ACT II

THE STAIRCASE OF THE OPERA HOUSE (SCENE 1)

(A gauze half conceals the tableau of guests at the opera ball. The guests (whom we cannot yet see clearly) are in fancy dress: a peacock, a lion, a dragon, Mephistopheles, a highwayman, a clown, knights, ladies, an executioner. M. ANDRE enters. He is dressed as a skeleton in an opera cape. Almost immediately M. FIRMIN arrives.He is also dressed as a skeleton in an opera cape. The two skeletons see each other and approach nervously)

ANDRE

M'sieur Firmin?

FIRMIN

M'sieur Andre?

(Each raises his mask to the other. They recognise each other.)

FIRMIN

Dear Andre
what a splendid party!

ANDRE

The prologue
to a bright new year!

FIRMIN

Quite a night!
I'm impressed!

FIRMIN

Well, one does
one's best . . .

ANDRE AND FIRMIN (raising their glasses)

Here's to us!

FIRMIN

I must say, all the same, that
it's a shame that 'Phantom'
fellow isn't here!

(The gauze lifts fully to reveal the staircase of the opera house. The opera ball begins. Among the GUESTS are four carrying strange percussion instruments: a monkey with cymbals, a toy soldier with a drum, a triangle, bells. Together they play weirdly throughout)

CHORUS

Masquerade!
Paper faces on parade . . .
Masquerade!
Hide your face,
so the world will
never find you!

Masquerade!
Every face a different shade . . .
Masquerade!
Look around -
there's another
mask behind you!

Flash of mauve . . .
Splash of puce . . .
Fool and king . . .
Ghoul and goose . . .
Green and black . . .
Queen and priest . . .
Trace of rouge . . .
Face of beast . . .

Faces . . .
Take your turn, take a ride
on the merry-go-round . . .
in an inhuman race . . .

Eye of gold . . .
Thigh of blue . . .
True is false . . .
Who is who . . .?
Curl of lip . . .
Swirl of gown . . .
Ace of hearts . . .
Face of clown . . .

Faces . . .
Drink it in, drink it up,
till you've drowned
in the light . . .
in the sound . . .

RAOUL/CHRISTINE

But who can name the face . . .?

ALL

Masquerade!
Grinning yellows,
spinning reds . . .
Masquerade!
Take your fill -
let the spectacle
astound you!

Masquerade!
Burning glances,
turning heads . . .
Masquerade!
Stop and stare
at the sea of smiles
around you!

Masquerade!
Seething shadows
breathing lies . . .
Masquerade!
You can fool
any friend who
ever knew you!

Masquerade!
Leering satyrs,
peering eyes . . .
Masquerade!
Run and hide -
but a face will
still pursue you!

(The ENSEMBLE activity becomes background, as ANDRE, FIRMIN, MEG, GIRY, PIANGI and CARLOTTA come to the fore, glasses in hand)

GIRY

What a night

MEG

What a crowd!

ANDRE

Makes you glad!

FIRMIN

Makes you proud!
All the creme
de la creme!

CARLOTTA

Watching us watching them!

MEG AND GlRY

And all our fears
are in the past!

ANDRE

Six months...

PIANGI

Of relief!

CARLOTTA

Of delight!

ANDRE AND FIRMIN

Of Elysian peace!

MEG AND GIRY

And we can breathe at last!

CARLOTTA

No more notes!

PIANGI

No more ghost!

GIRY

Here's a health!

ANDRE

Here's a toast:
to a prosperous year!

FIRMIN

To the new chandelier!

PIANGI AND CARLOTTA

And may its
splendour never fade!

FIRMIN

Six months!

GIRY

What a joy!

MEG

What a change!

FIRMIN AND ANDRE

What a blessed release!

ANDRE

And what a masquerade!

(They clink glasses and move off RAOUL and CHRISTINE emerge. She is admiring a new acquisition:
an engagement ring from RAOUL, which she has attached to a gold chain around her neck.)

CHRISTINE

Think of it!
A secret engagement!
Look - your future bride!
Just think of it!

RAOUL

But why is it secret?
What have we to hide?

CHRISTINE

Please, let's not fight . . .

RAOUL

Christine, you're free!

CHRISTINE

Wait till the time is right . . .

RAOUL

When will that be?
It's an engagement,
not a crime!

Christine,
What are you
afraid of?

CHRISTINE

Let's not argue . . .

