THE STAGE OF THE PARIS OPERA, 1905
(The contents of the opera house is being
auctioned off. An AUCTIONEER, PORTERS,
BIDDERS, and RAOUL, seventy now, but still
bright of eye. The action commences with a
blow from the AUCTlONEER's gavel)
AUCTIONEER
Sold. Your number, sir? Thank you.
Lot 663, then, ladies and gentlemen: a poster
for this house's production of "Hannibal" by
Chalumeau.
PORTER
Showing here.
AUCTIONEER
Do I have ten francs? Five then. Five I am bid.
Six, seven. Against you, sir, seven. Eight.
Eight once. Selling twice. Sold, to Raoul,
Vicomte de Chagny.
Lot 664: a wooden pistol and three human
skulls from the 1831 production of "Robert le
Diable" by Meyerbeer. Ten francs for this. Ten,
thank you. Ten francs still. Fifteen, thank you,
sir Fifteen I am bid. Going at fifteen. Your
number, sir?
665, ladies and gentlemen: a papier-mache
musical box, in the shape of a barrel-organ.
Attached, the figure of a monkey in Persian
robes playing the cymbals. This item,
discovered in the vaults of the theatre, still in
working order.
PORTER (holding it up)
Showing here. (He sets it in motion)
AUCTIONEER
My I start at twenty francs? Fifteen, then?
Fifteen I am bid.
(the bidding continues. RAOUL. eventually
buys the box for thirty francs)
Sold, for thirty francs to the Vicomte de
Chagny. Thank you, sir.
(The box is handed across to RAOUL. He studies it, as
attention focuses on him for a moment)
RAOUL (quietly, half to himself, half to the
box)
A collector's piece indeed . . .
every detail exactly as she said . . .
She often spoke of you, my friend ....
Your velvet lining, and your figurine of lead...
Will you still play,
when all the rest of us are dead?
(Attention returns to the AUCTIONEER, as he
resumes)
AUCTIONEER
Lot 666, then: a chandelier in pieces. Some of
you may recall the strange affair of the
Phantom of the Opera: a mystery never fully
explained. We are told ladies and gentlemen,
that this is the very chandelier which figures in
the famous disaster. Our workshops have
restored it and fitted up parts of it with wiring
for the new electric light, so that we may get a
hint of what it may look like when re-
assembled. Perhaps we may frighten away the
ghost of so many years ago with a little
illumination, gentlemen?
(The AUCTIONEER switches on the chandelier
There is an enormous flash, and the OVERTURE
begins. During the overture the opera house is
restored to its earlier grandeur. The chandelier
immense and glittering, rises magically from
the stage, finally hovering high above the
stalls)
ACT 1
Scene 1
REHEARSALS FOR "HANNIBAL" BY CHALUMEAU
(We have reached the great choral scene in
which HANNIBAL and his army return to save
Carthage from the Roman invasion under
Scipio. HANNIBAL is UBALDO PIANGI;
ELISSA, Queen of Carthage (his mistress) is
CARLOTTA GUIDICELLI. The two leading
SLAVE GIRLS are played by MEG GIRY and
CHRISTINE DAAE. MME. GIRY is the ballet
mistress. M. REYER, the repetiteur, is in
charge.
We join the opera towards the end of ELISSA's
(CARLOTTA's) great aria. She is alone, holding
a pre. from the approaching HANNIBAL, a
bleeding severed head)
CARLOTTA (at the climax of an extravagant cade)
This trophy from our saviours, from the
enslaving force of Rome!
(A STAGE HAND carries a ladder across the
stage. OTHERS are seen still constructing
parts of the scenery)
GIRLS' CHORUS
With feasting and dancing and song,
tonight in celebration
we greet the victorious throng,
returned to bring salvation!
MEN'S CHORUS
The trumpets of Carthage resound !
Hear, Romans, now and tremble!
Hark to our step on the ground!
ALL
Hear the drums - Hannibal comes!
(PIANGI enters, as HANNIBAL)
PIANGI (HANNIBAL)
Sad to return to find the land we love
threatened once more by Roma's far-reaching
grasp.
REYER (interrupting him)
Signor . . . if you please: "Rome". We say
"Rome' not "Roma"
PIANGI
Si, si, Rome, not Roma. Is very hard for me.
(practising) Rome . . . Rome . . .
(Enter LEFEVRE, the retiring manager of the
Opera, with M. FIRMIN and M. ANDRE, to
whom he has just sold it)
REYER (to PIANGI)
Once again, then, if you please, Signor: "Sad to
return . . ."
LEFEVRE (to ANDRE and FIRMIN)
This way, gentlemen, this way. Rehearsals, as
you see, are under way, for a new production of
Chalumeau's "Hannibal".
(seeing a hiatus in the rehearsal, LEFEVRE attempts to
attract attention.)
LEFEVRE
Ladies and gentlemen, some of you may already,
perhaps, have met M. Andre and M. Firmin ...
(the new managers are politely bowing, when REYER
interrupts)
REYER
I'm sorry, M. Lefevre, we are rehearsing. If you wouldn't
mind waiting a moment?
LEFEVRE
My apologies, M. Reyer. Proceed, proceed ...
REYER
Thank you, monsieur (turning back to PIANGI).
"Sad to return..." Signor ...
LEFEVRE (sotto voce to ANDRE and FIRMIN)
M. Reyer, our chief repetiteur. Rather a tyrant, I'm
afraid.
(the rehearsal continues)
PIANGI (HANNIBAL)
Sad to return to find the land we love
threatened once more by
Rome's far-reaching grasp.
Tomorrow we shall break
the chains of Rome.
Tonight, rejoice - your army has
come home.
BALLET GIRLS begin their dance.
LEFEVRE, ANDRE and FIRMIN
stand centr-stage watching the
ballet. They are in the way. The
ballet continues under the
following dialogue.)
LEFEVRE (indicating PIANGI)
Signor Piangi, our principal
tenor. He does play so opposite
La Carlotta.
GIRY (exasperated by their
presence, bangs her cane angrily
on the stage)
Gentlemen, please! If you would
kindly move to one side?
LEFEVRE
My apologies, Mme. Giry.
(leading ANDRE and FIRMIN
aside)
Mme. Giry, our ballet mistress. I
don't mind confessing, M.
Firmin, I shan't be sorry to be rid
of the whole blessed business.
FIRMIN
I keep asking you, monsieur, why
exactly are you retiring?
LEFEVRE (ignoring this, calls
his attention to the continuing
ballet)
We take a particular pride here in
the excellence of our ballets.
