
LEFEVRE (indicating PIANGI)
Signor Piangi, our
principal
tenor. He does play so 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)
Mme. 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
absent-
mlndedly 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
Hannibal's friends!
(the ELEPHANT, a
life-sized 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 Carlotta Giudicelli, 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 length
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 things 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 there'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.
FlRMIN
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,
mam'selle.
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 for 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!
Scene 2
AFTER THE GALA
(The curtain closes
upstage. BALLET GIRLS, from the
wings gush around CHRISTINE who
hands each a flower
from her bouquet. REYER stiffly gives his
approval)
GIRY (to CHRISTINE)
Yes, you did well. He will
be pleased.
(to the DANCERS)
And you! You were a disgrace
tonight! Such ronds de
jambe! Such temps de cuisse!
Here we
rehearse. Now!
(She emphasizes this with her cane.
The BALLET
GIRLS settle into rehearsal upstage, GlRY
keeping time with her
stick. Variations on this continue
throughout the
scene)
(CHRISTINE moves slowly, downstage, away from the
DANCERS as her dressing room becomes visible.
Unseen by her,
MEG also moves away and follows her.
As CHRISTINE is about to
open the dressing room door,
she hears the PHANTOM's voice out of
nowhere)
PHANTOM'S VOICE
Bravi, bravi, bravissimi . .
.
(CHRISTINE is bewildered by the voice. MEG,
following,
has not heard it. CHRISTINE turns in
surprise, and is relieved
to see her)
MEG
Where in the world
have you been
hiding?
Really, you were
perfect!
I only wish
I knew
your secret!
Who is this new
tutor?
CHRISTINE
(abstracted, entering the dressing room)
Father once spoke
of
an angel . . .
I used to dream he'd
appear . . .
Now as
I sing,
I can sense him . . .
And I know
he's here . .
.
(trance-like)
Here in this room
he calls me softly .
. .
somewhere inside . . .
hiding . . .
Somehow I
know
he's always with me . . .
he - the unseen
genius . .
.
MEG (uneasily)
Christine, you must have
been dreaming
. . .
stories like this can't
come true . .
.
Christine, you're talking
in riddles . . .
and it's
not
like you . . .
CHRISTINE (not hearing her,
ecstatic)
Angel of Music!
Guide
and guardian!
Grant to
me your
glory!
MEG (to herself)
Who is this
angel?
This . . .
BOTH
Angel of Music!
Hide no
longer!
Secret and strange
angel . . .
CHRISTINE
(darkly)
He's with me, even now . . .
MEG
(bewildered)
Your hands are cold . . .
CHRISTINE;
All
around me . . .
MEG
Your face, Christine,
it's white .
. .
CHRISTINE
It frightens me . . .
MEG
Don't be
frightened . . .
(THEY look at each other The moment is
broken
by the arrival of GIRY)
GIRY
Meg Giry. Are you
a dancer? Then come and
practice.
(MEG leaves and joins
the DANCERS)
My dear, I was asked to give you this.
(She
hands CHRlSTlNE a note, and exits.
CHRISTINE opens it and
reads)
CHRISTINE
A red scarf . . . the attic . . . Little
Lotte . . .
Scene 3
CHRISTINE 'S DRESSING
ROOM
(Meanwhile RAOUL ANDRE, FIRMIN, and MME.
FIRMIN are
seen making their way towards the dressing
room, the MANAGERS in
high spirits, bearing
champagne)
ANDRE
A tour de
force! No other way to describe it!
FIRMIN
What a relief !
Not a single refund!
MME.
FIRMIN
Greedy.
ANDRE
Richard, I think we've made quite
a discovery in Miss
Daae!
FIRMIN (to RAOUL, indicating
CHRISTINE 'S
dressing room)
Here we are, Monsieur le
Vicomte.
RAOUL
Gentlemen if you wouldn't mind. This is one
visit I
should prefer to make unaccompanied.
(He takes
the champagne from FIRMIN)
ANDRE
As you wish,
monsieur.
(They bow and move off)
FIRMIN
They
appear to have met before . . .
(RAOUL knocks at the door and
enters)
RAOUL
Christine Daae, where is your
scarf?
CHRISTINE
Monsieur?
RAOUL
You can't have
lost it. After all the trouble I took.
I was just fourteen and
soaked to the skin . . .
CHRISTINE
Because you had run
into the sea to fetch my scarf.
Oh, Raoul. So it is
you!
RAOUL
Christine.
(They embrace and laugh. She
moves away and sits at her
dressing
table)
RAOUL
"Little Lotte let her mind wander . .
."
CHRISTINE
You remember that, too . . .
RAOUL
(continuing)
". . . Little Lotte thought: Am I fonder
of dolls
. . ."
BOTH (CHRISTINE joining in)
". . . or of
goblins,
of shoes . . ."
CHRISTINE
". . . or of
riddles.
of frocks . . ."
RAOUL
Those picnics in the
attic . . .
". . . or of chocolates . .
."
CHRISTINE
Father playing the violin . .
.
RAOUL
As we read to each other
dark stories of the
North . . .
CHRISTINE
"NoQwhat I love best, Lotte
said,
is when I'm asleep in my bed,
and the Angel of Music
sings songs in my
head!"
BOTH
". . . the Angel of Music
sings song in my
head!"
CHRISTINE (turning in her chair to
look at him)
Father said, "When I'm in heaven, child, I will send
the
Angel of Music to you". Well, father is dead, Raoul, and
I have been visited by the Angel of Music.
RAOUL
No
doubt of it. And now we'll go to supper!
CHRISTINE
No,
Raoul, the Angel of Music is very strict.
RAOUL
I shan't
keep you up late!
CHRISTINE
No, Raoul . .
.
RAOUL
You must change. I must get my hat. Two minutes
Little
Lotte.
(He hurries out)
CHRISTINE (calling
after him)
Raoul!
(quietly picking up her hand
mirror)
Things have changed, Raoul.
(Tremulous music.
CHRISTINE hears the
PHANTOM'S voice, seemingly from behind her
dressing
room mirror)
PHANTOM'S VOICE
Insolent
boy!
This slave
of fashion
basking in
your
glory!
Ignorant fool!
This brave
young
suitor,
sharing in my
triumph!
CHRISTINE
(spell-bound)
Angel! I hear you!
Speak -
I listen . .
.
stay by my side,
guide me!
Angel, my soul was weak
-
forgive me . . .
enter at last,
Master!
PHANTOM'S
VOICE
Flattering child,
you shall know me,
see why in
shadow
I hide!
Look at your face
in the mirror -
I
am there
inside!
(The figure of the PHANTOM becomes
discernible
behind the mirror)
CHRISTINE
(ecstatic)
Angel of Music!
Guide and guardian!
Grant to me
your
glory!
Angel of Music!
Hide no longer!
Come to
me, strange
angel...
PHANTOM"S VOICE
I am your Angel
...
Come to me: Angel of Music ...
(CHRISTINE walks
towards the glowing,
shimmering glass. Meanwhile, RAOUL has
returned. He hears the voices and is puzzled. He
tries the
door It is locked)
RAOUL
Whose is that voice . . .?
Who
is that in there . . .?
(Inside the room the mirror opens.
Behind it, in
an inferno of white light, stands the PHANTOM.
He reaches forward and takes CHRISTINE firmly,
but not
fiercely, by the wrist. His touch is cold,
and CHRISTINE
gasps)
PHANTOM
I am your Angel of Music . . .
Come to
me: Angel of Music . . .
(CHRISTINE disappears through the
mirror,
which closes behind her The door of the dressing
room suddenly unlocks and swings open, and
RAOUL enters to
find the room empty)
RAOUL
Christine! Angel!
Scene
4
THE LABYRINTH UNDERGROUND
(The PHANTOM and CHRISTINE
take their
strange journey to the PHANTOM'S lair. Candles
rise from the stage. We see CHRISTINE and the
PHANTOM in a
boat which moves slowly across
the misty waters of the
underground lake)
CHRISTINE
In sleep
he sang to
me,
in dreams
he came . . .
that voice
which calls to
me
and speaks
my name . . .
And do
I dream
again?
For now
I find
the Phantom of the Opera
is there
-
inside my mind . . .
PHANTOM
Sing once
again with
me
our strange
duet . . .
My power
over you
grows
stronger
yet . . .
And though
you turn from me,
to
glance
behind,
the Phantom of the Opera
is there
-
inside your mind . . .
CHRISTINE
Those who
have
seen your face
draw back
in fear . . .
I am
the mask you
wear . . .
PHANTOM
It's me
they hear . .
.
BOTH
Your/my spirit
and your/my voice,
in
one
combined:
the Phantom of the Opera
is thereQ
inside
your/my mind . . .
OFFSTAGE VOICES
He's there,
the
Phantom of the Opera . . .
Beware
the Phantom of the Opera . .
.
PHANTOM
In all
your fantasies,
you
always
knew
that man
and mystery . .
.
CHRISTINE
. . . were both
in you . .
.
BOTH
And in
this labyrinth,
where night
is
blind,
the Phantom of the Opera
is there/hereQ
inside
your/my mind . . .
Sing, my Angel of
Music!
CHRISTINE
He's there,
the Phantom of the Opera .
. .
(She begins to vocalise strangely, her song becoming
more and more extravagant.)
Scene
5
BEYOND THE LAKE THE NEXT MORNING
(Finally they arrive in
the PHANTOM'S lair. Downstage
the candles in the lake lift up
revealing giant
candelabrums outlining the space. The boat turns
into a
bed. There is a huge pipe organ. The PHANTOM sits at
the organ and takes over the accompaniment)
PHANTOM
I
have brought you
to the seat of sweet
music's throne . .
.
to this kingdom
where all must pay
homage to music . .