RAOUL

Let's not argue . . .

CHRISTINE

Please pretend . . .

RAOUL

I can only hope I'll . . .

CHRISTINE

You will . . .

BOTH

. . . understand
in time . . .

(Dance section, in which CHRISTINE, almost coquettish almost jittery, goes from man to man. But too many of her partners seem to be replicas of the PHANTOM, and each spins her with increasing force. Eventually RAOUL rescues her and holds her tightly. He whirls her back into the dance, as the music heads towards its climax.)

ALL

Masquerade!
Paper faces on parade!
Masquerade!
Hide your face,
so the world will
never find you!

Masquerade!
Every face a different shade!
Masquerade!
Look around -
There's another
mask behind you!

Masquerade!
Burning glances,
turning heads . . .
Masquerade!
Stop and stare
at the sea of smiles
around you!

Masquerade!
Grinning yellows,
spinning reds . . .
Masquerade!
Take your fill -
let the spectacle
astound you!

(At the height of the activity a grotesque figure suddenly appears at the lop of the staircase. Dressed all in crimson, with a death's head visible inside the hood of his robe, the PHANTOM has come to the party. With dreadful wooden steps he descends the stairs and takes the centre of the stage)

PHANTOM

Why so silent, good messieurs?
Did you think that I had left you for good?
Have you missed me, good messieurs?
I have written you an opera!

(He takes from under his robe an enormous bound manuscript)

Here I bring the finished score -
"Don Juan Triumphant" !

(He throws it to ANDRE)

I advise you
to comply -
my instructions
should be clear -
Remember
there are worse things
than a shattered chandelier . . .

(CHRISTlNE, mesmerized, approaches as the PHANTOM beckons her. He reaches out, grasps the chain that holds the secret engagement ring, and rips it from her throat)

Your chains are still mine -
you will sing for me!

(ALL cower in suspense as the music crescendos, until suddenly, his figure evaporates)

BACKSTAGE (SCENE 2)

(GIRY is hurrying across. RAOUL appears and calls after her)

RAOUL

Madame Giry. Madame Giry . . .

GIRY

Monsieur, don't ask me - I know no more than
anyone else.

(She moves off again. He stops her)

RAOUL

That's not true. You've seen something, haven't you ?

GIRY (uneasily)

I don't know what I've seen . . . Please don't ask me,
monsieur . . .

RAOUL (desperately)

Madame, for all our sakes . . .

GIRY (She has glanced nervously about her and suddenly deciding to trust him, cuts in)

Very well. It was years ago. There was a travelling
fair in the city. Tumblers, conjurors, human
oddities . . .

RAOUL

Go on . . .

GIRY (trance-like, as she retraces the past)

And there was . . . I shall never forget him: a man . .
Iocked in a cage . . .

RAOUL

In a cage . . ?

GIRY

A prodigy, monsieur! Scholar, architect, musician .

RAOUL (piecing together the jigsaw)

A composer . . .

GIRY

And an inventor too, monsieur. They boasted he
had once built for the Shah of Persia, a maze of
mirrors . . .

RAOUL (mystified and impatient, cuts in)

Who was this man . . .?

GIRY (with a shudder)

A freak of nature . . .
more monster
than man . . .

RAOUL (a murmur)

Deformed . . .?

GIRY

From birth, it seemed . . .

RAOUL

My God . . .

GIRY

And then . . . he went missing. He escaped.

RAOUL

Go on.

GIRY

They never found him
it was said he
had died . . .

RAOUL (darkly)

But he didn't die, did he?

GIRY

The world forgot him,
but I never can . . .
For in this darkness
I have seen him again . . .

RAOUL

And so our
Phantom's this man . . .

GIRY (starts from her daze and turns to go)

I have said too much, monsieur.

(She moves off into the surrounding blackness)

And there have been too many accidents . . .

RAOUL (ironical)

Accidents?!

GIRY

Too many . . .

(And, before he can question her further, she has disappeared)

RAOUL (running after her)

Madame Giry . . .!

THE MANAGERS ' OFFICE (SCENE 3)

(The PHANTOM'S score lies open on the desk. ANDRE is impatiently flicking through it)

ANDRE

Ludicrous!
Have you seen the score?

FIRMIN (entering)

Simply ludicrous!

ANDRE

It's the final straw!

FIRMIN

This is lunacy!
Well, you know my views . . .