(MEG becomes prominent among the dancers)
ANDRE
Who's that girl, Lefevre?
LEFEVRE
Her? Meg Giry, Madame Giry's
daughter. Promising dancer, M.
Andre, most promising.
(CHRISTINE becomes prominent. She has absent-
mlndedly fallen out-of-step)
GIRY (spotting her, bangs her cane again)
You! Christine Daae! Concentrate, girl!
MEG (quietly, to CHRISTINE)
Christine . . . What's the matter?
FIRMIN (to LEFEVRE)
Daae? Curious name.
LEFEVRE
Swedish.
ANDRE
Any relation to the violinist?
LEFEVRE
His daughter, I believe. Always has her head in the
clouds, I'm afraid.
(The ballet continues to its climax and ends. The
CHORUS resumes)
CHORUS
Bid welcome to Hannibal's guests -
the elephants of Carthage!
As guides on our conquering quests,
Dido sends
Hannibal's friends!
(the ELEPHANT, a life-sized mechanical replica, enters.
PIANGI is lifted, in triumph, onto its back)
CARLOTTA (ELISSA)
Once more to my
welcoming arms
my love returns
in splendour!
PIANGI (HANNIBAL)
Once more to those
sweetest of charms
my heart and soul
surrender!
CHORUS
The trumpeting elephants sound
hear, Romans, now and tremble!
Hark to their step on the ground
hear the drums!
Hannibal comes!
(At the end of the chorus LEFEVRE claps
his hands for silence. The elephant is led
off. Two stage-hands are revealed operating
it from within)
LEFEVRE
Ladies and gentlemen - Madame Giry, thank
you - may I have your attention, please?
As you know, for some weeks there have
been rumours of my Imminent retirement. I
can now tell you that these were all true and
it is my pleasure to introduce to you the
two gentlemen who now own the Opera
Populaire, M. Richard Firmin and M.
Gilles Andre.
(Polite applause. Some bowing.
CARLOTTA makes her presence felt)
Gentlemen, Signora Carlotta Giudicelli, our
leading soprano for five seasons now.
ANDRE
Of course, of course. I have experienced all
your
greatest roles, Signora.
LEFEVRE
And Signor Ubaldo Piangi.
FIRMIN
An honour, Signor.
ANDRE
If I remember rightly, Elissa has a rather
fine aria in Act Three of "Hannibal". I
wonder, Signora, if, as a personal favour,
you would oblige us with a private
rendition? (Somewhat acerbic). Unless, of
course, M. Reyer objects . . .
CARLOTTA
My manager commands . . .
M. Reyer?
REYER
My diva commands. Will two bars
be sufficient introduction?
FIRMIN
Two bars will be quite sufficient
REYER (ensuring that CARLOTTA is ready)
Signora?
CARLOTTA
Maestro.
(The introduction is played on the piano)
CARLOTTA
Think of me,
think of me fondly,
when we've said
goodbye.
Remember me
once in a while -
please promise me
you'll try.
When you find
that, once
again, you long
to take your heart . . .
(As CARLOTTA is singing a backdrop crashes to the
floor cutting her off from half the cast)
MEG/BALLET GIRLS/CHORUS
He's here:
the Phantom of the Opera . . .
He is with us . . .
It's the ghost . . .
PIANGI (looking up, furiously)
You idiots!
(He rushes over to CARLOTTA)
Cara! Cara! Are you hurt?
LEFEVRE
Signora! Are you all right? Buquet!
Where is Buquet ?
PIANGI
Is no one concerned for our prima donna?
LEFEVRE
Get that man down here !
(to ANDRE and FIRMIN)
Chief of the flies. He's responsible for this.
(The drop is raised high enough to reveal upstage an old
stagehand, JOSEPH BUQUET, holding a length of rope,
which looks almost like a noose)
LEFEVRE
Buquet! For God's sake, man, what's going on up there?
BUQUET
Please monsieur
don't look at me:
as God's my witness,
I was not at my post.
Please monsieur
there's no one there:
and if there is, well
then, it must be a ghost . . .
MEG (looking up)
He's there; the Phantom of the Opera ...
ANDRE
Good heavens!
Will you show a little courtesy?
FIRMIN (to MEG and the OTHERS)
Mademoiselle, please!
ANDRE (to CARLOTTA)
These things do happen.
CARLOTTA
Si! These things do happen! Well, until you stop these
things happening, this thing does not happen!
Ubaldo! Andiamo!
(PIANGI dutifully fetches her furs from the wings)
PIANGI
Amateurs !
LEFEVRE
I don't think there's much more to assist you,
gentlemen. Good luck. If you need me, I shall be in
Frankfurt .
(He leaves. The COMPANY looks anxiously at the NEW
MANAGERS)
ANDRE
La Carlotta will be back.
GIRY
You think so, messieurs? I have a message, sir, from the
Opera Ghost.
(The GIRLS twitter and twirl in fear)
FIRMIN
God in Heaven, you're all obsessed!
GIRY
He merely welcomes you to his opera house and
commands you to continue to leave Box Five empty for
his use and reminds you that his salary is due.
FIRMIN
His salary?
GIRY
Monsieur Lefevre paid him twenty thousand francs a
month. Perhaps you can afford more, with the Vicomte de
Chagny as your patron.
(Reaction to this from the BALLET GIRLS.
CHRISTINE takes hold of MEG nervously)
ANDRE (to GIRY)
Madame, I had hoped to have made that
announcement myself.
GIRY (to FIRMIN)
Will the Vicomte be at the performance tonight,
monsieur?
FIRMIN
In our box.
ANDRE
Madame, who is the understudy for this role?
REYER
There is no understudy, monsieur - the
production is new.
MEG
Christine Daae could sing it, sir.
FlRMIN
The chorus girl ?
MEG (to FIRMIN)
She's been taking lessons from a great teacher
ANDRE
From whom ?
CHRISTINE (uneasily)
I don't know, sir . . .
FIRMIN
Oh, not you as well!
(turning to ANDRE)
Can you believe it? A full house - and we have to cancel !
GIRY
Let her sing for you, monsieur. She has been well taught.
REYER (after a pause)
From the beginning of the aria then, mam'selle.
CHRISTINE
Think of me
think of me fondly,
when we've said goodbye.
Remember me
once in a while -
please promise me
you'll try.
FIRMIN
Andre, this is doing nothing for my nerves.
ANDRE
Don't fret, Firmin.