.
music . . .
You have come here,
for one
purpose,
and one alone . . .
Since the moment
I first heard
you sing,
I have needed
you with me,
to serve me, to
sing,
for my music . . .
my music . . .
(changing
mood)
Night-time sharpens,
heightens each sensation . .
.
Darkness stirs and
wakes imagination . . .
Silently the
senses
abandon their defences . . .
Slowly,
gently
night unfurls its splendour . . .
Grasp it, sense it
-
tremulous and tender . . .
Turn your face away
from the
garish light of day,
turn your thoughts away
from cold,
unfeeling light -
and listen to
the music of the night . .
.
Close your eyes
and surrender to your
darkest
dreams!
Purge your thoughts
of the life
you knew
before!
Close your eyes,
let your spirit
start to
soar!
And you'll live
as you've never
lived before . .
.
Softly, deftly,
music shall surround you . . .
Feel
it, hear it,
closing in around you . . .
Open up your
mind,
let your fantasies unwind,
in this darkness which
you
know you cannot fight -
the darkness of
the music of the night
. . .
Let your mind
start a journey through a
strange
new world!
Leave all thoughts
of the world
you knew
before!
Let your soul
Take you where you
long to be
!
Only then
can you belong
to me . . .
Floating,
falling,
sweet intoxication!
Touch me, trust me
savour each
sensation!
Let the dream begin,
let your darker side give
in
to the power of the music that I write -
the power of the
music of the night . . .
(During all this, the PHANTOM has
conditioned
CHRISTINE to the coldness of his touch and her
fingers
are brave enough to stray to his mask and caress it,
with
no hint of removing it. The PHANTOM leads her to a
large
mirror from which he removes a dust cover and in
which we see
the image of CHRISTINE, a perfect wax-
face impression, wearing
a wedding gown. CHRISTINE
moves slowly towards it when suddenly
the image thrusts
its hands through the mirror towards her She
faints. The
PHANTOM catches her and carries her to the bed,
where
he lays her down.)
PHANTOM
You alone can make my
song take flight -
help me make the music of the night . .
.
Scene 6
THE NEXT MORNING
(As the light brightens,
we see the PHANTOM seated at
the organ playing with furious
concentration. He breaks
off occasionally to write the music
down. There is a
musical box in the shape of a barrel organ
beside the bed.
Mysteriously, it plays as CHRISTINE
wakes up.
The music keeps her in a half-trance)
CHRISTINE
I
remember
there was mist . . .
swirling mist
upon a vast,
glassy lake . . .
There were candles
all around
and on
the lake there
was a boat,
and in the boat
there was a man
. . .
(She rises and approaches the PHANTOM who does not
see her As she reaches for his mask, he turns, almost
catching her. This happens several times)
Who was that
shape
in the shadows?
Whose is the face
in the
mask?
(She finally succeeds in tearing the mask from his
face.
The PHANTOM springs up and rounds on her furiously.
She clearly sees his face. The audience does not, as he
is
standing in profile and in shadow)
PHANTOM
Damn
you!
You little prying
Pandora!
You little demon -
is
this what you wanted to see?
Curse you!
You little
Iying
Delilah!
You little viper!
now you cannot ever be
free!
Damn you . . .
Curse you . . .
(a
pause)
Stranger
than you dreamt it -
can you
even
dare to look
or bear to
think of me:
this
loathsome
gargoyle, who
burns in hell, but secretly
yearns
for heaven,
secretly . . .
secretly . . .
But,
Christine . . .
Fear can
Turn to love - you'll
learn to
see, to
find the man
behind the
monster: this . .
.
repulsive
carcass, who
seems a beast, but
secretly
dreams of beauty,
secretly . . .
secretly . .
.
Oh, Christine . . .
(He holds out his hand tor the
mask, which she gives to
him. He puts it on, turning towards the
audience as he
sings):
Come we must return -
those two
fools
who run my theatre
will be missing you.
(The lair
sinks into the floor as the PHANTOM and
CHRISTINE
leave)
Scene 7
BACKSTAGE
(BUQUET mysteriously appears,
a length of fabric
serving as a cloak, and a piece of rope as
the Punjab
lasso. He is showing off to the BALLET
GIRLS)
BUQUET
Like yellow parchment
is his skin . .
.
a great black hole served as the
nose that never grew . .
.
(Demonstrating his method of self-defence against the
Punjab lasso, he inserts his hand between his neck and
the
noose, and then pulls the rope taut. With a mixture of
horror
and delight, the BALLET GIRLS applaud this
demonstration)
(explaining to them)
You must be
always
on your guard,
or he will catch you with his
magical
lasso!
(A trap opens up centre stage casting a shadow of the
PHANTOM as he emerges. The GIRLS, linking hands,
run off
terrified. The PHANTOM, leading CHRISTINE,
fixes his stare on
BUQUET. Sweeping his cape around
CHRISTINE, he exits with her But
before they go GIRY
has entered, observing. She turns on
BUQUET)
GIRY
Those who speak
of what they
know
find, too late, that prudent
silence is wise.
Joseph
Buquet,
hold your tongueQ
he will burn you with the
heat of
his eyes . . .
Scene 8
THE MANAGERS' OFFICE
(Desk,
chairs, papers. FIRMIN is scornfully eyeing a
newspaper
article)
FIRMIN
"Mystery
after gala night,"
if says,
"Mystery
of soprano's flight!"
"Mystified
baffled
Surete say,
we are mystified -
we suspect foul
play!"
(He lowers the paper)
Bad news on
soprano
scene -
first Carlotta,
now Christine!
Still, at
least
the seats get soldQ
gossip's worth
its weight in gold
. . .
What a way to
run a business!
Spare me
these
unending trials!
Half your cast disappears,
but the
crowd still cheers!
Opera!
To hell with Gluck and Handel
-
It's a scandal that'll
pack 'em in the aisles!
(ANDRE
bursts in, in a temper)
ANDRE
Damnable!
Will they all
walk out?
This is damnable!
FIRMIN
Andre, please don't
shout . . .
It's publicity!
And the take is vast!
Free
publicity!
ANDRE
But we have no cast . . .
FIRMIN
(calmly)
But Andre,
have you seen the queue?
(He has
been sorting mail on his desk. Finding the two
letters from the
PHANTOM):
Oh, it seems
you've got one too . . .
(He
hands the letter to ANDRE, who opens it and
reads):
ANDRE
"Dear Andre
what a charming
gala!
Christine enjoyed a great success!
We were hardly
bereft
when Carlotta left -
otherwise
the chorus was
entrancing,
but the dancing was a
lamentable
mess!"
FIRMIN (reading his)
"Dear Firmin,
just a brief
reminder:
my salary has not been paid.
Send it care of the
ghost,
by return of postQ
P.T.O.:
No-one likes a
debtor,
so it's better if my
orders are
obeyed!"
FIRMIN/ANDRE
Who would have the gall
to send
this?
Someone with a puerile brain!
FIRMIN (examining both
letters)
These are both signed "O.G." . . .
ANDRE
Who
the hell is he?
BOTH (immediately realizing)
Opera
ghost!
FIRMIN (unamused)
It's really not
amusing!
ANDRE
He's abusing
our
position!
FIRMIN
In addition
he wants
money!
ANDRE
He's a funny
sort of spectre . .
.
BOTH
. . . to expect a
large retainer!
Nothing
plainer -
he is clearly quite insane!
(They are
interrupted by the arrival of RAOUL, who
brandishes another of
the PHANTOM'S notes)
RAOUL
Where is
she?
ANDRE
You mean Carlotta?
RAOUL
I mean Miss
Daae -
where is she?
FIRMIN
Well, how should we
know?
RAOUL
I want an answer -
I take it that you sent
me this note?
FIRMIN
What's all this
nonsense?
ANDRE
Of course not!
FIRMIN
Don't look
at us!
RAOUL
She's not with you, then?
FIRMIN
Of
course not!
ANDRE
We're in the dark . .
.
RAOUL
Monsieur, don't argue -
Isn't this
the
letter you wrote?
FIRMIN
And what is it, that
we're
meant to have wrote?
(Realizing his
mistake)
Written !
(RAOUL hands the note to ANDRE, who
reads it)
ANDRE
"Do not fear for Miss Daae.
The Angel
of Music
has her under his wing.
Make no attempt to see her
again."
(The MANAGERS look mystified)
RAOUL
If you
didn't write it, who did?
(CARLOTTA bursts in. She too has a
letter, which has
cheered her no more than the
others)
CARLOTTA
Where is he?
ANDRE
Ah, welcome
back!
CARLOTTA
Your precious patron -
where is
he?
RAOUL
What is it now?
CARLOTTA (to RAOUL)
I
have your letter -
a letter which I
rather
resent!
FIRMIN (to RAOUL)
And did you send
it?
RAOUL
Of course not!
ANDRE
As if he
would!
CARLOTTA
You didn't send it?
RAOUL
Of
course not!
FIRMIN
What's going on . . .?
CARLOTTA
(to RAOUL)
You dare to tell me,
that this is not the
letter
you sent ? !
RAOUL
And what is it that I'm
meant to
have sent?
(RAOUL takes the letter and reads it)
"Your
days
at the Opera Populaire are numbered.
Christine
Daae
will be singing on your behalf tonight.
Be
prepared
for a great misfortune,
should you attempt
to take
her place."
(The MANAGERS are beginning lo tire of the
intrigue)
ANDRE/FIRMIN
Far too many
notes for my taste
-
and most of them
about Christine!
All we've heard since
we came
is Miss Daae's name . . .
(GIRY suddenly appears,
accompanied by MEG)
GIRY
Miss Daae has
returned.
FIRMIN (drily)
I trust her midnight oil
is
well and truly burned.