ANDRE

Utter lunacy!

FIRMIN

But we daren't refuse . . .

ANDRE (groans)

Not another
chandelier . . .

FIRMIN

Look, my friend, what
we have here . . .

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

ANDRE

"Dear Andre,
Re my orchestrations:
We need another first bassoon.
Get a player with tone -
and that third trombone
has to go!
The man could not be deafer,
so please preferably one
who plays in tune!"

FIRMIN (reading his letter)

"Dear Firmin,
vis a vis my opera:
some chorus-members must be sacked.
If you could, find out which
has a sense of pitch -
wisely, though,
I've managed to assign a
rather minor role to those
who cannot act! "

(They are interrupted by the arrival of CARLOTTA and PIANGI both furiously brandishing similar notes)

CARLOTTA

Outrage!

FIRMIN

What is it now?

CARLOTTA

This whole affair is an outrage!

FIRMIN

Signora, please . . .

ANDRE

Now what's the matter?

CARLOTTA

Have you seen
the size of my part?

ANDRE

Signora, listen . . .

PIANGI

It's an insult!

FIRMIN

Not you as well!

PIANGI

Just look at this -
it's an insult!

FIRMIN

Please, understand . . .

ANDRE

Signor! Signora!

CARLOTTA

The things I have
to do for my art!

PIANGI (stabbing a finger at the open score)

If you can call
this gibberish "art" !

(RAOUL and CHRISTINE enter: CARLOTTA bristles)

CARLOTTA (dryly)

Ah! Here's our little flower!

FIRMIN

Ah Miss Daae
quite the lady
of the hour!

ANDRE (explaining)

You have
secured the largest role
in this "Don Juan".

CARLOTTA (half to herself)

Christine Daae?
She doesn't have
the voice!

FIRMIN (hearing this, to CARLOTTA)

Signora, please!

RAOUL (to the MANAGERS)

Then I take it
you're agreeing.

CARLOTTA (aside)

She's behind this . . .

ANDRE

It appears we have
no choice.

CARLOTTA (unable to contain herself any longer, points accusingly)

She's the one
behind this!
Christine Daae!

CHRISTINE (who has been silent till now, incensed at this)

How dare you!

CARLOTTA

I'm not a fool!

CHRISTINE

You evil woman!
How dare you!

CARLOTTA

You think I'm blind?

CHRISTINE

This isn't my fault!
I don't want any
part in this plot!

FIRMIN

Miss Daae, surely . . .

ANDRE

But why not?

PIANGI (baffled, to CARLOTTA)

What does she say?

FIRMIN (reasonably)

It's your decision -

(Suddenly rounding on her)

But why not?

CARLOTTA (to PIANGI)

She's backing out!

ANDRE

You have a duty!

CHRISTINE

I cannot sing it,
duty or not!

RAOUL (comforting)

Christine . . .
Christine . . .
You don't have to . . .
they can't make you . . .

(MEG and GlRY arrive, the latter bearing another note from the PHANTOM)

GIRY

Please, monsieur:
another note.

(The MANAGERS gesture: "read it". As she reads, ALL react variously, as they are singled out)

GIRY

"Fondest greetings
to you all !
A few instructions
just before
rehearsal starts:
Carlotta must be
taught to act . . . ,"

(The PHANTOM'S voice gradually takes over from her)

PHANTOM'S VOICE

. . . not her normal trick
of strutting round the stage.
Our Don Juan must
lose some weight -
it's not healthy in
a man of Piangi's age.
And my managers
must learn
that their place is in
an office, not the arts.

As for Miss Christine Daae . . .
No doubt she'll
do her best - it's
true her voice is
good. She knows, though,
should she wish to excel
she has much still
to learn, if pride will
let her
return to me, her
teacher,
her teacher . . .

Your obedient friend . . .

(The PHANTOM'S voice fades out and GIRY takes over)

GIRY

". . . and Angel . . ."

(Attention now focuses on RAOUL whose eyes are suddenly bright with a new thought)

RAOUL

We have all been
blind - and yet the
answer is staring us
in the face . . .
This could be the
chance to ensnare our
clever friend . . .

ANDRE

We're listening . . .

FIRMIN

Go on.

RAOUL

We shall play his
game - perform his
work - but remember we
hold the ace . . .
For, if Miss Daae
sings, he is certain
to attend . . .