CHRISTINE
When you find
that, once
again, you long
to take your heart back
and be free -
if you
ever find
a moment,
spare a thought
for me
(Transformation to the Gala. CHRISTINE is
revealed in full costume)
We never said
our love
was evergreen,
or as unchanging
as the sea -
but if
you can still
remember
stop and think
of me . . .
Think of all the things
we've shared and seen -
don't think about the things
which might have been . . .
Think of me,
think of me waking,
silent and
resigned.
Imagine me,
trying too hard
to put you
from my mind.
Recall those days
look back
on all those times,
think of the things
we'll never do -
there will
never be
a day, when
I won't think
of you . .
(Applause, bravos. Prominent among the bravos, those
of the young RAOUL in the MANAGERS' box)
RAOUL
Can it be?
Can it be Christine?
Bravo!
(he raises his opera-glasses)
What a change!
You're really
not a bit
the gawkish girl
that once you were...
(lowering his opera-glasses)
She may
not remember
me, but
I remember
her...
CHRISTINE
We never said
our love
was evergreen,
or as unchanging
as the sea -
but please
promise me,
that sometimes
you will think
of me!
Scene 2
AFTER THE GALA
(The curtain closes upstage. BALLET GIRLS, from the
wings gush around CHRISTINE who hands each a flower
from her bouquet. REYER stiffly gives his approval)
GIRY (to CHRISTINE)
Yes, you did well. He will be pleased.
(to the DANCERS)
And you! You were a disgrace tonight! Such ronds de
jambe! Such temps de cuisse!
Here we rehearse. Now!
(She emphasizes this with her cane.
The BALLET GIRLS settle into rehearsal upstage, GlRY
keeping time with her stick. Variations on this continue
throughout the scene)
(CHRISTINE moves slowly, downstage, away from the
DANCERS as her dressing room becomes visible.
Unseen by her, MEG also moves away and follows her.
As CHRISTINE is about to open the dressing room door,
she hears the PHANTOM's voice out of nowhere)
PHANTOM'S VOICE
Bravi, bravi, bravissimi . . .
(CHRISTINE is bewildered by the voice. MEG,
following, has not heard it. CHRISTINE turns in
surprise, and is relieved to see her)
MEG
Where in the world
have you been hiding?
Really, you were
perfect!
I only wish
I knew your secret!
Who is this new
tutor?
CHRISTINE (abstracted, entering the dressing room)
Father once spoke
of an angel . . .
I used to dream he'd
appear . . .
Now as I sing,
I can sense him . . .
And I know
he's here . . .
(trance-like)
Here in this room
he calls me softly . . .
somewhere inside . . .
hiding . . .
Somehow I know
he's always with me . . .
he - the unseen
genius . . .
MEG (uneasily)
Christine, you must have
been dreaming . . .
stories like this can't
come true . . .
Christine, you're talking
in riddles . . .
and it's not
like you . . .
CHRISTINE (not hearing her, ecstatic)
Angel of Music!
Guide
and guardian!
Grant to me your
glory!
MEG (to herself)
Who is this angel?
This . . .
BOTH
Angel of Music!
Hide no longer!
Secret and strange
angel . . .
CHRISTINE (darkly)
He's with me, even now . . .
MEG (bewildered)
Your hands are cold . . .
CHRISTINE;
All around me . . .
MEG
Your face, Christine,
it's white . . .
CHRISTINE
It frightens me . . .
MEG
Don't be frightened . . .
(THEY look at each other The moment is broken
by the arrival of GIRY)
GIRY
Meg Giry. Are you a dancer? Then come and
practice.
(MEG leaves and joins the DANCERS)
My dear, I was asked to give you this.
(She hands CHRlSTlNE a note, and exits.
CHRISTINE opens it and reads)
CHRISTINE
A red scarf . . . the attic . . . Little Lotte . . .
Scene 3
CHRISTINE 'S DRESSING ROOM
(Meanwhile RAOUL ANDRE, FIRMIN, and MME.
FIRMIN are seen making their way towards the dressing
room, the MANAGERS in high spirits, bearing
champagne)
ANDRE
A tour de force! No other way to describe it!
FIRMIN
What a relief ! Not a single refund!
MME. FIRMIN
Greedy.
ANDRE
Richard, I think we've made quite a discovery in Miss
Daae!
FIRMIN (to RAOUL, indicating CHRISTINE 'S
dressing room)
Here we are, Monsieur le Vicomte.
RAOUL
Gentlemen if you wouldn't mind. This is one visit I
should prefer to make unaccompanied.
(He takes the champagne from FIRMIN)
ANDRE
As you wish, monsieur.
(They bow and move off)
FIRMIN
They appear to have met before . . .
(RAOUL knocks at the door and enters)
RAOUL
Christine Daae, where is your scarf?
CHRISTINE
Monsieur?
RAOUL
You can't have lost it. After all the trouble I took.
I was just fourteen and soaked to the skin . . .
CHRISTINE
Because you had run into the sea to fetch my scarf.
Oh, Raoul. So it is you!
RAOUL
Christine.
(They embrace and laugh. She moves away and sits at her
dressing table)
RAOUL
"Little Lotte let her mind wander . . ."
CHRISTINE
You remember that, too . . .
RAOUL (continuing)
". . . Little Lotte thought: Am I fonder
of dolls . . ."
BOTH (CHRISTINE joining in)
". . . or of goblins,
of shoes . . ."
CHRISTINE
". . . or of riddles.
of frocks . . ."
RAOUL
Those picnics in the attic . . .
". . . or of chocolates . . ."
CHRISTINE
Father playing the violin . . .
RAOUL
As we read to each other
dark stories of the North . . .
CHRISTINE
"NoQwhat I love best, Lotte said,
is when I'm asleep in my bed,
and the Angel of Music sings songs in my
head!"
BOTH
". . . the Angel of Music sings song in my
head!"
CHRISTINE (turning in her chair to look at him)
Father said, "When I'm in heaven, child, I will send the
Angel of Music to you". Well, father is dead, Raoul, and
I have been visited by the Angel of Music.
RAOUL
No doubt of it. And now we'll go to supper!
CHRISTINE
No, Raoul, the Angel of Music is very strict.
RAOUL
I shan't keep you up late!
CHRISTINE
No, Raoul . . .
RAOUL
You must change. I must get my hat. Two minutes Little
Lotte.
(He hurries out)
CHRISTINE (calling after him)
Raoul!
(quietly picking up her hand mirror)
Things have changed, Raoul.
(Tremulous music. CHRISTINE hears the
PHANTOM'S voice, seemingly from behind her dressing
room mirror)
PHANTOM'S VOICE
Insolent boy!
This slave
of fashion
basking in your
glory!