ANDRE
Where precisely is she
now?
GIRY
I thought it best
that she went home . .
.
MEG
She needed rest.
RAOUL
May I see
her?
GIRY
No, monsieur,
she will see
no-one.
CARLOTTA
Will she sing?
Will she
sing?
GIRY
Here, I have a note . .
.
RAOUL/CARLOTTA/ANDRE
Let me see it!
FIRMIN
(snatching it)
Please!
FIRMIN (Opens the letter and reads.
The PHANTOM'S
voice gradually lakes over)
"Gentlemen, I have
now sent you several notes of the
most amiable nature, detailing
how my theatre is to be
run. You have not followed my
instructions.
I shall give you one last chance . .
."
PHANTOM'S VOICE (taking over)
Christine Daae has
returned to you,
and I am anxious her career
should
progress.
In the new production of "Il Muto",
you will
therefore cast Carlotta
as the Pageboy, and put Miss Daae
in
the role of Countess.
The role which Miss Daae plays
calls for
charm and appeal.
The role of the Pageboy is silent -
which
makes my casting,
in a word
ideal.
I shall watch the
performance from my normal seat in
Box Five, which will be kept
empty for me. Should
these commands be ignored, a disaster
beyond your
imagination will occur.
FIRMIN (taking
over)
"I remain, Gentlemen,
Your obedient servant,
O.G."
CARLOTTA
Christine!
ANDRE
Whatever next .
. .?
CARLOTTA
It's all a ploy to help
Christine!
FIRMIN
This is insane . .
.
CARLOTTA
I know who sent this:
(pointing an accusing
finger)
The Vicomte - her lover!
RAOUL
(ironical)
Indeed?
(to the OTHERS)
Can you believe
this?
ANDRE (to CARLOTTA, in
protest)
Signora!
CARLOTTA (half to the MANAGERS, half to
herself)
O traditori!
FIRMIN (to CARLOTTA)
This is a
joke!
ANDRE
This changes nothing!
CARLOTTA
O
mentitori!
FIRMIN
Signora!
ANDRE
You are our
star!
FIRMIN
And always will be!
ANDRE
Signora .
. .
FIRMIN
The man is mad!
ANDRE
We don't take
orders!
FIRMIN (announcing it to EVERYONE)
Miss Daae will
be playing
the Pageboy - the silent role . .
.
ANDRE/FIRMIN
Carlotta will be playing
the
lead!
CARLOTTA (waxing melodramatic)
It's useless trying
to
appease me!
You're only saying this
to please
me!
Signori, e vero?
Non, non, non voglio udire
!
Lasciatemi morire!
O padre mio!
Dio!
GIRY
Who
scorn his word,
beware to those . . .
CARLOTTA (to
MANAGERS)
You have reviled me!
GIRY
The angel
sees,
the angel knows . . .
RAOUL
Why did
Christine
fly from my arms . . .?
CARLOTTA
You have
rebuked me!
ANDRE/FIRMIN
Signora, pardon us . .
.
CARLOTTA
You have replaced
me!
ANDRE/FIRMIN
Please, Signora,
we beseech you . .
.
GIRY
This hour shall see
your darkest fears . .
.
MEG/RAOUL
I must see her . .
.
CARLOTTA
Abbandonata!
Deseredata!
0,
sventurata!
GIRY
The angel knows,
the angel hears . .
.
RAOUL
Where did she go . .
.?
CARLOTTA
Abbandonata!
Disgraziata!
ANDRE/FIRMIN
Signora,
sing for us!
Don't be a martyr . .
.
RAOUL/GIRY/MEG
What new surprises
lie in store . .
.?
ANDRE/FIRMIN
Our star . . .!
CARLOTTA
Non vo'
cantar!
(ALL look at CARLOTTA, as the MANAGERS approach
her lovingly)
ANDRE
Your public needs
you!
FIRMIN
We need you, too!
CARLOTTA
(unassuaged)
Would you not
rather have your
precious
little
ingenue?
ANDRE/FIRMIN
Signora, no!
the world
wants you!
(The MANAGERS adopt their most persuasive
attitudes)
ANDRE/FIRMIN
Prima donna
first lady of the
stage!
Your devotees
are on their knees
to implore you
!
ANDRE
Can you bow out
when they're shouting
your
name?
FIRMIN
Think of how they all
adore
you!
BOTH
Prima donna,
enchant us once
again!
ANDRE
Think of your muse . . .
FIRMIN
And
of the queues
round the theatre!
BOTH
Can you deny us
the triumph
in store?
Sing, prima donna, once
more!
(CARLOTTA registers her acceptance as the
MANAGERS
continue to cajole and the OTHERS reflect
variously on the
situation)
RAOUL
Christine spoke of an angel . .
.
CARLOTTA (to herself, in triumph)
Prima donna
your
song shall live again!
ANDRE/FIRMIN (to CARLOTTA)
Think of
your public!
CARLOTTA
You took a snub
but there's a
public
who needs you!
GIRY (referring to CHRISTINE)
She
has heard the voice
of the angel of music . .
.
ANDRE/FIRMIN (to CARLOTTA)
Those who hear your
voice
liken you to an angel!
CARLOTTA
Think of their
cry
of undying
support !
RAOUL
Is this her angel of
music . . .?
ANDRE (to FIRMlN)
We get our opera . .
.
FIRMIN (to ANDRE)
She gets her
limelight!
CARLOTTA
Follow where the limelight
leads
you!
MEG
Is this ghost
an angel or a madman . .
.?
RAOUL
Angel or madman . . .?
ANDRE/FIRMIN
(aside)
Leading ladies are a trial!
GIRY
Heaven help
you,
those who doubt . . .
CARLOTTA
You'll sing
again,
and to unending
ovation!
RAOUL
Orders!
Warnings!
Lunatic demands!
GIRY
This miscasting
will
invite damnation . . .
ANDRE/FIRMIN
Tears . . . oaths . .
.
Iunatic demands
are regular occurrences!
MEG
Bliss
or damnation?
Which has claimed her . .
.?
CARLOTTA
Think how you'll shine
in that final
encore!
Sing, prima donna,
once more!
GIRY
Oh fools,
to have flouted his warnings!
RAOUL
Surely, for her sake .
. .
MEG
Surely he'll strike back . .
.
ANDRE/FIRMIN
Surely there'll be further scenes
-
worse than this!
GIRY
Think, before
these demands
are rejected!
RAOUL
. . .I must see
these demands are
rejected!
MEG
. . . if his threats
and demands are
rejected!
ANDRE/FIRMIN
Who'd believe a diva
happy to
relieve a chorus girl,
who's gone and slept with the
patron?
Raoul and the soubrette,
entwined in love's
duet!
Although he may demur,
he must have been with
her!
MEG/RAOUL
Christine must be
protected!
CARLOTTA
0, fortunata!
Non
ancor
abbandonata!
ANDRE/FIRMIN
You'd never get
away
with all this in a play,
but if it's loudly sung
and
in a foreign tongue
it's just the sort of story
audiences
adore,
in fact a perfect opera!
RAOUL
His game is
over!
GIRY
This is a game
you cannot hope to
win!
RAOUL
And in Box Five
a new game will begin . .
.
GIRY
For, if his curse is on this opera . .
.
MEG
But if his curse is on this opera . .
.
ANDRE/FIRMIN
Prima donna
the world is at your
feet!
A nation waits,
and how it hates
to be
cheated!
CARLOTTA
The stress that falls upon a
famous
prima donna!
Terrible diseases,
coughs and colds and
sneezes!
Still, the dryest throat
will reach the highest
note,
in search of perfect
opera!
MEG/GIRY
. . .
then I fear the outcome . . .
RAOUL
Christine plays the
Pageboy,
Carlotta plays the Countess . . .
GIRY
. . .
should you dare to . .
MEG
. . . when you once again . .
.
ALL
Light up the stage
with that age
old
rapport!
Sing, prima donna,
once more!
PHANTOM'S
VOICE
So, it is to be war between us! If these demands are not
met, a disaster beyond your imagination will
occur!
ALL
Once more!
Scene 9
A
PERFORMANCE OF 'IL MUTO' BY ALBRIZZI0
(During the overture
RAOUL, ANDRE and FIRMIN take
their respective seats - RAOUL in
Box Five, the
MANAGERS in a box
opposite)
RAOUL
Gentlemen, if you would care to take your
seats? I shall
be sitting in Box Five.
ANDRE
Do you
really think that's wise, monsieur?
RAOUL
My dear Andre,
there would appear to be no seats
available, other than Box Five
. . .
(The front cloth rises to reveal an 18th Century salon,
a
canopied bed centre-stage. The COUNTESS is played by
CARLOTTA. SERAFIMO, the page boy, is disguised as
her maid
and is played by CHRISTINE. At this point they
are hidden behind
the drapes of the bed, which are drawn.
In the room are TWO
EPICENE MEN: one a
HAIRDRESSER and one a JEWELLER.
The
JEWELLER is attended by MEG. There is also an OLDER
WOMAN, the COUNTESS' confidante. All a part from
MEG are
gossiping with relish aboutt he COUNTESS'
current liaison with
SERAFIMO)
CONFIDANTE
They say that this youth
has set
my Lady's
heart aflame!
1ST FOP
His Lordship
sure
would die of shock!
2ND FOP
His Lordship is
a
laughing-stock!
CONFIDANTE
Should he suspect her
God
protect her!
ALL THREE
Shame! Shame! Shame!
This
faithless lady's
bound for Hades!
Shame! Shame!
Shame!
(The canopy drapes part and we see the COUNTESS
kissing SERAFlMO passionately. As the recitative
begins, the
lights and music dim on stage, and our
attention turns to the
MANAGERS in their box)
IN THE BOX
: ANDRE
Nothing
like the old operas!
