ACT I

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

(spoken) Sold. Your number, sir? Thank you.

(spoken) Lot 663, then, ladies and gentlemen: a poster for this house's production of "Hannibal" by
Chalumeau.

PORTER

(spoken) Showing here.

AUCTIONEER

(spoken) 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.

(spoken) 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?

(spoken) 665, ladies and gentlemen: a papier-mâché 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)

(spoken) Showing here. (He sets it in motion)

AUCTIONEER

(spoken) May I start at twenty francs? Fifteen, then? Fifteen I am bid.

(The bidding continues. RAOUL. eventually buys the box for thirty francs)

(spoken) 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

(spoken) 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 fromthe stage, finally hovering high above the stalls)

REHEARSALS FOR "HANNIBAL" BY CHALUMEAU (SCENE 1)

(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)

(spoken) 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

(spoken) 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

(spoken) 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)

(spoken) Signor Piangi, our principal tenor. He does play so opposite La Carlotta.

GIRY (exasperated by their presence, bangs her cane angrily on the stage)

(spoken) 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-mindedly 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 honor, 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... What a change!
You're really not a bit
the gawkish girl that once you were... 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
o-o-o-.... of me!

AFTER THE GALA (SCENE 2)

(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 . . .

CHRISTINE 'S DRESSING ROOM (SCENE 3)

(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

(spoken) Father playing the violin . . .

RAOUL

(spoken) 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!

THE LABYRINTH UNDERGROUND (SCENE 4)

(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 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.)

BEYOND THE LAKE THE NEXT MORNING (SCENE 5)

(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 defenses ...

Slowly, gently night unfurls its splendor
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 caress you ...
Feel it, hear it,
secretly possess 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 savor 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 . . .

THE NEXT MORNING (SCENE 6)

(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 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 for 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)

BACKSTAGE (SCENE 7)

(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-defense 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 center 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...

THE MANAGERS' OFFICE (SCENE 8)

(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 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 AND 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 (un-amused)

It's really not amusing!

ANDRE

He's abusing
our position!

FIRMIN

In addition
he wants money!

ANDRE

He's a funny
sort of specter . . .

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 AND 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 AND 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 AND 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 AND FIRMIN

Signora, pardon us . . .

CARLOTTA

You have replaced me!

ANDRE AND FIRMIN

Please, Signora,
we beseech you . . .

GIRY

This hour shall see
your darkest fears . . .

MEG AND 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 AND FIRMIN

Signora, sing for us!
Don't be a martyr . . .

RAOUL, GIRY AND MEG

What new surprises
lie in store . . .?

ANDRE AND 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 AND FIRMIN

Signora, no!
the world wants you!

(The MANAGERS adopt their most persuasive attitudes)

ANDRE AND 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 AND 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 AND 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 AND 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 AND 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 AND 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 AND 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 AND RAOUL

Christine must be protected!

CARLOTTA

0, fortunata!
Non ancor
abbandonata!

ANDRE AND 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 AND 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 AND 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!

A PERFORMANCE OF 'IL MUTO' BY ALBRIZZIO (SCENE 9)

(During the overture RAOUL, ANDRE and FIRMIN take their respective seats - RAOUL in Box Five, the MANAGERS in a box opposite)

RAOUL

(spoken) 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 ATTILIO

Gentle wife, admit your loving husband.

ATTENTION BACK ON STAGE

(The COUNTESS admits DON ATTILIO. He is an old fool)

DON ATTILIO

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 ATTILIO (aside)

I suspect my young bride is untrue to me. I shall not
leave, but shall hide over there to observe her!

DON ATTILIO (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 STAGEHANDS and POLICEMEN crowd onto the stage)

Ladies and gentlemen, please remain in your seats.
not panic. It was an accident . . . simply an accident . . .

THE ROOF OF THE OPERA HOUSE (SCENE 10)

(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 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)

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 AND 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)