Ignorant fool!
This brave
young suitor,
sharing in my
triumph!
CHRISTINE (spell-bound)
Angel! I hear you!
Speak -
I listen . . .
stay by my side,
guide me!
Angel, my soul was weak -
forgive me . . .
enter at last,
Master!
PHANTOM'S VOICE
Flattering child,
you shall know me,
see why in shadow
I hide!
Look at your face
in the mirror -
I am there
inside!
(The figure of the PHANTOM becomes discernible
behind the mirror)
CHRISTINE (ecstatic)
Angel of Music!
Guide and guardian!
Grant to me your
glory!
Angel of Music!
Hide no longer!
Come to me, strange
angel...
PHANTOM"S VOICE
I am your Angel ...
Come to me: Angel of Music ...
(CHRISTINE walks towards the glowing,
shimmering glass. Meanwhile, RAOUL has
returned. He hears the voices and is puzzled. He
tries the door It is locked)
RAOUL
Whose is that voice . . .?
Who is that in there . . .?
(Inside the room the mirror opens. Behind it, in
an inferno of white light, stands the PHANTOM.
He reaches forward and takes CHRISTINE firmly,
but not fiercely, by the wrist. His touch is cold,
and CHRISTINE gasps)
PHANTOM
I am your Angel of Music . . .
Come to me: Angel of Music . . .
(CHRISTINE disappears through the mirror,
which closes behind her The door of the dressing
room suddenly unlocks and swings open, and
RAOUL enters to find the room empty)
RAOUL
Christine! Angel!
Scene 4
THE LABYRINTH UNDERGROUND
(The PHANTOM and CHRISTINE take their
strange journey to the PHANTOM'S lair. Candles
rise from the stage. We see CHRISTINE and the
PHANTOM in a boat which moves slowly across
the misty waters of the underground lake)
CHRISTINE
In sleep
he sang to me,
in dreams
he came . . .
that voice
which calls to me
and speaks
my name . . .
And do
I dream again?
For now
I find
the Phantom of the Opera
is there -
inside my mind . . .
PHANTOM
Sing once
again with me
our strange
duet . . .
My power
over you
grows stronger
yet . . .
And though
you turn from me,
to glance
behind,
the Phantom of the Opera
is there -
inside your mind . . .
CHRISTINE
Those who
have seen your face
draw back
in fear . . .
I am
the mask you wear . . .
PHANTOM
It's me
they hear . . .
BOTH
Your/my spirit
and your/my voice,
in one
combined:
the Phantom of the Opera
is thereQ
inside your/my mind . . .
OFFSTAGE VOICES
He's there,
the Phantom of the Opera . . .
Beware
the Phantom of the Opera . . .
PHANTOM
In all
your fantasies,
you always
knew
that man
and mystery . . .
CHRISTINE
. . . were both
in you . . .
BOTH
And in
this labyrinth,
where night
is blind,
the Phantom of the Opera
is there/hereQ
inside your/my mind . . .
Sing, my Angel of Music!
CHRISTINE
He's there,
the Phantom of the Opera . . .
(She begins to vocalise strangely, her song becoming
more and more extravagant.)
Scene 5
BEYOND THE LAKE THE NEXT MORNING
(Finally they arrive in the PHANTOM'S lair. Downstage
the candles in the lake lift up revealing giant
candelabrums outlining the space. The boat turns into a
bed. There is a huge pipe organ. The PHANTOM sits at
the organ and takes over the accompaniment)
PHANTOM
I have brought you
to the seat of sweet
music's throne . . .
to this kingdom
where all must pay
homage to music . . .
music . . .
You have come here,
for one purpose,
and one alone . . .
Since the moment
I first heard you sing,
I have needed
you with me,
to serve me, to sing,
for my music . . .
my music . . .
(changing mood)
Night-time sharpens,
heightens each sensation . . .
Darkness stirs and
wakes imagination . . .
Silently the senses
abandon their defences . . .
[Helpless to resist the notes I write,
For I compose the music of the night]
Slowly, gently
night unfurls its splendour . . .
Grasp it, sense it -
tremulous and tender . . .
Turn your face away
from the garish light of day,
turn your thoughts away
from cold, unfeeling light -
and listen to
the music of the night . . .
Close your eyes
and surrender to your
darkest dreams!
Purge your thoughts
of the life
you knew before!
Close your eyes,
let your spirit
start to soar!
And you'll live
as you've never
lived before . . .
Softly, deftly,
music shall surround you . . .
Feel it, hear it,
closing in around you . . .
Open up your mind,
let your fantasies unwind,
in this darkness which
you know you cannot fight -
the darkness of
the music of the night . . .
Let your mind
start a journey through a
strange new world!
Leave all thoughts
of the world
you knew before!
Let your soul
Take you where you
long to be !
Only then
can you belong
to me . . .
Floating, falling,
sweet intoxication!
Touch me, trust me
savour each sensation!
Let the dream begin,
let your darker side give in
to the power of the music that I write -
the power of the music of the night . . .
(During all this, the PHANTOM has conditioned
CHRISTINE to the coldness of his touch and her fingers
are brave enough to stray to his mask and caress it, with
no hint of removing it. The PHANTOM leads her to a
large mirror from which he removes a dust cover and in
which we see the image of CHRISTINE, a perfect wax-
face impression, wearing a wedding gown. CHRISTINE
moves slowly towards it when suddenly the image thrusts
its hands through the mirror towards her She faints. The
PHANTOM catches her and carries her to the bed, where
he lays her down.)
PHANTOM
You alone can make my song take flight -
help me make the music of the night . . .
Scene 6
THE NEXT MORNING
(As the light brightens, we see the PHANTOM seated at
the organ playing with furious concentration. He breaks
off occasionally to write the music down. There is a
musical box in the shape of a barrel organ beside the bed.
Mysteriously, it plays as CHRISTINE
wakes up. The music keeps her in a half-trance)
CHRISTINE
I remember
there was mist . . .
swirling mist
upon a vast, glassy lake . . .
There were candles
all around
and on the lake there
was a boat,
and in the boat
there was a man . . .
(She rises and approaches the PHANTOM who does not
see her As she reaches for his mask, he turns, almost
catching her. This happens several times)
Who was that shape
in the shadows?
Whose is the face
in the mask?
(She finally succeeds in tearing the mask from his face.
The PHANTOM springs up and rounds on her furiously.
She clearly sees his face. The audience does not, as he is
standing in profile and in shadow)
PHANTOM
Damn you!
You little prying
Pandora!
You little demon -
is this what you wanted to see?