FIRMIN
Or the old scenery . .
.
ANDRE
The old singers . . .
FIRMIN
The old
audience . . .
ANDRE
And every seat
sold!
FIRMIN
Hardly a disaster beyond all
imagination!
(They chuckle and nod to RAOUL in the opposite
box.
He acknowledges them)
ON
STAGE
COUNTESS
Serafimo - your disguise is
perfect.
(A knock at the door)
Who can this
be?
DON ATTILI0
Gentle wife, admit your
loving
husband.
ATTENTION BACK ON STAGE
(The COUNTESS
admits DON ATTILI0. He is an old fool)
DON ATTILI0
My love
- I am called to England on affairs of State, and
must leave you
with your new maid. (Aside) Though I'd
happily take
the maid
with me.
COUNTESS (aside)
The old fool's
leaving!
DON ATTILI0 (aside)
I suspect my young bride is
untrue to me. I shall not
leave, but shall hide over there to
observe her!
DON ATTILI0 (to
COUNTESS)
Addio!
COUNTESS
Addio!
BOTH (to each
other)
Addio!
(He goes, pretending to leave, then hides
and
watches the action)
COUNTESS (CARLOTTA)
Serafimo -
away with this pretence!
(She rips off SERAFIMO'S skirt to
reveal his manly
breeches)
You cannot speak, but kiss me
in my
husband's absence!
Poor fool, he makes me
laugh!
Haha,
Haha! etc.
Time I tried to get a better better
half !
COUNTESS AND CHORUS
Poor fool, he doesn't
know!
Hoho,
Hoho! etc.
If he knew the truth, he'd never,
ever go!
(Suddenly from nowhere, we hear the voice of the
PHANTOM)
PHANTOM'S VOICE
Did I not instruct that Box
Five was to be kept empty?
MEG (terrified)
He's here: the
Phantom of the Opera . . .
(General reaction of
bewilderment.
CHRISTINE looks fearfully about
her)
CHRISTINE
It's him . . . I know it . . . it's him . .
.
CARLOTTA (Finding a scapegoat in CHRISTINE,
hisses at
her)
Your part is silent, little toad!
(But the PHANTOM
has heard her)
PHANTOM'S VOICE
A toad, madame? Perhaps it
is you
who are the toad . . .
(Again general unease.
CARLOTTA and the
CONDUCTOR confer and pick up from the opening of
the
scene)
CARLOTTA (As the COUNTESS)
Serafimo, away
with this pretence!
You cannot speak, but kiss me in my
croak!
(Instead of singing she emits a great croak like a
toad. A
stunned silence. CARLOTTA is as amazed as anyone but
regains herself and continues. More perturbing,
however, is
a new sound: the PHANTOM is laughing -
quietly at first, then
more and more hysterically)
CARLOTTA (as the
COUNTESS)
Poor fool, he makes me laugh -
Hahahahaha!
Croak,
croak, croak,
croak, croak, croak, etc.
(As before. The
PHANTOM'S laughter rises. The
croaking continues as the
chandelier's lights blink on
and off. The PHANTOM'S laughter, by
this time
overpowering, now crescendos into a great
cry):
PHANTOM'S VOICE
Behold! She is singing to bring down
the
chandelier!
(CARLOTTA looks tearfully up at the
MANAGERS ' box
and shakes her head)
CARLOTTA
Non posso
piu . . .
I cannot . . . I cannot go on . . .
PIANGI
(rushing on)
Cara, cara . . . I'm here . . .
is all right . .
. Come . . . I'm here . . .
(ANDRE and FIRMIN hurry out of
the box onto the
stage. PIANGI ushers the now sobbing CARLOTTA
offstage, while the MANAGERS tackle the
audience)
FIRMIN
Ladies and gentlemen, the performance
will
continue in ten minutes' time . . .
(He addresses Box
Five, keeping one eye on the
chandelier as it returns to
normal)
. . . when the role of the Countess will be sung by
Miss
Christine Daae.
ANDRE (improvising)
In the
meantime, ladies and gentlemen, we shall be
giving you the
ballet from Act Three of tonight's opera.
(to the
CONDUCTOR)
Maestro - the ballet - now!
(The MANAGERS
leave, the stage is cleared and music
starts again. The BALLET
GlRLS enter as a sylvan glade
flies in. They begin the Dance of
the Country Nymphs.
Upstage, behind the drop, a series of
threatening
shadows of the PHANTOM. MEG is aware of them and
dances out of step. When this culminates in one
gigantic,
oppressive, bat-like shadow, the garotted body
of JOSEPH BUQUET
falls onto the stage, causing the
sylvan glade to fly out.
Pandemonium.)
CHRISTINE (calling for help)
Raoul!
Raoul!
(RAOUL runs on stage and embraces her)
RAOUL
(to CHRISTINE, leading her away)
Christine, come with me . .
.
CHRISTINE
No. . . to the roof. We'll be safe
there.
(CHRISTINE and RAOUL hurry off)
FIRMIN
(Attempting to placate the audience as STAGE-
HANDS and POLICEMEN
crowd onto the stage)
Ladies and gentlemen, please remain in
your seats. Do
not panic. It was an accident . . . simply an
accident . . .
Scene 10
THE ROOF OF THE OPERA
HOUSE
(A statue of 'La Victoire Ailee' - the same as that
which
tops the proscenium. It is twilight. CHRISTINE and
RAOUL rush on)
RAOUL
Why have you brought us
here?
CHRISTINE
Don't take me back
there!
RAOUL
We must return!
CHRISTINE
He'll
kill me!
RAOUL
Be still now . . .
CHRISTINE
His
eyes will find me there!
RAOUL
Christine, don't say that .
. .
CHRISTINE
Those eyes that burn!
RAOUL
Don't
even think it . . .
CHRlSTlNE
And if he has to kill
a
thousand men -
RAOUL
Forget this waking nightmare . .
.
CHRISTINE
The Phantom of the Opera will kill . .
.
RAOUL
This phantom is a fable . . .
Believe me . .
.
CHRISTINE
. . . and kill again!
RAOUL
There is
no Phantom of the Opera . . .
CHRISTINE
My God, who is
this man . . .
RAOUL
My God, who is this man . .
.
CHRISTINE
. . . who hunts to kill . .
.?
RAOUL
. . . this mask of death . .
.?
CHRISTINE
I can't escape from him . .
.
RAOUL
Whose is this voice you hear . .
.
CHRISTINE
. . .I never will!
RAOUL
. . . with
every breath . . .?
BOTH
And in
this
labyrinth,
where night is blind
the Phantom of the
Opera
is here:
inside your/my mind . . .
RAOUL
There
is no Phantom of the Opera . .
.
CHRISTINE
Raoul, I've been there -
to his
world of
unending night . . .
To a world where
the daylight
dissolves
into darkness . . .
darkness . . .
Raoul,
I've seen him!
Can I ever
forget that sight?
Can I
ever
escape from that face?
So distorted,
deformed,
it
was hardly a face,
in that darkness . . .
darkness . .
.
(trancelike, then becoming more and more
ecstatic)
But his voice
filled my spirit
with a
strange, sweet sound . . .
In that night
there was music
in
my mind . . .
And through music
my soul began
to
soar!
And I heard
as I'd never
heard before . .
.
RAOUL
What you heard
was a dream
and nothing more
. . .
CHRISTINE
Yet in his eyes
all the sadness
of
the world . . .
Those pleading eyes,
that both threaten
and
adore . . .
RAOUL (comforting)
Christine . .
.
Christine . . .
PHANTOM (unseen, a ghostly echo of
RAOUL's words)
Christine . . .
CHRISTINE
What was
that?
(A moment, as their eyes meet. The mood
changes.)
RAOUL
No more talk
of darkness,
Forget
these
wide-eyed fears.
I'm here,
nothing can harm you
-
my words will
warm and calm you.
Let me be
your
freedom,
let daylight
dry -your tears.
I'm here,
with
you, beside you,
to guard you
and to guide you . .
.
CHRISTINE
Say you love me
every
waking
moment,
turn my head
with talk of summertime . . .
Say
you need me
with you,
now and always . . .
promise me that
all
you say is true -
that's all I ask
of you . .
.
RAOUL
Let me be
your shelter,
let me
be your
light.
You're safe:
No-one will find youQ
your fears
are
far behind you . . .
CHRISTINE
All I want
is
freedom,
a world with
no more night . . .
and you
always
beside me
to hold me
and to hide me . . .
RAOUL
Then
say you'll share with
me one
love, one lifetime . . .
Iet
me lead you
from your solitude . . .
Say you need
me
with you
here, beside you . . .
anywhere you go,
let
me go too -
Christine,
that's all I ask
of you . .
.
CHRISTINE
Say you'll share with
me one
love, one
lifetime . . .
say the word
and I will follow you . .
.
BOTH
Share each day with
me, each
night, each
morning . . .
CHRISTINE
Say you love me . .
.
RAOUL
You know I do . . .
BOTH
Love me
-
that's all I ask
of you . . .
(They
kiss)
Anywhere you go
let me go too . . .
Love me
-
that's all I ask
of you . .
(CHRISTINE starts from
her reverie)
CHRISTINE
I must go -
they'll wonder where
I am . . .
wait for me, Raoul!
RAOUL
Christine, I love
you!
CHRISTINE;
Order your fine horses!
Be with them at
the door!
RAOUL
And soon you'll be beside
me!
CHRISTINE
You'll guard me, and you'll guide me . .
.
(They hurry off. The PHANTOM emerges from
behind the
statue)
PHANTOM
I gave you my music . . .
made your
song take wing . . .
and now, how you've
repaid me:
denied
me
and betrayed me . . .
