Judie's Place     |  HOME    |   Musical Theater HOME   The King and I   |   Kismet   |   Kiss Me Kate   |   Kiss of the Spider Woman   |   La Cage Aux Follies   |   Les Mis   |   Lion King (movie)   |   Lion King (stage)   |   Little Shop of Horrors   |   Mame   |   Mamma Mia   |   Man of LaMancia   |   Martin Guerre   |   Me and My Girl   |   Miss Siagon   |   Moulon Rouge   |   Music Man   |   My Fair Lady   |   Notre Dame De Paris   |   Oklahoma   |   Oliver   |   Once on This Island   |   Once Upon a Mattress   |   Pal Joey   |   Passion   |   Phantom of the Opera   |   Pippin   |   Pirates of Penzance   |   Penzance (if by Seuss)   |   The Producers   |   Ragtime   |   Rent   |   Roar of the Greasepaint   |   Rocky Horror Picture Show   |   Scarlet Pimpernell (orig. production)   |   Scarlett Pimpernell (new production)   |   The Secret Garden (stage)   |   Seussical   |   Seven Brides for Seven Brothers   |   Showboat   |   Side Show   |   Singing in the Rain   |   Smokey Joe's Cafe   |   Song and Dance   |   Sound of Music   |   South Pacific   |   Star Wars, The Musical   |   Starlight Express   |   State Fair (movie)   |   Stop the World, I Want to Get Off   |   Sunset Boulevard   |   Sweet Charity   |   Tale of Two Cities   |   Thoroughly Modern Millie   |   Tick-Tick-Boom   |   Titanic, The Musical   |   West Side Story   |   Whistle Down the Wind   |   The Wiz   |   The Wizard of Oz   |   You're a Good Man Charlie Brown Phantom of the Opera Music by ANDREW LLOYD WEBBER Lyrics by CHARLES HART Additional Lyrics RICHARD STILGOE      ACT ONE   1.PROLOGUE   2.OVERTURE   3.THINK OF ME   4.ANGEL OF MUSIC   5.LITTLE LOTTE...THE MIRROR...(ANGEL OF MUSIC)   6.THE PHANTOM OF THE OPERA   7.THE MUSIC OF THE NIGHT   8.I REMEMBER.../STRANGER THAN YOU DREAMT IT   9.MAGICAL LASSO  10.NOTES.../PRIMA DONNA  11.POOR FOOL, HE MAKES ME LAUGH  12.WHY HAVE YOU BROUGHT ME HERE.../RAOUL, I'VE BEEN THERE  13.ALL I ASK OF YOU  14.ALL I ASK OF YOU (REPRISE)  15.EXTR'ACTE      ACT TWO  16.MASQUERADE/WHY SO SILENT  17.NOTES.../TWISTED EVERY WAY  18.WISHING YOU WERE SOMEHOW HERE AGAIN  19.WANDERING CHILD.../BRAVO, MONSIEUR  20.THE POINT OF NO RETURN  21.DOWN ONCE MORE.../TRACK DOWN THIS MURDERER           ACT ONE         1.PROLOGUE           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           May 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 thebox)           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)         2.OVERTURE             Orchestra           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 FIRMINaside)           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.         3.THINK OF ME           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           ha.... 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)         4.ANGEL OF MUSIC             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)         5.LITTLE LOTTE...THE MIRROR...             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           "No what 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)         6.THE PHANTOM OF THE OPERA             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 there           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/here           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)         7.THE MUSIC OF THE NIGHT             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)         8.I REMEMBER.../STRANGER THAN YOU DREAMT IT             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 lying           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)         9.MAGICAL LASSO             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 tongue           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)        10.NOTES.../PRIMA DONNA             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 sold           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 post           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 to 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)        11.POOR FOOL, HE MAKES ME LAUGH             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)        12.WHY HAVE YOU BROUGHT ME HERE             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.)        13.ALL I ASK OF YOU             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 you           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)        14.ALL I ASK OF YOU (REPRISE)             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 thechandelier 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)        15.EXTR'ACTE             ORCHESTRA           ACT TWO             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 dress: a 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.)        16.MASQUERADE/WHY SO SILENT             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)        17.NOTES.../TWISTED EVERY WAY             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 barn           both have been his battlefield.           PIANGI (wrong)           Those who tangle with Don Juan . . .           REYER (stopping him)           No, no, no! ChorusQrest, please.           Don Juan, Signor Piangi - here is the phrase.           (He demonstrates it)           "Those who tangle with Don Juan . . ."           If you please?           PIANGI (still wrong)           Those who tangle with Don Juan . . .           REYER           No, no. Nearly - but no.           "Those who tan, tan, tan . . ."           PIANGI (still wrong)           Those who tangle with Don Juan . . .           CARLOTTA (to the OTHERS)           His way is better. At least he make it sound like           music!           GIRY (to CARLOTTA)           Signora - would you speak that way in the           presence of the composer?           CARLOTTA (deaf to the implications of this remark)           The composer is not here. And if he were here, I           would . . .           GIRY (cutting in, ominous)           Are you certain of that, Signora . . .?           REYER           So, once again - after seven.           (He gives the note and counts in)           Five, six, seven . . .           PIANGI (wrong again)           Those who tangle with Don Juan . . .           (Gradually EVERYONE starts either to talk or to           practice the phrase simultaneously)           CARLOTTA           Ah, piu non posso! What does it matter what notes           we sing?           GIRY           Have patience, Signora.           CARLOTTA           No-one will know if it is right or if it is wrong.           No-one will care if it is right, or if it is wrong.           CARLOTTA (mocking)           Those who tangle           with Don Juan!           PIANGI (trying again)           Those who tan . . . tan . . .           (to CHRISTINE)           Is right?           CHRISTINE (to PIANGI)           Not quite, Signor:           Those who tan . . . tan . . .           REYER (attempting lo restore order)           Ladies . . . Signor Piangi . . . if you please . . .           (REYER thumps the piano keys, then leaves the piano,           and attempts to attract attention using signals. Al the           height of the mayhem, the piano suddenly begins to           demonstrate the music unaided. It plays with great force           and rhythm. ALL fall silent and freeze then suddenly start           to sing the piece robotically and accurately. As they           continue to sing, CHRISTINE moves away from the           group.)           ALL EXCEPT CHRISTINE           Poor young maiden! For the thrill           on your tongue of stolen sweets           you will have to pay the bill -           tangled in the winding sheets!           (As the ENSEMBLE becomes background, CHRISTINE,           transfixed, sings independently):           CHRISTINE           In sleep           he sang to me,           in dreams           he came . . .           that voice           which calls to me           and speaks           my name . . .           (The scene begins to change. Trance-like, CHRISTINE           moves slowly upstage. We hear the distant sound of           bells)        18.WISHING YOU WERE SOMEHOW HERE AGAIN             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)        19.WANDERING CHILD.../BRAVO, MONSIEUR             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,           monsieur           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.           "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)        18.WISHING YOU WERE SOMEHOW HERE AGAIN             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)        19.WANDERING CHILD.../BRAVO, MONSIEUR             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,           monsieur           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 . . .        20.THE POINT OF NO RETURN             DON JUAN (PHANTOM)           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)        21.DOWN ONCE MORE.../TRACK DOWN THIS MURDERER             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