Curse you!
You little Iying
Delilah!
You little viper!
now you cannot ever be free!
Damn you . . .
Curse you . . .
(a pause)
Stranger
than you dreamt it -
can you even
dare to look
or bear to
think of me:
this loathsome
gargoyle, who
burns in hell, but secretly
yearns for heaven,
secretly . . .
secretly . . .
But, Christine . . .
Fear can
Turn to love - you'll
learn to see, to
find the man
behind the
monster: this . . .
repulsive
carcass, who
seems a beast, but secretly
dreams of beauty,
secretly . . .
secretly . . .
Oh, Christine . . .
(He holds out his hand tor the mask, which she gives to
him. He puts it on, turning towards the audience as he
sings):
Come we must return -
those two fools
who run my theatre
will be missing you.
(The lair sinks into the floor as the PHANTOM and
CHRISTINE leave)
Scene 7
BACKSTAGE
(BUQUET mysteriously appears, a length of fabric
serving as a cloak, and a piece of rope as the Punjab
lasso. He is showing off to the BALLET GIRLS)
BUQUET
Like yellow parchment
is his skin . . .
a great black hole served as the
nose that never grew . . .
(Demonstrating his method of self-defence against the
Punjab lasso, he inserts his hand between his neck and
the noose, and then pulls the rope taut. With a mixture of
horror and delight, the BALLET GIRLS applaud this
demonstration)
(explaining to them)
You must be always
on your guard,
or he will catch you with his
magical lasso!
(A trap opens up centre stage casting a shadow of the
PHANTOM as he emerges. The GIRLS, linking hands,
run off terrified. The PHANTOM, leading CHRISTINE,
fixes his stare on BUQUET. Sweeping his cape around
CHRISTINE, he exits with her But before they go GIRY
has entered, observing. She turns on BUQUET)
GIRY
Those who speak
of what they know
find, too late, that prudent
silence is wise.
Joseph Buquet,
hold your tongueQ
he will burn you with the
heat of his eyes . . .
Scene 8
THE MANAGERS' OFFICE
(Desk, chairs, papers. FIRMIN is scornfully eyeing a
newspaper article)
FIRMIN
"Mystery
after gala night,"
if says, "Mystery
of soprano's flight!"
"Mystified
baffled Surete say,
we are mystified -
we suspect foul play!"
(He lowers the paper)
Bad news on
soprano scene -
first Carlotta,
now Christine!
Still, at least
the seats get soldQ
gossip's worth
its weight in gold . . .
What a way to
run a business!
Spare me these
unending trials!
Half your cast disappears,
but the crowd still cheers!
Opera!
To hell with Gluck and Handel -
It's a scandal that'll
pack 'em in the aisles!
(ANDRE bursts in, in a temper)
ANDRE
Damnable!
Will they all walk out?
This is damnable!
FIRMIN
Andre, please don't shout . . .
It's publicity!
And the take is vast!
Free publicity!
ANDRE
But we have no cast . . .
FIRMIN (calmly)
But Andre,
have you seen the queue?
(He has been sorting mail on his desk. Finding the two
letters from the PHANTOM):
Oh, it seems
you've got one too . . .
(He hands the letter to ANDRE, who opens it and reads):
ANDRE
"Dear Andre
what a charming gala!
Christine enjoyed a great success!
We were hardly bereft
when Carlotta left -
otherwise
the chorus was entrancing,
but the dancing was a
lamentable mess!"
FIRMIN (reading his)
"Dear Firmin,
just a brief reminder:
my salary has not been paid.
Send it care of the ghost,
by return of postQ
P.T.O.:
No-one likes a debtor,
so it's better if my
orders are obeyed!"
FIRMIN/ANDRE
Who would have the gall
to send this?
Someone with a puerile brain!
FIRMIN (examining both letters)
These are both signed "O.G." . . .
ANDRE
Who the hell is he?
BOTH (immediately realizing)
Opera ghost!
FIRMIN (unamused)
It's really not amusing!
ANDRE
He's abusing
our position!
FIRMIN
In addition
he wants money!
ANDRE
He's a funny
sort of spectre . . .
BOTH
. . . to expect a
large retainer!
Nothing plainer -
he is clearly quite insane!
(They are interrupted by the arrival of RAOUL, who
brandishes another of the PHANTOM'S notes)
RAOUL
Where is she?
ANDRE
You mean Carlotta?
RAOUL
I mean Miss Daae -
where is she?
FIRMIN
Well, how should we know?
RAOUL
I want an answer -
I take it that you sent me this note?
FIRMIN
What's all this nonsense?
ANDRE
Of course not!
FIRMIN
Don't look at us!
RAOUL
She's not with you, then?
FIRMIN
Of course not!
ANDRE
We're in the dark . . .
RAOUL
Monsieur, don't argue -
Isn't this the
letter you wrote?
FIRMIN
And what is it, that we're
meant to have wrote?
(Realizing his mistake)
Written !
(RAOUL hands the note to ANDRE, who reads it)
ANDRE
"Do not fear for Miss Daae.
The Angel of Music
has her under his wing.
Make no attempt to see her again."
(The MANAGERS look mystified)
RAOUL
If you didn't write it, who did?
(CARLOTTA bursts in. She too has a letter, which has
cheered her no more than the others)
CARLOTTA
Where is he?
ANDRE
Ah, welcome back!
CARLOTTA
Your precious patron -
where is he?
RAOUL
What is it now?
CARLOTTA (to RAOUL)
I have your letter -
a letter which I
rather resent!
FIRMIN (to RAOUL)
And did you send it?
RAOUL
Of course not!
ANDRE
As if he would!
CARLOTTA
You didn't send it?
RAOUL
Of course not!
FIRMIN
What's going on . . .?
CARLOTTA (to RAOUL)
You dare to tell me,
that this is not the
letter you sent ? !
RAOUL
And what is it that I'm
meant to have sent?
(RAOUL takes the letter and reads it)
"Your days
at the Opera Populaire are numbered.
Christine Daae
will be singing on your behalf tonight.
Be prepared
for a great misfortune,
should you attempt
to take her place."
(The MANAGERS are beginning lo tire of the intrigue)
ANDRE/FIRMIN
Far too many
notes for my taste -
and most of them
about Christine!
All we've heard since we came
is Miss Daae's name . . .
(GIRY suddenly appears, accompanied by MEG)
GIRY
Miss Daae has returned.
FIRMIN (drily)
I trust her midnight oil
is well and truly burned.
ANDRE
Where precisely is she now?
GIRY
I thought it best
that she went home . . .