He was bound to love you
when he
heard you sing . . .
Christine ...
Christine
...
RAOUL/CHRISTINE (offstage)
Say you'll share with
me
one
love, one lifetime . . .
say the word
and I will follow
you . . .
Share each day with
me, each
night, each
morning . . .
PHANTOM
You will curse the day
you did
not do
all that the Phantom asked
of you . . .!
(As the
roof of the opera house disappears, the opera
curtain closes and
the PRINCIPALS in 'Il Muto' appear
through it for their bows,
CHRISTINE conspicuously
dressed in CARLOTTA'S costume.
simultaneously, we
hear the maniacal laughter of the PHANTOM and
see him
high above the stage, perilously rocking the chandelier.
The lights of the
chandelier begin flickering and, at a great
cry from him,
it descends, swinging more and more madly over the
orchestra pit)
PHANTOM
Go! !
(The chandelier
falls to the stage at CHRISTINE'S feet)
END OF ACT
1
ACT 2
Scene 1
THE STAIRCASE OF THE
OPERA HOUSE
(A gauze half conceals the tableau of guests at
the
opera ball. The guests (whom we cannot yet see
clearly)
are in fancy dressQa peacock, a lion, a
dragon, Mephistopheles, a
highwayman, a clown,
knights, ladies, an executioner. M. ANDRE
enters.
He is dressed as a skeleton in an opera cape.
Almost
immediately M. FIRMIN arrives.He is also dressed
as a
skeleton in an opera cape. The two skeletons see
each other and
approach nervously)
ANDRE
M'sieur
Firmin?
FIRMIN
M'sieur Andre?
(Each raises his mask
to the other. They recognise each
other.)
FIRMIN
Dear
Andre
what a splendid party!
ANDRE
The prologue
to a
bright new year!
FIRMIN
Quite a night!
I'm
impressed!
FIRMIN
Well, one does
one's best . .
.
ANDRE/FIRMIN (raising their glasses)
Here's to
us!
FIRMIN
I must say, all the same, that
it's a shame
that 'Phantom'
fellow isn't here!
(The gauze lifts fully
to reveal the staircase of the
opera house. The opera ball
begins. Among the
GUESTS are four carrying strange
percussion
instruments: a monkey with cymbals, a toy
soldier
with a drum, a triangle, bells. Together they
play
weirdly throughout)
CHORUS
Masquerade!
Paper
faces on parade . . .
Masquerade!
Hide your face,
so the
world will
never find you!
Masquerade!
Every face a
different shade . . .
Masquerade!
Look around -
there's
another
mask behind you!
Flash of mauve . . .
Splash of
puce . . .
Fool and king . . .
Ghoul and goose . . .
Green
and black . . .
Queen and priest . . .
Trace of rouge . .
.
Face of beast . . .
Faces . . .
Take your turn, take
a ride
on the merry-go-round . . .
in an inhuman race . .
.
Eye of gold . . .
Thigh of blue . . .
True is false .
. .
Who is who . . .?
Curl of lip . . .
Swirl of gown . .
.
Ace of hearts . . .
Face of clown . . .
Faces . .
.
Drink it in, drink it up,
till you've drowned
in the
light . . .
in the sound . . .
RAOUL/CHRISTINE
But who
can name the face . . .?
ALL
Masquerade!
Grinning
yellows,
spinning reds . . .
Masquerade!
Take your fill
-
let the spectacle
astound you!
Masquerade!
Burning
glances,
turning heads . . .
Masquerade!
Stop and
stare
at the sea of smiles
around
you!
Masquerade!
Seething shadows
breathing lies . .
.
Masquerade!
You can fool
any friend who
ever knew
you!
Masquerade!
Leering satyrs,
peering eyes . .
.
Masquerade!
Run and hide -
but a face will
still
pursue you!
(The ENSEMBLE activity becomes background,
as
ANDRE, FIRMIN, MEG, GIRY, PIANGI and CARLOTTA
come to the
fore, glasses in hand)
GIRY
What a
night
MEG
What a crowd!
ANDRE
Makes you
glad!
FIRMIN
Makes you proud!
All the creme
de la
creme!
CARLOTTA
Watching us watching
them!
MEG/GlRY
And all our fears
are in the
past!
ANDRE
Six months...
PIANGI
Of
relief!
CARLOTTA
Of delight!
ANDRE/FIRMIN
Of
Elysian peace!
MEG/GIRY
And we can breathe at
last!
CARLOTTA
No more notes!
PIANGI
No more
ghost!
GIRY
Here's a health!
ANDRE
Here's a
toast:
to a prosperous year!
FIRMIN
To the new
chandelier!
PIANGI/CARLOTTA
And may its
splendour never
fade!
FIRMIN
Six months!
GIRY
What a
joy!
MEG
What a change!
FIRMIN/ANDRE
What a
blessed release!
ANDRE
And what a masquerade!
(They
clink glasses and move off RAOUL and
CHRISTINE emerge. She is
admiring a new acquisition:
an engagement ring from RAOUL, which
she has
attached to a gold chain around her
neck.)
CHRISTINE
Think of it!
A secret
engagement!
Look - your future bride!
Just think of
it!
RAOUL
But why is it secret?
What have we to
hide?
CHRISTINE
Please, let's not fight . .
.
RAOUL
Christine, you're free!
CHRISTINE
Wait
till the time is right . . .
RAOUL
When will that
be?
It's an engagement,
not a crime!
Christine,
What
are you
afraid of?
CHRISTINE
Let's not argue . .
.
RAOUL
Let's not argue . . .
CHRISTINE
Please
pretend . . .
RAOUL
I can only hope I'll . .
.
CHRISTINE
You will . . .
BOTH
. . .
understand
in time . . .
(Dance section, in which
CHRISTINE, almost
coquettish almost jittery, goes from man to
man. But too
many of her partners seem to be replicas of the
PHANTOM, and each spins her with increasing force.
Eventually RAOUL rescues her and holds her tightly. He
whirls her back into the dance, as the music heads
towards
its climax.)
ALL
Masquerade!
Paper faces on
parade!
Masquerade!
Hide your face,
so the world
will
never find you!
Masquerade!
Every face a different
shade!
Masquerade!
Look around -
There's another
mask
behind you!
Masquerade!
Burning glances,
turning heads
. . .
Masquerade!
Stop and stare
at the sea of
smiles
around you!
Masquerade!
Grinning
yellows,
spinning reds . . .
Masquerade!
Take your fill
-
let the spectacle
astound you!
(At the height of the
activity a grotesque figure suddenly
appears at the lop of the
staircase. Dressed all in
crimson, with a death's head visible
inside the hood of
his robe, the PHANTOM has come to the party.
With
dreadful wooden steps he descends the stairs and takes the
centre of the stage)
PHANTOM
Why so silent, good
messieurs?
Did you think that I had left you for good?
Have
you missed me, good messieurs?
I have written you an
opera!
(He takes from under his robe an enormous
bound
manuscript)
Here I bring the finished score
-
"Don Juan Triumphant" !
(He throws it to ANDRE)
I
advise you
to comply -
my instructions
should be clear
-
Remember
there are worse things
than a shattered
chandelier . . .
(CHRISTlNE, mesmerized, approaches as
the
PHANTOM beckons her. He reaches out, grasps the
chain that
holds the secret engagement ring, and rips it
from her
throat)
Your chains are still mine -
you will sing for
me!
(ALL cower in suspense as the music crescendos, until
suddenly, his figure evaporates)
Scene
2
BACKSTAGE
(GIRY is hurrying across. RAOUL appears and
calls
after her)
RAOUL
Madame Giry. Madame Giry . .
.
GIRY
Monsieur, don't ask me - I know no more
than
anyone else.
(She moves off again. He stops
her)
RAOUL
That's not true. You've seen something,
haven't
you ?
GIRY (uneasily)
I don't know what I've
seen . . . Please don't ask me,
monsieur . . .
RAOUL
(desperately)
Madame, for all our sakes . . .
GIRY (She
has glanced nervously about her and
suddenly deciding to trust
him, cuts in):
Very well. It was years ago. There was a
travelling
fair in the city. Tumblers, conjurors,
human
oddities . . .
RAOUL
Go on . . .
GIRY
(trance-like, as she retraces the past)
And there was . . . I
shall never forget him: a man . .
Iocked in a cage . .
.
RAOUL
In a cage . . ?
GIRY
A prodigy,
monsieur! Scholar, architect, musician .
RAOUL (piecing
together the jigsaw)
A composer . . .
GIRY
And an
inventor too, monsieur. They boasted he
had once built for the
Shah of Persia, a maze of
mirrors . . .
RAOUL (mystified
and impatient, cuts in)
Who was this man . . .?
GIRY (with
a shudder)
A freak of nature . . .
more monster
than man .
. .
RAOUL (a murmur)
Deformed . . .?
GIRY
From
birth, it seemed . . .
RAOUL
My God . .
.
GIRY
And then . . . he went missing. He
escaped.
RAOUL
Go on.
GIRY
They never found
him
it was said he
had died . . .
RAOUL (darkly)
But
he didn't die, did he?
GIRY
The world forgot him,
but I
never can . . .
For in this darkness
I have seen him again . .
.
RAOUL
And so our
Phantom's this man . . .
GIRY
(starts from her daze and turns to go)
I have said too much,
monsieur.
(She moves off into the surrounding
blackness)
And there have been too many accidents . .
.
RAOUL (ironical)
Accidents?!
GIRY
Too many . .
.
(And, before he can question her further, she
has
disappeared)
RAOUL (running after her)
Madame Giry
. . .!
Scene 3
THE MANAGERS ' OFFICE
(The PHANTOM'S
score lies open on the desk.