ANDRE (carried along by the idea)

We make certain
the doors are barred . . .

FIRMIN (likewise)

We make certain
our men are there . . .

RAOUL

We make certain
they're armed . . .

RAOUL, ANDRE AND FIRMIN (savouring their victory)

The curtain falls -
his reign will end!

(ALL have been listening intently. GIRY is the first to express a reaction. CHRISTINE remains silent and withdrawn)

GIRY

Madness!

ANDRE

I'm not so sure . . .

FIRMIN

Not if it works . . .

GIRY

This is madness!

ANDRE

The tide will turn!

GIRY

Monsieur, believe me -
there is no way of
turning the tide!

FIRMIN (to GIRY)

You stick to ballet!

RAOUL (rounding on GIRY)

Then help us!

GIRY

Monsieur, I can't . . .

RAOUL

Instead of warning us . . .

RAOUL, ANDRE AND FIRMIN

Help us!

GIRY

I wish I could . . .

RAOUL, ANDRE AND FIRMIN

Don't make excuses!

RAOUL

Or could it be that
you're on his side?

GIRY (to RAOUL)

Monsieur, believe me,
I intend no ill . . .

(To ANDRE and FIRMIN)

But messieurs, be careful -
we have seen him kill . . .

ANDRE AND FIRMIN (to GIRY)

We say he'll fall
and fall he will!

CARLOTTA

She's the one behind this!
Christine!
This is all her doing!

PIANGI

This is the truth!
Christine Daae!

RAOUL

This is his undoing!

ANDRE AND FIRMIN (to RAOUL)

If you succeed
you free us all -
this so called "angel"
has to fall!

RAOUL

Angel of music,
fear my fury -
Here is where you fall!

GIRY (to RAOUL)

Hear my warning!
Fear his fury!

CARLOTTA

What glory can
she hope to gain?
It's clear to all
the girl's insane!

ANDRE (to FIRMIN)

Christine sings
We'll get our man . . .

PIANGI

She is crazy!
She is raving!

FIRMIN (to ANDRE)

If Christine helps
us in this plan . . .

RAOUL

Say your prayers,
black angel of death!

CHRISTINE (vainly pleading amidst the tumult)

Please don't . . .

ANDRE (to FIRMIN)

If Christine won't,
then no-one can . . .

GIRY (to RAOUL)

Monsieur, I beg you,
do not do this . . .

PIANGI AND CARLOTTA

Gran Dio!
Che imbroglio!

ANDRE AND FIRMIN

This will seal his fate!

CHRISTINE (bursting through the hubbub with a great cry)

If you don't stop,
I'll go mad! ! !

(to RAOUL, pleading)

Raoul, I'm frightened -
don't make me do this . . .
Raoul, it scares me -
don't put me through this
ordeal by fire . . .
he'll take me, I know . . .
we'll be parted for ever . . .
he won't let me go . . .

What I once used to dream
I now dread . . .
if he finds me, it won't
ever end . . .
and he'll always be there,
singing songs in my head . . .
he'll always be there,
singing songs in my head . . .

(ALL stare at her)

CARLOTTA

She's mad . . .

RAOUL (to CHRISTINE)

You said yourself
he was nothing
but a man . . .

Yet while he lives,
he will haunt us
till we're dead . . .

(CHRISTINE turns away unhappily)

CHRISTINE

Twisted every way,
what answer can I give?
Am I to risk my life,
to win the chance to live?
Can I betray the man
who once inspired my voice?
Do I become his prey?
Do I have any choice?

He kills without a thought,
he murders all that's good . . .
I know I can't refuse
and yet, I wish I could . . .
Oh God - if I agree,
what horrors wait for me
in this, the Phantom's opera . . .?

RAOUL (to CHRISTINE, very tenderly)

Christine, Christine,
don't think that I don't care -
but every hope
and every prayer
rests on you now . . .

(CHRISTINE, overcome by her conflicting emotions turns away and hurries out. RAOUL strides forward and addresses an imaginary PHANTOM)

RAOUL

So, it is to be war between us! But this time, clever
friend, the disaster will be yours!