MEG
She needed rest.
RAOUL
May I see her?
GIRY
No, monsieur,
she will see no-one.
CARLOTTA
Will she sing?
Will she sing?
GIRY
Here, I have a note . . .
RAOUL/CARLOTTA/ANDRE
Let me see it!
FIRMIN (snatching it)
Please!
FIRMIN (Opens the letter and reads. The PHANTOM'S
voice gradually lakes over)
"Gentlemen, I have now sent you several notes of the
most amiable nature, detailing how my theatre is to be
run. You have not followed my instructions.
I shall give you one last chance . . ."
PHANTOM'S VOICE (taking over)
Christine Daae has returned to you,
and I am anxious her career
should progress.
In the new production of "Il Muto",
you will therefore cast Carlotta
as the Pageboy, and put Miss Daae
in the role of Countess.
The role which Miss Daae plays
calls for charm and appeal.
The role of the Pageboy is silent -
which makes my casting,
in a word
ideal.
I shall watch the performance from my normal seat in
Box Five, which will be kept empty for me. Should
these commands be ignored, a disaster beyond your
imagination will occur.
FIRMIN (taking over)
"I remain, Gentlemen,
Your obedient servant, O.G."
CARLOTTA
Christine!
ANDRE
Whatever next . . .?
CARLOTTA
It's all a ploy to help Christine!
FIRMIN
This is insane . . .
CARLOTTA
I know who sent this:
(pointing an accusing finger)
The Vicomte - her lover!
RAOUL (ironical)
Indeed?
(to the OTHERS)
Can you believe this?
ANDRE (to CARLOTTA, in protest)
Signora!
CARLOTTA (half to the MANAGERS, half to herself)
O traditori!
FIRMIN (to CARLOTTA)
This is a joke!
ANDRE
This changes nothing!
CARLOTTA
O mentitori!
FIRMIN
Signora!
ANDRE
You are our star!
FIRMIN
And always will be!
ANDRE
Signora . . .
FIRMIN
The man is mad!
ANDRE
We don't take orders!
FIRMIN (announcing it to EVERYONE)
Miss Daae will be playing
the Pageboy - the silent role . . .
ANDRE/FIRMIN
Carlotta will be playing
the lead!
CARLOTTA (waxing melodramatic)
It's useless trying to
appease me!
You're only saying this
to please me!
Signori, e vero?
Non, non, non voglio udire !
Lasciatemi morire!
O padre mio!
Dio!
GIRY
Who scorn his word,
beware to those . . .
CARLOTTA (to MANAGERS)
You have reviled me!
GIRY
The angel sees,
the angel knows . . .
RAOUL
Why did Christine
fly from my arms . . .?
CARLOTTA
You have rebuked me!
ANDRE/FIRMIN
Signora, pardon us . . .
CARLOTTA
You have replaced me!
ANDRE/FIRMIN
Please, Signora,
we beseech you . . .
GIRY
This hour shall see
your darkest fears . . .
MEG/RAOUL
I must see her . . .
CARLOTTA
Abbandonata!
Deseredata!
0, sventurata!
GIRY
The angel knows,
the angel hears . . .
RAOUL
Where did she go . . .?
CARLOTTA
Abbandonata!
Disgraziata!
ANDRE/FIRMIN
Signora, sing for us!
Don't be a martyr . . .
RAOUL/GIRY/MEG
What new surprises
lie in store . . .?
ANDRE/FIRMIN
Our star . . .!
CARLOTTA
Non vo' cantar!
(ALL look at CARLOTTA, as the MANAGERS approach
her lovingly)
ANDRE
Your public needs you!
FIRMIN
We need you, too!
CARLOTTA (unassuaged)
Would you not
rather have your
precious little
ingenue?
ANDRE/FIRMIN
Signora, no!
the world wants you!
(The MANAGERS adopt their most persuasive attitudes)
ANDRE/FIRMIN
Prima donna
first lady of the stage!
Your devotees
are on their knees
to implore you !
ANDRE
Can you bow out
when they're shouting
your name?
FIRMIN
Think of how they all
adore you!
BOTH
Prima donna,
enchant us once again!
ANDRE
Think of your muse . . .
FIRMIN
And of the queues
round the theatre!
BOTH
Can you deny us the triumph
in store?
Sing, prima donna, once more!
(CARLOTTA registers her acceptance as the
MANAGERS continue to cajole and the OTHERS reflect
variously on the situation)
RAOUL
Christine spoke of an angel . . .
CARLOTTA (to herself, in triumph)
Prima donna
your song shall live again!
ANDRE/FIRMIN (to CARLOTTA)
Think of your public!
CARLOTTA
You took a snub
but there's a public
who needs you!
GIRY (referring to CHRISTINE)
She has heard the voice
of the angel of music . . .
ANDRE/FIRMIN (to CARLOTTA)
Those who hear your voice
liken you to an angel!
CARLOTTA
Think of their cry
of undying
support !
RAOUL
Is this her angel of music . . .?
ANDRE (to FIRMlN)
We get our opera . . .
FIRMIN (to ANDRE)
She gets her limelight!
CARLOTTA
Follow where the limelight
leads you!
MEG
Is this ghost
an angel or a madman . . .?
RAOUL
Angel or madman . . .?
ANDRE/FIRMIN (aside)
Leading ladies are a trial!
GIRY
Heaven help you,
those who doubt . . .
CARLOTTA
You'll sing again,
and to unending
ovation!
RAOUL
Orders! Warnings!
Lunatic demands!
GIRY
This miscasting
will invite damnation . . .
ANDRE/FIRMIN
Tears . . . oaths . . .
Iunatic demands
are regular occurrences!
MEG
Bliss or damnation?
Which has claimed her . . .?
CARLOTTA
Think how you'll shine
in that final encore!
Sing, prima donna,
once more!
GIRY
Oh fools, to have flouted his warnings!
RAOUL
Surely, for her sake . . .
MEG
Surely he'll strike back . . .
ANDRE/FIRMIN
Surely there'll be further scenes -
worse than this!
GIRY
Think, before
these demands are rejected!
RAOUL
. . .I must see
these demands are rejected!
MEG
. . . if his threats
and demands are rejected!
ANDRE/FIRMIN
Who'd believe a diva
happy to relieve a chorus girl,
who's gone and slept with the patron?
Raoul and the soubrette,
entwined in love's duet!
Although he may demur,
he must have been with her!
MEG/RAOUL
Christine must be protected!
CARLOTTA
0, fortunata!
Non ancor
abbandonata!