ANDRE is impatiently flicking
through it)
ANDRE
Ludicrous!
Have you seen the
score?
FIRMIN (entering)
Simply
ludicrous!
ANDRE
It's the final
straw!
FIRMIN
This is lunacy!
Well, you know my views .
. .
ANDRE
Utter lunacy!
FIRMIN
But we daren't
refuse . . .
ANDRE (groans)
Not another
chandelier . .
.
FIRMIN
Look, my friend, what
we have here . .
.
(He has two notes from the PHANTOM, one of which he
hands to ANDRE, who opens it and reads):
ANDRE
"Dear
Andre,
Re my orchestrations:
We need another first
bassoon.
Get a player with tone -
and that third
trombone
has to go!
The man could not be deafer,
so please
preferably one
who plays in tune!"
FIRMIN (reading his
letter)
"Dear Firmin,
vis a vis my opera:
some
chorus-members must be sacked.
If you could, find out
which
has a sense of pitch -
wisely, though,
I've managed
to assign a
rather minor role to those
who cannot act!
"
(They are interrupted by the arrival of CARLOTTA and
PIANGI both furiously brandishing similar
notes)
CARLOTTA
Outrage!
FIRMIN
What is it
now?
CARLOTTA
This whole affair is
an
outrage!
FIRMIN
Signora, please . . .
ANDRE
Now
what's the matter?
CARLOTTA
Have you seen
the size of
my part?
ANDRE
Signora, listen . . .
PIANGI
It's
an insult!
FIRMIN
Not you as well!
PIANGI
Just
look at this -
it's an insult!
FIRMIN
Please,
understand . . .
ANDRE
Signor!
Signora!
CARLOTTA
The things I have
to do for my
art!
PIANGI (stabbing a finger at the open score)
If you
.an call
this gibberish "art" !
(RAOUL and CHRISTINE
enter: CARLOTTA bristles)
CARLOTTA (dryly)
Ah! Here's our
little flower!
FIRMIN
Ah Miss Daae
quite the lady
of
the hour!
ANDRE (explaining)
You have
secured the
largest role
in this "Don Juan".
CARLOTTA (half to
herself)
Christine Daae?
She doesn't have
the
voice!
FIRMIN (hearing this, to CARLOTTA)
Signora,
please!
RAOUL (to the MANAGERS)
Then I take it
you're
agreeing.
CARLOTTA (aside)
She's behind this . .
.
ANDRE
It appears we have
no choice.
CARLOTTA
(unable to contain herself any longer,
points
accusingly)
She's the one
behind this!
Christine
Daae!
CHRISTINE (who has been silent till now, incensed at
this)
How dare you!
CARLOTTA
I'm not a
fool!
CHRISTINE
You evil woman!
How dare
you!
CARLOTTA
You think I'm
blind?
CHRISTINE
This isn't my fault!
I don't want
any
part in this plot!
FIRMIN
Miss Daae, surely . .
.
ANDRE
But why not?
PIANGI (baffled, to
CARLOTTA)
What does she say?
FIRMIN (reasonably)
It's
your decision -
(Suddenly rounding on her)
But why
not?
CARLOTTA (to PIANGI)
She's backing
out!
ANDRE
You have a duty!
CHRISTINE
I cannot
sing it,
duty or not!
RAOUL (comforting)
Christine . .
.
Christine . . .
You don't have to . . .
they can't make
you . . .
(MEG and GlRY arrive, the latter bearing another
note
from the PHANTOM)
GIRY
Please,
monsieur:
another note.
(The MANAGERS gesture: "read it".
As she reads, ALL
react variously, as they are singled
out)
GIRY
"Fondest greetings
to you all !
A few
instructions
just before
rehearsal starts:
Carlotta must
be
taught to act . . . ,"
(The PHANTOM'S voice gradually
takes over
from her)
PHANTOM'S VOICE
. . . not her
normal trick
of strutting round the stage.
Our Don Juan
must
lose some weight -
it's not healthy in
a man of
Piangi's age.
And my managers
must learn
that their place
is in
an office, not the arts.
As for Miss Christine Daae
. . .
No doubt she'll
do her best - it's
true her voice
is
good. She knows, though,
should she wish to excel
she
has much still
to learn, if pride will
let her
return to
me, her
teacher,
her teacher . . .
Your obedient friend
. . .
(The PHANTOM'S voice fades out and GIRY takes
over)
GIRY
". . . and Angel . . ."
(Attention now
focuses on RAOUL whose eyes are
suddenly bright with a new
thought)
RAOUL
We have all been
blind - and yet
the
answer is staring us
in the face . . .
This could be
the
chance to ensnare our
clever friend . .
.
ANDRE
We're listening . . .
FIRMIN
Go
on.
RAOUL
We shall play his
game - perform his
work
- but remember we
hold the ace . . .
For, if Miss
Daae
sings, he is certain
to attend . . .
ANDRE
(carried along by the idea)
We make certain
the doors are
barred . . .
FIRMIN (likewise)
We make certain
our men
are there . . .
RAOUL
We make certain
they're armed . .
.
RAOUL/ANDRE/FIRMIN (savouring their victory)
The curtain
falls -
his reign will end!
(ALL have been listening
intently. GIRY is the first to
express a reaction. CHRISTINE
remains silent and
withdrawn)
GIRY
Madness!
ANDRE
I'm not so
sure . . .
FIRMIN
Not if it works . .
.
GIRY
This is madness!
ANDRE
The tide will
turn!
GIRY
Monsieur, believe me -
there is no way
of
turning the tide!
FIRMIN (to GIRY)
You stick to
ballet!
RAOUL (rounding on GIRY)
Then help
us!
GIRY
Monsieur, I can't . . .
RAOUL
Instead
of warning us . . .
RAOUL/ANDRE/FIRMIN
Help
us!
GIRY
I wish I could . .
.
RAOUL/ANDRE/FIRMIN
Don't make
excuses!
RAOUL
Or could it be that
you're on his
side?
GIRY (to RAOUL)
Monsieur, believe me,
I intend no
ill . . .
(to ANDRE and FIRMIN)
But messieurs, be
careful -
we have seen him kill . . .
ANDRE/FIRMIN (to
GIRY)
We say he'll fall
and fall he
will!
CARLOTTA
She's the one behind
this!
Christine!
This is all her doing!
PIANGI
This
is the truth!
Christine Daae!
RAOUL
This is his
undoing!
ANDRE/FIRMIN (to RAOUL)
If you succeed
you
free us all -
this so called "angel"
has to
fall!
RAOUL
Angel of music,
fear my fury -
Here is
where you fall!
GIRY (to RAOUL)
Hear my warning!
Fear
his fury!
CARLOTTA
What glory can
she hope to
gain?
It's clear to all
the girl's insane!
.ANDRE (to
FIRMIN)
Christine sings
We'll get our man . .
.
PIANGI
She is crazy!
She is raving!
FIRMIN (to
ANDRE)
If Christine helps
us in this plan . .
.
RAOUL
Say your prayers,
black angel of
death!
CHRISTINE (vainly pleading amidst the
tumult)
Please don't . . .
ANDRE (to FIRMIN)
If
Christine won't,
then no-one can . . .
GIRY (to
RAOUL)
Monsieur, I beg you,
do not do this . .
.
PIANGI/CARLOTTA
Gran Dio!
Che
imbroglio!
ANDRE/FIRMIN
This will seal his
fate!
CHRISTINE (bursting through the hubbub with a
great
cry)
If you don't stop,
I'll go mad! ! !
(to RAOUL,
pleading)
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 . .
.
he'll always be there,
singing songs in my head . .
.
(ALL stare at her)
CARLOTTA
She's mad . .
.
RAOUL (to CHRISTINE)
You said yourself
he was
nothing
but a man . . .
Yet while he lives,
he will
haunt us
till we're dead . . .
(CHRISTINE turns away
unhappily)
CHRISTINE
Twisted every way,
what answer can
I give?
Am I to risk my life,
to win the chance to
live?
Can I betray the man
who once inspired my voice?
Do I
become his prey?
Do I have any choice?
He kills without a
thought,
he murders all that's good . . .
I know I can't
refuse
and yet, I wish I could . . .
Oh God - if I
agree,
what horrors wait for me
in this, the Phantom's opera .
. .?
RAOUL (to CHRISTINE, very tenderly)
Christine,
Christine,
don't think that I don't care -
but every
hope
and every prayer
rests on you now . .
.
(CHRISTINE, overcome by her conflicting emotions
turns
away and hurries out. RAOUL strides forward and
addresses an
imaginary PHANTOM)
RAOUL
So, it is to be war between us!
But this time, clever
friend, the disaster will be
yours!
(As lights fade, ATTENDANTS stretch a red, velvet rope
across the downstage area. OTHERS bring on gilt chairs.
CARLOTTA PIANGI and GIRY move downstage to take
their places
for the next scene)
Scene 4
A REHEARSAL FOR DON JUAN
TRIUMPHANT
(REYER supervises the learning of the new piece
from
the piano. Present are PIANGI, CHRISTINE,
CARLOTTA, GlRY
and CHORUS)
CHORUS
Hide our sword now wounded
knight!
Your vainglorious gasconnade
brought you to your final
fight
for your pride, high price you've
paid!
CHRISTINE
Silken couch and hay-filled barnQ
both
have been his battlefield.
PIANGI (wrong)
Those who tangle
with Don Juan . . .
REYER (stopping him)
No, no, no!
ChorusQrest, please.
Don Juan, Signor Piangi - here is the
phrase.
(He demonstrates it)
"Those who tangle with
Don Juan . . ."
If you please?
PIANGI (still
wrong)
Those who tangle with Don Juan . . .