(As lights fade, ATTENDANTS stretch a red, velvet rope across the downstage area. OTHERS bring on gilt chairs. CARLOTTA PIANGI and GIRY move downstage to take their places for the next scene)

A REHEARSAL FOR DON JUAN TRIUMPHANT (SCENE 4)

(REYER supervises the learning of the new piece from the piano. Present are PIANGI, CHRISTINE, CARLOTTA, GlRY and CHORUS)

CHORUS

Hide our sword now wounded knight!
Your vainglorious gasconnade
brought you to your final fight
for your pride, high price you've paid!

CHRISTINE

Silken couch and hay-filled barn
both have been his battlefield.

PIANGI (wrong)

Those who tangle with Don Juan . . .

REYER (stopping him)

No, no, no! ChorusQrest, please.

Don Juan, Signor Piangi - here is the phrase.

(He demonstrates it)

"Those who tangle with Don Juan . . ."
If you please?

PIANGI (still wrong)

Those who tangle with Don Juan . . .

REYER

No, no. Nearly - but no.
"Those who tan, tan, tan . . ."

PIANGI (still wrong)

Those who tangle with Don Juan . . .

CARLOTTA (to the OTHERS)

His way is better. At least he make it sound like
music!

GIRY (to CARLOTTA)

Signora - would you speak that way in the
presence of the composer?

CARLOTTA (deaf to the implications of this remark)

The composer is not here. And if he were here, I would . . .

GIRY (cutting in, ominous)

Are you certain of that, Signora . . .?

REYER

So, once again - after seven

(He gives the note and counts in)
Five, six, seven . . .

PIANGI (wrong again)

Those who tangle with Don Juan . .

(Gradually EVERYONE starts either to talk or to practice the phrase simultaneously)

CARLOTTA

Ah, piu non posso! What does it matter what notes
we sing?

GIRY

Have patience, Signora.

CARLOTTA

No-one will know if it is right or if it is wrong.
No-one will care if it is right, or if it is wrong.

CARLOTTA (mocking)

Those who tangle
with Don Juan!

PIANGI (trying again)

Those who tan . . . tan . . .

(to CHRISTINE)
Is right?

CHRISTINE (to PIANGI)

Not quite, Signor:
Those who tan . . . tan . . .

REYER (attempting lo restore order)

Ladies . . . Signor Piangi . . . if you please . . .

(REYER thumps the piano keys, then leaves the piano, and attempts to attract attention using signals. Al the height of the mayhem, the piano suddenly begins to demonstrate the music unaided. It plays with great force and rhythm. ALL fall silent and freeze then suddenly start to sing the piece robotically and accurately. As they continue to sing, CHRISTINE moves away from the group.)

ALL EXCEPT CHRISTINE

Poor young maiden! For the thrill
on your tongue of stolen sweets
you will have to pay the bill -
tangled in the winding sheets!

(As the ENSEMBLE becomes background, CHRISTINE, transfixed, sings independently):

CHRISTINE

In sleep
he sang to me,
in dreams
he came . . .
that voice
which calls to me
and speaks
my name . . .

(The scene begins to change. Trance-like, CHRISTINE moves slowly upstage. We hear the distant sound of bells)

Little Lotte
thought of everything and nothing . . .
Her Father promised her
that he would send her the Angel of Music . . .
Her father promised her . . .
Her father promised her . . .

A GRAVEYARD

(A mausoleum with hanging moss. In the centre a pyramid of skulls in front of a cross.)

CHRISTINE

You were once
my one companion . . .
you were all
that mattered . . .
You were once
a friend and father -
then my world
was shattered . . .

Wishing you were
somehow here again . . .
wishing you were
somehow near . . .
Sometimes it seemed
if I just dreamed,
somehow you would
be here . . .

Wishing I could
hear your voice again . . .
knowing that I
never would . . .
Dreaming of you
won't help me to do
all that you dreamed
I could . . .

Passing bells
and sculpted angels,
cold and monumental,
seem, for you,
the wrong companions -
you were warm and gentle . . .

Too many years
fighting back tears . . .
Why can't the past
just die . . .?

Wishing you were
somehow here again . . .
knowing we must
say goodbye . . .
Try to forgive . . .
teach me to live . . .
give me the strength
to try . . .

No more memories,
no more silent tears . . .
No more gazing across
the wasted years . . .
Help me say
goodbye.

(The PHANTOM emerges from behind the cross)

PHANTOM (very soft and enticing)

Wandering child . . .
so lost . . .
so helpless . . .
yearning for my
guidance . . .