ANDRE/FIRMIN
You'd never get away
with all this in a play,
but if it's loudly sung
and in a foreign tongue
it's just the sort of story
audiences adore,
in fact a perfect opera!
RAOUL
His game is over!
GIRY
This is a game
you cannot hope to win!
RAOUL
And in Box Five
a new game will begin . . .
GIRY
For, if his curse is on this opera . . .
MEG
But if his curse is on this opera . . .
ANDRE/FIRMIN
Prima donna
the world is at your feet!
A nation waits,
and how it hates
to be cheated!
CARLOTTA
The stress that falls upon a
famous prima donna!
Terrible diseases,
coughs and colds and sneezes!
Still, the dryest throat
will reach the highest note,
in search of perfect
opera!
MEG/GIRY
. . . then I fear the outcome . . .
RAOUL
Christine plays the Pageboy,
Carlotta plays the Countess . . .
GIRY
. . . should you dare to . .
MEG
. . . when you once again . . .
ALL
Light up the stage
with that age old
rapport!
Sing, prima donna,
once more!
PHANTOM'S VOICE
So, it is to be war between us! If these demands are not
met, a disaster beyond your imagination will occur!
ALL
Once more!
Scene 9
A PERFORMANCE OF 'IL MUTO' BY ALBRIZZI0
(During the overture RAOUL, ANDRE and FIRMIN take
their respective seats - RAOUL in Box Five, the
MANAGERS in a box opposite)
RAOUL
Gentlemen, if you would care to take your seats? I shall
be sitting in Box Five.
ANDRE
Do you really think that's wise, monsieur?
RAOUL
My dear Andre, there would appear to be no seats
available, other than Box Five . . .
(The front cloth rises to reveal an 18th Century salon, a
canopied bed centre-stage. The COUNTESS is played by
CARLOTTA. SERAFIMO, the page boy, is disguised as
her maid and is played by CHRISTINE. At this point they
are hidden behind the drapes of the bed, which are drawn.
In the room are TWO EPICENE MEN: one a
HAIRDRESSER and one a JEWELLER. The
JEWELLER is attended by MEG. There is also an OLDER
WOMAN, the COUNTESS' confidante. All a part from
MEG are gossiping with relish aboutt he COUNTESS'
current liaison with SERAFIMO)
CONFIDANTE
They say that this youth
has set my Lady's
heart aflame!
1ST FOP
His Lordship sure
would die of shock!
2ND FOP
His Lordship is
a laughing-stock!
CONFIDANTE
Should he suspect her
God protect her!
ALL THREE
Shame! Shame! Shame!
This faithless lady's
bound for Hades!
Shame! Shame! Shame!
(The canopy drapes part and we see the COUNTESS
kissing SERAFlMO passionately. As the recitative
begins, the lights and music dim on stage, and our
attention turns to the MANAGERS in their box)
IN THE BOX
: ANDRE
Nothing like the old operas!
FIRMIN
Or the old scenery . . .
ANDRE
The old singers . . .
FIRMIN
The old audience . . .
ANDRE
And every seat sold!
FIRMIN
Hardly a disaster beyond all imagination!
(They chuckle and nod to RAOUL in the opposite box.
He acknowledges them)
ON STAGE
COUNTESS
Serafimo - your disguise is perfect.
(A knock at the door)
Who can this be?
DON ATTILI0
Gentle wife, admit your loving
husband.
ATTENTION BACK ON STAGE
(The COUNTESS admits DON ATTILI0. He is an old fool)
DON ATTILI0
My love - I am called to England on affairs of State, and
must leave you with your new maid. (Aside) Though I'd
happily take
the maid with me.
COUNTESS (aside)
The old fool's leaving!
DON ATTILI0 (aside)
I suspect my young bride is untrue to me. I shall not
leave, but shall hide over there to observe her!
DON ATTILI0 (to COUNTESS)
Addio!
COUNTESS
Addio!
BOTH (to each other)
Addio!
(He goes, pretending to leave, then hides and
watches the action)
COUNTESS (CARLOTTA)
Serafimo - away with this pretence!
(She rips off SERAFIMO'S skirt to reveal his manly
breeches)
You cannot speak, but kiss me in my
husband's absence!
Poor fool, he makes me laugh!
Haha,
Haha! etc.
Time I tried to get a better better half !
COUNTESS AND CHORUS
Poor fool, he doesn't know!
Hoho,
Hoho! etc.
If he knew the truth, he'd never, ever go!
(Suddenly from nowhere, we hear the voice of the
PHANTOM)
PHANTOM'S VOICE
Did I not instruct that Box Five was to be kept empty?
MEG (terrified)
He's here: the Phantom of the Opera . . .
(General reaction of bewilderment.
CHRISTINE looks fearfully about her)
CHRISTINE
It's him . . . I know it . . . it's him . . .
CARLOTTA (Finding a scapegoat in CHRISTINE,
hisses at her)
Your part is silent, little toad!
(But the PHANTOM has heard her)
PHANTOM'S VOICE
A toad, madame? Perhaps it is you
who are the toad . . .
(Again general unease. CARLOTTA and the
CONDUCTOR confer and pick up from the opening of the
scene)
CARLOTTA (As the COUNTESS)
Serafimo, away with this pretence!
You cannot speak, but kiss me in my croak!
(Instead of singing she emits a great croak like a toad. A
stunned silence. CARLOTTA is as amazed as anyone but
regains herself and continues. More perturbing,
however, is a new sound: the PHANTOM is laughing -
quietly at first, then more and more hysterically)
CARLOTTA (as the COUNTESS)
Poor fool, he makes me laugh -
Hahahahaha!
Croak, croak, croak,
croak, croak, croak, etc.
(As before. The PHANTOM'S laughter rises. The
croaking continues as the chandelier's lights blink on
and off. The PHANTOM'S laughter, by this time
overpowering, now crescendos into a great cry):
PHANTOM'S VOICE
Behold! She is singing to bring down the
chandelier!
(CARLOTTA looks tearfully up at the MANAGERS ' box
and shakes her head)
CARLOTTA
Non posso piu . . .
I cannot . . . I cannot go on . . .
PIANGI (rushing on)
Cara, cara . . . I'm here . . .
is all right . . . Come . . . I'm here . . .
(ANDRE and FIRMIN hurry out of the box onto the
stage. PIANGI ushers the now sobbing CARLOTTA
offstage, while the MANAGERS tackle the audience)
FIRMIN
Ladies and gentlemen, the performance will
continue in ten minutes' time . . .
(He addresses Box Five, keeping one eye on the
chandelier as it returns to normal)
. . . when the role of the Countess will be sung by Miss
Christine Daae.