REYER
No,
no. Nearly - but no.
"Those who tan, tan, tan . .
."
PIANGI (still wrong)
Those who tangle with Don Juan . .
.
CARLOTTA (to the OTHERS)
His way is better. At least he
make it sound like
music!
GIRY (to CARLOTTA)
Signora -
would you speak that way in the
presence of the
composer?
CARLOTTA (deaf to the implications of this
remark)
The composer is not here. And if he were here, I
would
. . .
GIRY (cutting in, ominous)
Are you certain of that,
Signora . . .?
REYER
So, once again - after
seven.
(He gives the note and counts in)
Five, six, seven
. . .
PIANGI (wrong again)
Those who tangle with Don Juan
. . .
(Gradually EVERYONE starts either to talk or
to
practice the phrase simultaneously)
CARLOTTA
Ah, piu
non posso! What does it matter what notes
we
sing?
GIRY
Have patience,
Signora.
CARLOTTA
No-one will know if it is right or if it
is wrong.
No-one will care if it is right, or if it is
wrong.
CARLOTTA (mocking)
Those who tangle
with Don
Juan!
PIANGI (trying again)
Those who tan . . . tan . .
.
(to CHRISTINE)
Is right?
CHRISTINE (to
PIANGI)
Not quite, Signor:
Those who tan . . . tan . .
.
REYER (attempting lo restore order)
Ladies . . . Signor
Piangi . . . if you please . . .
(REYER thumps the piano
keys, then leaves the piano,
and attempts to attract attention
using signals. Al the
height of the mayhem, the piano suddenly
begins to
demonstrate the music unaided. It plays with great
force
and rhythm. ALL fall silent and freeze then suddenly start
to sing the piece robotically and accurately. As they
continue to sing, CHRISTINE moves away from the
group.)
ALL EXCEPT CHRISTINE
Poor young maiden! For
the thrill
on your tongue of stolen sweets
you will have to
pay the bill -
tangled in the winding sheets!
(As the
ENSEMBLE becomes background, CHRISTINE,
transfixed, sings
independently):
CHRISTINE
In sleep
he sang to me,
in
dreams
he came . . .
that voice
which calls to me
and
speaks
my name . . .
(The scene begins to change.
Trance-like, CHRISTINE
moves slowly upstage. We hear the distant
sound of
bells)
Little Lotte
thought of everything and
nothing . . .
Her Father promised her
that he would send her
the Angel of Music . . .
Her father promised her . . .
Her
father promised her . . .
Scene 5
A
GRAVEYARD
(A mausoleum with hanging moss. In the centre
a
pyramid of skulls in front of a cross.)
CHRISTINE
You
were once
my one companion . . .
you were all
that mattered
. . .
You were once
a friend and father -
then my
world
was shattered . . .
Wishing you were
somehow here
again . . .
wishing you were
somehow near . . .
Sometimes
it seemed
if I just dreamed,
somehow you would
be here . .
.
Wishing I could
hear your voice again . . .
knowing
that I
never would . . .
Dreaming of you
won't help me to
do
all that you dreamed
I could . . .
Passing
bells
and sculpted angels,
cold and monumental,
seem, for
you,
the wrong companions -
you were warm and gentle . .
.
Too many years
fighting back tears . . .
Why can't
the past
just die . . .?
Wishing you were
somehow here
again . . .
knowing we must
say goodbye . . .
Try to
forgive . . .
teach me to live . . .
give me the
strength
to try . . .
No more memories,
no more silent
tears . . .
No more gazing across
the wasted years . .
.
Help me say
goodbye.
(The PHANTOM emerges from behind
the cross)
PHANTOM (very soft and enticing)
Wandering
child . . .
so lost . . .
so helpless . . .
yearning for
my
guidance . . .
(Bewildered, CHRISTINE looks up, and
murmurs
breathlessly):
CHRISTINE
Angel . . . or father
. . .
friend . . . or
Phantom . . . ?
Who is it
there,
staring . . . ?
PHANTOM (more and more
hypnotic)
Have you
forgotten your Angel . .
.?
CHRISTINE
Angel . . . oh, speak . . .
What
endless
longings
echo in this
whisper . . .!
(RAOUL
appears in the shadows and watches for a
moment
transfixed)
PHANTOM (now drawing CHRISTINE towards
him)
Too long you've wandered
in winter . . .
RAOUL (to
himself a murmur)
Once again
she is his . .
.
PHANTOM
Far from my
far-reaching gaze . .
.
RAOUL
Once again
she returns . . .
CHRISTINE
(increasingly mesmerized)
Wildly my mind
beats against you . .
.
PHANTOM
You resist . . .
PHANTOM/CHRISTINE
Yet
your/the soul
obeys . . .
RAOUL
. . . to the arms
of
her angel . . .
angel or demon . . .
still he calls her . .
.
luring her back, from the grave . . .
angel or dark seducer
. . .?
Who are you, strange
angel . .
.?
PHANTOM
Angel of Music!
You denied me,
turning
from true beauty . . .
Angel of Music!
Do not shun me . .
.
Come to your strange
Angel . . .
CHRISTINE
Angel
of Music!
I denied you,
turning from true beauty . .
.
Angel of Music!
My protector . . .
Come to me,
strange
Angel . . .
(CHRISTINE moves towards the figure of
the
PHANTOM)
PHANTOM (beckoning her)
I am your Angel of
Music . . .
Come to me: Angel of Music . . .
RAOUL
(suddenly calling out)
Angel of darkness!
Cease this
torment!
(Inexorably the PHANTOM continues to
beckon
CHRISTINE)
PHANTOM
I am your Angel of Music . .
.
Come to me: Angel of Music . . .
RAOUL (in
desperation)
Christine! Christine listen to me!
Whatever you
may believe, this man . . .
this thing . . . is not your
father!
(to the PHANTOM)
Let her go! For God's sake,
let her go! Christine !
(Coming out of her trance CHRISTINE
turns and
mouths the words):
CHRISTINE
Raoul . .
.
(She turns lo RAOUL who embraces her protectively.
The
PHANTOM freezes for a moment and then suddenly
seizes a pike
upon which is impaled a skull. At a
movement from him a flash of
fire streaks from the
gaping mouth of the skull and lands at
RAOUL's feet)
PHANTOM
Bravo, monsieur!
Such spirited
words!
(Another fireball)
RAOUL
More tricks,
monsieur?
PHANTOM
Let's see, monsieur
how far you dare
go!
(Another fireball)
RAOUL
More deception? More
violence?
CHRISTINE (to RAOUL)
Raoul, no . .
.
(RAOUL has begun to walk slowly and resolutely
towards
the PHANTOM the fireballs always landing
just ahead of
him)
PHANTOM
That's right, that's
right,
monsieurQ
keep walking this way!
(Two more
fireballs)
RAOUL
You can't win her love by making her your
prisoner.
CHRISTINE
Raoul, don't . . .
RAOUL (to
CHRISTINE)
Stay back!
PHANTOM
I'm here, I'm
here,
monsieur:
the angel of death!
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)
RAOUL
Idiot! You'll kill someone. I said: only
when the
times comes!
MARKSMAN
But, Monsieur le Vicomte
. . .
(The PHANTOM'S VOICE cuts in, filling the
building.
All look up)
PHANTOM'S VOICE
No "buts"! For once, Monsieur
le Vicomte is
right . . .
Seal my
fate tonight -
I
hate to have to
cut the fun short
but the
joke's
wearing thin . . .
Let the audience in . . .
Let my
opera begin!
Scene 7
"DON JUAN TRIUMPHANT"
(The set of
the final scene of "Don Juan
TRIUMPHANT" A huge hall with an
arch. Behind the
arch, which has curtains, is a bed. A fine
table, laid for
two. PASSARINO, DON JUAN'S servant,
is
directing the STAFF as they make the room ready.
They are a
crowd of sixteenth century ruffians and
hoydens, proud of their
master's reputation as a
libertine)
CHORUS
Here the
sire may serve the dam,
here the master takes his meat!
Here
the sacrificial lamb
utters one despairing bleat!
CARLOTTA
AND CHORUS
Poor young maiden! For the thrill
on your tongue of
stolen sweets
you will have to pay the bill -
tangled in the
winding sheets!
Serve the meal and serve the maid!
Serve
the master so that, when
tables, plans and maids are laid,
Don
Juan triumphs once again!
(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
Your young guest believes I'm
you -
I, the master, you, the man.
DON JUAN
When you
met you wore my cloak,
with my scarf you hid your face.
She
believes she dines with me,
in her master's borrowed
place!
Furtively, we'll scoff and quaff,
stealing what, in
truth, is mine.
When it's late and modesty
starts to mellow,
with the wine . . .
PASSARINO
You come home! I use your
voice -
slam the door like crack of doom!
DON JUAN
I
shall say: "come - hide with me!
Where, oh, where? Of course - my
room!"
PASSARINO
Poor thing hasn't got a
chance!
DON JUAN
Here's my hat, my cloak and
sword.
Conquest is assured,
if I do not forget myself and
laugh . . .
(DON JUAN puts on PASSARINO's cloak and goes into
the curtained alcove where the bed awaits.
Although we do not
yet know it, the Punjab Lasso has
done its work, and SIGNOR
PIANGI is no more. When
next we see DON JUAN, it will be the
PHANTOM.
Meanwhile, we hear AMINTA (CHRISTINE) singing
happily in the distance)
AMINTA (CHRISTINE - offstage,
entering)
". . . no thoughts
within her head,
but thoughts
of joy!
No dreams
within her heart
but dreams of
love!"
PASSARINO (onstage)
Master?
DON JUAN
(PHANTOM - behind the curtain)
Passarino - go away!
For the
trap is set and waits for its prey . . .