(Bewildered, CHRISTINE looks up, and murmurs breathlessly):

CHRISTINE

Angel . . . or father . . .
friend . . . or
Phantom . . . ?
Who is it there,
staring . . . ?

PHANTOM (more and more hypnotic)

Have you
forgotten your Angel . . .?

CHRISTINE

Angel . . . oh, speak . . .
What endless
longings
echo in this
whisper . . .!

(RAOUL appears in the shadows and watches for a moment transfixed)

PHANTOM (now drawing CHRISTINE towards him)

Too long you've wandered
in winter . . .

RAOUL (to himself a murmur)

Once again
she is his . . .

PHANTOM

Far from my
far-reaching gaze . . .

RAOUL

Once again
she returns . . .

CHRISTINE (increasingly mesmerized)

Wildly my mind
beats against you . . .

PHANTOM

You resist . . .

PHANTOM AND CHRISTINE

Yet your/the soul
obeys . . .

RAOUL

. . . to the arms
of her angel . . .
angel or demon . . .
still he calls her . . .
luring her back, from the grave . . .
angel or dark seducer . . .?
Who are you, strange
angel . . .?

PHANTOM

Angel of Music!
You denied me,
turning from true beauty . . .
Angel of Music!
Do not shun me . . .
Come to your strange
Angel . . .

CHRISTINE

Angel of Music!
I denied you,
turning from true beauty . . .
Angel of Music!
My protector . . .
Come to me, strange
Angel . . .

(CHRISTINE moves towards the figure of the PHANTOM)

PHANTOM (beckoning her)

I am your Angel of Music . . .
Come to me: Angel of Music . . .

RAOUL (suddenly calling out)

Angel of darkness!
Cease this torment!

(Inexorably the PHANTOM continues to beckon CHRISTINE)

PHANTOM

I am your Angel of Music . . .
Come to me: Angel of Music . . .

RAOUL (in desperation)

Christine! Christine listen to me!
Whatever you may believe, this man . . .
this thing . . . is not your father!

(To the PHANTOM)

Let her go! For God's sake, let her go! Christine !

(Coming out of her trance CHRISTINE turns and mouths the words):

CHRISTINE

Raoul . . .

(She turns to RAOUL who embraces her protectively. The PHANTOM freezes for a moment and then suddenly seizes a pike upon which is impaled a skull. At a movement from him a flash of fire streaks from the gaping mouth of the skull and lands at RAOUL's feet)

PHANTOM

Bravo, monsieur!
Such spirited words!

(Another fireball)

RAOUL

More tricks, monsieur?

PHANTOM

Let's see, monsieur
how far you dare go!

(Another fireball)

RAOUL

More deception? More violence?

CHRISTINE (to RAOUL)

Raoul, no . . .

(RAOUL has begun to walk slowly and resolutely towards the PHANTOM the fireballs always landing just ahead of him)

PHANTOM

That's right, that's right,
monsieur
keep walking this way!

(Two more fireballs)

RAOUL

You can't win her love by making her your prisoner.

CHRISTINE

Raoul, don't . . .

RAOUL (to CHRISTINE)

Stay back!

PHANTOM

I'm here, I'm here,
monsieur:
the angel of death!
Come on, come on,
monsieur
Don't stop, don't stop!

(Three more fireballs. RAOUL. is almost at the PHANTOM's feet. A confrontation is imminent when CHRISTINE suddenly rushes across to RAOUL)

CHRISTINE

Raoul! Come back . . .

(She pulls him away)

PHANTOM

Don't go!

(As they are exiting, the PHANTOM declaims in fury):

So be it! Now let it be war upon you both!

(At a gesture from the PHANTOM, there is a flash of lighting and the stage erupts into flame)

BEFORE THE PREMIERE (SCENE 6)

THE OPERA HOUSE ON THE NIGHT OF THE PREMIERE OF "DON JUAN TRIUMPHANT''

(The orchestra is tuning. A whistle sounds the CHIEF FIRE OFFICER is reviewing two FIRE MARSHALLS in tin helmets. A worklight on a stand illuminates them. Also present are RAOUL, ANDRE and FIRMIN, supervising the proceedings, and a MARKSMAN, at present hidden in the pit)

CHIEF

You understand your instructions?

FIREMEN (severally)

Sir!

CHIEF

When you hear the whistle, take up your positions.
I shall then instruct you to secure the doors. It is
essential that all doors are properly secured.