ANDRE (improvising)
In the meantime, ladies and gentlemen, we shall be
giving you the ballet from Act Three of tonight's opera.
(to the CONDUCTOR)
Maestro - the ballet - now!
(The MANAGERS leave, the stage is cleared and music
starts again. The BALLET GlRLS enter as a sylvan glade
flies in. They begin the Dance of the Country Nymphs.
Upstage, behind the drop, a series of threatening
shadows of the PHANTOM. MEG is aware of them and
dances out of step. When this culminates in one
gigantic, oppressive, bat-like shadow, the garotted body
of JOSEPH BUQUET falls onto the stage, causing the
sylvan glade to fly out. Pandemonium.)
CHRISTINE (calling for help)
Raoul! Raoul!
(RAOUL runs on stage and embraces her)
RAOUL (to CHRISTINE, leading her away)
Christine, come with me . . .
CHRISTINE
No. . . to the roof. We'll be safe there.
(CHRISTINE and RAOUL hurry off)
FIRMIN (Attempting to placate the audience as STAGE-
HANDS and POLICEMEN crowd onto the stage)
Ladies and gentlemen, please remain in your seats. Do
not panic. It was an accident . . . simply an accident . . .
Scene 10
THE ROOF OF THE OPERA HOUSE
(A statue of 'La Victoire Ailee' - the same as that which
tops the proscenium. It is twilight. CHRISTINE and
RAOUL rush on)
RAOUL
Why have you brought us here?
CHRISTINE
Don't take me back there!
RAOUL
We must return!
CHRISTINE
He'll kill me!
RAOUL
Be still now . . .
CHRISTINE
His eyes will find me there!
RAOUL
Christine, don't say that . . .
CHRISTINE
Those eyes that burn!
RAOUL
Don't even think it . . .
CHRlSTlNE
And if he has to kill
a thousand men -
RAOUL
Forget this waking nightmare . . .
CHRISTINE
The Phantom of the Opera will kill . . .
RAOUL
This phantom is a fable . . .
Believe me . . .
CHRISTINE
. . . and kill again!
RAOUL
There is no Phantom of the Opera . . .
CHRISTINE
My God, who is this man . . .
RAOUL
My God, who is this man . . .
CHRISTINE
. . . who hunts to kill . . .?
RAOUL
. . . this mask of death . . .?
CHRISTINE
I can't escape from him . . .
RAOUL
Whose is this voice you hear . . .
CHRISTINE
. . .I never will!
RAOUL
. . . with every breath . . .?
BOTH
And in this
labyrinth,
where night is blind
the Phantom of the Opera
is here:
inside your/my mind . . .
RAOUL
There is no Phantom of the Opera . . .
CHRISTINE
Raoul, I've been there -
to his world of
unending night . . .
To a world where
the daylight dissolves
into darkness . . .
darkness . . .
Raoul, I've seen him!
Can I ever
forget that sight?
Can I ever
escape from that face?
So distorted,
deformed, it
was hardly a face,
in that darkness . . .
darkness . . .
(trancelike, then becoming more and more ecstatic)
But his voice
filled my spirit
with a strange, sweet sound . . .
In that night
there was music
in my mind . . .
And through music
my soul began
to soar!
And I heard
as I'd never
heard before . . .
RAOUL
What you heard
was a dream
and nothing more . . .
CHRISTINE
Yet in his eyes
all the sadness
of the world . . .
Those pleading eyes,
that both threaten
and adore . . .
RAOUL (comforting)
Christine . . .
Christine . . .
PHANTOM (unseen, a ghostly echo of RAOUL's words)
Christine . . .
CHRISTINE
What was that?
(A moment, as their eyes meet. The mood changes.)
RAOUL
No more talk
of darkness,
Forget these
wide-eyed fears.
I'm here,
nothing can harm you -
my words will
warm and calm you.
Let me be
your freedom,
let daylight
dry -your tears.
I'm here,
with you, beside you,
to guard you
and to guide you . . .
CHRISTINE
Say you love me
every
waking moment,
turn my head
with talk of summertime . . .
Say you need me
with you,
now and always . . .
promise me that all
you say is true -
that's all I ask
of you . . .
RAOUL
Let me be
your shelter,
let me
be your light.
You're safe:
No-one will find youQ
your fears are
far behind you . . .
CHRISTINE
All I want
is freedom,
a world with
no more night . . .
and you
always beside me
to hold me
and to hide me . . .
RAOUL
Then say you'll share with
me one
love, one lifetime . . .
Iet me lead you
from your solitude . . .
Say you need me
with you
here, beside you . . .
anywhere you go,
let me go too -
Christine,
that's all I ask
of you . . .
CHRISTINE
Say you'll share with
me one
love, one lifetime . . .
say the word
and I will follow you . . .
BOTH
Share each day with
me, each
night, each morning . . .
CHRISTINE
Say you love me . . .
RAOUL
You know I do . . .
BOTH
Love me -
that's all I ask
of you . . .
(They kiss)
Anywhere you go
let me go too . . .
Love me -
that's all I ask
of you . .
(CHRISTINE starts from her reverie)
CHRISTINE
I must go -
they'll wonder where I am . . .
wait for me, Raoul!
RAOUL
Christine, I love you!
CHRISTINE;
Order your fine horses!
Be with them at the door!
RAOUL
And soon you'll be beside me!
CHRISTINE
You'll guard me, and you'll guide me . . .
(They hurry off. The PHANTOM emerges from
behind the statue)
PHANTOM
I gave you my music . . .
made your song take wing . . .
and now, how you've
repaid me:
denied me
and betrayed me . . .
He was bound to love you
when he heard you sing . . .
Christine ...
Christine ...
RAOUL/CHRISTINE (offstage)
Say you'll share with
me one
love, one lifetime . . .
say the word
and I will follow you . . .
Share each day with
me, each
night, each morning . . .
PHANTOM
You will curse the day
you did not do
all that the Phantom asked
of you . . .!
(As the roof of the opera house disappears, the opera
curtain closes and the PRINCIPALS in 'Il Muto' appear
through it for their bows, CHRISTINE conspicuously
dressed in CARLOTTA'S costume. simultaneously, we
hear the maniacal laughter of the PHANTOM and see him
high above the stage, perilously rocking the chandelier.
The lights of the
chandelier begin flickering and, at a great cry from him,
it descends, swinging more and more madly over the
orchestra pit)
PHANTOM
Go! !
(The chandelier falls to the stage at CHRISTINE'S feet)