(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 . . .
(He takes from his finger a ring
and holds it out to her.
Slowly she takes it and puts it on her
finger.)
Say you want me
with you,
here beside you . .
.
Anywhere you go
let me go too -
Christine
that's all I
ask of . . .
(We never reach the word 'you', for CHRISTINE
quite
calmly reveals the PHANTOM'S face to the audience. As
the FORCES OF LAW close in on the horrifying skull,
the
PHANTOM sweeps his cloak around her and
vanishes.
MEG
pulls the curtain upstage, revealing PIANGI'S
body garotted,
propped against the bed, his head
gruesomely tilted to one side.
She screams.)
TRANSFORMATION TO:
REVERSE VIEW OF THE
STAGE
(POLICE, STAGEHANDS, etc. rush onto the stage
in
confusion. Also: ANDRE, FIRMIN, RAOUL, GIRY,
CARLOTTA and
MEG)
CARLOTTA
What is it? What has happened?
Ubaldo!
ANDRE
Oh, my God . . . my God . .
.
FIRMIN
We're ruined, Andre - ruined!
GIRY (to
RAOUL)
Monsieur le Vicomte! Come with me!
CARLOTTA
(rushing over to PIANGI's body)
Oh, my darling, my darling . . .
who has done
this ...?
(hysterical, attacking
ANDRE)
You! Why did you let this happen?
(She breaks
down, as PIANGI's body is carried off on a
stretcher)
GIRY
Monsieur le Vicomte, I know where they
are.
RAOUL
But can I trust you?
GIRY
You must.
But remember: your hand at the level of
your
eyes!
RAOUL
But why . . .?
GIRY
Why? The Punjab
lasso, monsieur. First Buquet.
Now Piangi.
MEG (holding up
her hand)
Like this, monsieur. I'll come with
you.
GIRY
No, Meg! No, you stay here!
(to
RAOUL)
Come with me, monsieur. Hurry, or we shall be
too
late . . .
Scene 8
THE LABYRINTH
UNDERGROUND
(Meanwhile, down below, we see the PHANTOM
and
CHRISTINE in the boat, crossing the
underground
lake)
PHANTOM (furiously propelling the boat
onwards)
Down once more
to the dungeon
of my black
despair!
Down we plunge
to the prison
of my mind!
Down
that path
into darkness
deep as hell!
(He rounds on
her, bitterly)
Why, you ask,
was I bound and chained
in
this cold and dismal place?
Not for any
mortal sin, but
the
wickedness of
my abhorrent face!
(He hears the
offstage voices of the pursuing MOB)
MOB (offstage)
Track
down this murderer!
He must be found!
PHANTOM (moving off
again)
Hounded out by
everyone!
Met with
hatred
everywhere!
No kind word from
anyone!
No
compassion
anywhere!
Christine, Christine . . .
Why,
why . . .?
(RAOUL and GIRY appear above. They make their way
down, meeting a pack of rats. GlRY screams and lowers
her
guard. The rats and the RATCATCHER pass them.
GIRY raises her
hand again)
GIRY
Your hand at the level of your
eyes!
RAOUL
. . . at the level of your eyes . .
.
MOB (offstage)
Your hand at the level of your
eyes!
GIRY
He lives across the lake, monsieur. This is as
far as
I dare go.
RAOUL
Madame Giry, thank
you.
(She turns to go back up the slope. RAOUL looks at the
water. He removes his coat and plunges in. The MOB
appears
at the top of the slope. They come
down to the lake edge, their
torches flickering.)
MOB
Track down this
murderer
-
He must be found!
Hunt out this
animal,
who runs to
ground!
Too long he's
preyed on us -
but now we
know:
the Phantom of the Opera
is there
deep down below . .
.
He's here: the Phantom of the Opera . . .
(They turn
back up the slope. Perhaps there is another
way in. The gate to
the lair descends, as the rest of the
lair
appears.)
Scene 9
BEYOND THE LAKE
(The dummy of
CHRlSTlNE sits crumpled on a large
throne. The PHANTOM drags
CHRISTINE roughly out of
the boat. She frees herself and backs
away as he stares
blackly out front. Braving her terror, she
addresses him
fiercely).
CHRISTINE
Have you gorged
yourself
at last, in your
lust for blood?
(no
reply)
Am I now to be
prey to your
lust for
flesh?
PHANTOM (Coldly)
That fate, which
condemns
me
to wallow in blood
has also
denied me
the joys of the
flesh . . .
this face -
the infection
which poisons our
love . . .
(He lakes the bridal veil front the dummy, and
moves
slowIy towards her)
This face,
which earned
a
mother's fear
and loathing . . .
A mask,
my
first
unfeeling scrap
of clothing . . .
(He places the
veil on her head)
Pity comes
too late -
turn
around
and face your fate:
an eternity of this
before your
eyes!
(They are almost touching. She looks calmly and coldly
into his face)
CHRISTINE
This haunted face
holds no
horror
for me now . . .
It's in your soul
that the
true
distortion lies . . .
(The PHANTOM suddenly senses
RAOUL'S presence.
Behind the portcullis, RAOUL climbs out of the
water)
PHANTOM
Wait! I think, my dear,
we have a
guest!
(to RAOUL)
Sir, this is indeed
an
unparalleled delight!
I had rather hoped
that you would
come.
And now my wish comes true -
you have truly made my
night!
RAOUL (pleading, grasping the bars of the
gate)
Free her!
Do what you like
only free her!
Have you
no pity?
PHANTOM (to CHRISTINE, dryly)
Your lover
makes
a passionate plea!
CHRISTINE
Please, Raoul, it's
useless . . .
RAOUL
I love her!
Does that mean
nothing?
I love her!
Show some compassion . . .
PHANTOM
(snarls furiously at RAOUL)
The world showed no
compassion to
me!
RAOUL
Christine . . .
Christine . . .
(to
PHANTOM)
Let me see her . . .
PHANTOM (drily)
Be my
guest, sir . .
(He gestures, and the fence rises. RAOUL
enters)
Monsieur, I
bid you welcome!
Did you think
that
I would harm her?
Why should I make
her pay
for the
sins which
are yours?
(So saying, he takes the Punjab
lasso and, before RAOUL
has a chance to move, catches him by the
neck. The end
of the rope, of which the PHANTOM has let go,
remains
magically suspended in
mid-air)
(taunting)
Order your fine horses now!
Raise
up your hand to the level of your eyes!
Nothing can save you now
-
except perhaps Christine . . .
(He turns to
her)
Start a new life with me -
Buy his freedom with your
love!
Refuse me, and you send your lover to his
death!
This
is the choice -
This is the point of no return!
CHRISTINE
(to the PHANTOM)
The tears I might have shed
for your dark
fate
grow cold, and turn to tears
of hate . . .
RAOUL
(despairing)
Christine, forgive
me please forgive me . .
.
I did it all
for you, and all for
nothing . .
.
CHRISTINE (looking at the PHANTOM but
to
herself)
Farewell
my fallen idol
and false friend . .
.
One by one
I've watched
illusions shattered . .
.
PHANTOM
Past all hope
of cries for help:
no point
in fighting -
RAOUL
Either way
you choose,
he has to
win . . .
PHANTOM
For either way
you choose,
you
cannot win!
So, do you end
your days with me,
or do you
send
him to his grave?
RAOUL (to PHANTOM)
Why make her
lie
to you, to save
me?
CHRISTINE
Angel of Music . .
.
PHANTOM
Past the point
of no return
-
RAOUL
For pity's sake,
Christine, say
no!
CHRISTINE
. . . why this torment?
PHANTOM
.
. . the final threshold . . .
RAOUL
Don't throw your
life
away for my sake . . .
CHRISTINE
When will you
see
reason . . .?
PHANTOM
His life is now the
prize
which you must earn!
RAOUL
I fought so hard
to
free you . . .
CHRISTINE
Angel of Music . .
.
PHANTOM
You've passed the point
of no return . .
.
CHRISTINE
. . . you deceived me -
I gave my
mind
blindly . . .
PHANTOM (to CHRISTINE)
You try my
patience -
make your choice!
(She reflects for a moment,
then with resolution moves
slowly towards the
PHANTOM)
CHRISTINE (quietly at first, then with
growing
emotion)
Pitiful creature
of darkness . . .
What
kind of life
have you known . . .?
God give me
courage
to show you
you are not
alone . . .
(Now
calmly facing him, she kisses him long and full on
the lips. The
embrace lasts a long time. RAOUL watches
in horror and
wonder.
The PHANTOM lakes a lighted candle and holds
it
above RAOUL's head. A tense moment. But the
suspended rope
suddenly falls harmlessly - the
PHANTOM has burned the thread by
which the noose was
held. Resigned, he addresses RAOUL, as we
hear the
offstage voices of the approaching
MOB)
MOB
Some:
Track down this
murderer -
he must
be found!
Hunt out this
animal,
who runs to
ground!
Too long he's
preyed on us -
but now we
know:
the Phantom of the Opera
is there
deep down below . .
Others:
Who is this monster,
this murdering
beast?
Revenge for Piangi!
Revenge for Buquet!
This
creature
must never go free . . .
PHANTOM
Take her -
forget me - forget all of this . . .
Leave me alone - forget all
you've seen . . .
Go now - don't let them find you!
Take the
boat - leave me here - go now,
don't wait . . .
Just take her
and go - before it's too late . . .
Go . . .
Go now - go now
and leave me!
(RAOUL and CHRISTINE move off towards the
boat.
The PHANTOM looks mockingly at his mask. The
musical box
starts up magically, and he listens to it)
Masquerade . .
.
Paper faces on parade . . .
Masquerade . . .
Hide your
face
so the world will
never find you . . .
(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
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