FIRMIN

Are we doing the right thing, Andre?

ANDRE

Have you got a better idea?

CHIEF
Monsieur le Vicomte, am I to give the order?

RAOUL

Give the order.

(The CHIEF blows his whistle. The FIREMEN fan out, leaving RAOUL, the CHIEF and the MANAGERS on stage)

RAOUL (to the MARKSMAN)

You in the pit - do you have a clear view of this box?

MARKSMAN (appearing from the pit)

Yes, sir.

RAOUL

Remember, when the time comes, shoot. Only if
you have to - but shoot. To kill.

MARKSMAN

How will I know, sir?

RAOUL

You'll know.

FIRMIN

Monsieur le Vicomte, are you confident that this will work? Will Miss Daae sing?

RAOUL

Don't worry, Firmin. Andre?

ANDRE

We're in your hands, sir.

CHIEF

My men are now in position, sir.

RAOUL

Go ahead, then.

(Sounding his whistle again, the CHIEF shouts into the auditorium):

CHIEF

Are the doors secure?

(Exit doors are slammed all over the building, The FIREMEN answering one by one: "Secure."' The orchestra falls silent. Very quietly from nowhere, we hear the VOICE of the PHANTOM)

PHANTOM'S VOICE

I'm here: The Phantom of the Opera . . .

(ALL look around apprehensively. FIREMEN start to run in the direction of the VOICE)

PHANTOM'S VOICE (from somewhere else)

I'm here: The Phantom of the Opera . . .

(Again, they follow the VOICE. This happens several times, the PHANTOM'S VOICE darting more and more bewilderingly from place to place. Finally it is heard from Box Five, and in the confusion the MARKSMAN fires a shot. RAOUL rounds on the MARKSMAN furiously)

RAOUL

Idiot! You'll kill someone. I said: only when the
times comes!

MARKSMAN

But, Monsieur le Vicomte . . .

(The PHANTOM'S VOICE cuts in, filling the building. All look up)

PHANTOM'S VOICE

No "buts"! For once, Monsieur le Vicomte is
right . . .

Seal my
fate tonight - I
hate to have to
cut the fun short
but the joke's
wearing thin . . .
Let the audience in . . .
Let my opera begin!

"DON JUAN TRIUMPHANT" (SCENE 7)

(The set of the final scene of "Don Juan TRIUMPHANT" A huge hall with an arch. Behind the arch, which has curtains, is a bed. A fine table, laid for two. PASSARINO, DON JUAN'S servant, is directing the STAFF as they make the room ready. They are a crowd of sixteenth century ruffians and hoydens, proud of their master's reputation as a libertine)

CHORUS

Here the sire may serve the dam,
here the master takes his meat!
Here the sacrificial lamb
utters one despairing bleat!

CARLOTTA AND CHORUS

Poor young maiden! For the thrill
on your tongue of stolen sweets
you will have to pay the bill -
tangled in the winding sheets!

Serve the meal and serve the maid!
Serve the master so that, when
tables, plans and maids are laid,
Don Juan triumphs once again!

(SIGNOR PIANGI, as Don Juan, emerges from behind the arch. MEG, a gypsy dancer pirouettes coquettishly for him.He throws her a purse. She catches it and leaves)

DON JUAN

Passarino, faithful friend,
once again recite the plan.

PASSARINO

Your young guest believes I'm you -
I, the master, you, the man.

DON JUAN

When you met you wore my cloak,
with my scarf you hid your face.
She believes she dines with me,
in her master's borrowed place!
Furtively, we'll scoff and quaff,
stealing what, in truth, is mine.
When it's late and modesty
starts to mellow, with the wine . . .

PASSARINO

You come home! I use your voice -
slam the door like crack of doom!

DON JUAN

I shall say: "come - hide with me!
Where, oh, where? Of course - my room!"

PASSARINO

Poor thing hasn't got a chance!

DON JUAN

Here's my hat, my cloak and sword.
Conquest is assured,
if I do not forget myself and laugh . . .

(DON JUAN puts on PASSARINO's cloak and goes into the curtained alcove where the bed awaits. Although we do not yet know it, the Punjab Lasso has done its work, and SIGNOR PIANGI is no more. When next we see DON JUAN, it will be the PHANTOM. Meanwhile, we hear AMINTA (CHRISTINE) singing happily in the distance)

AMINTA (CHRISTINE - offstage, entering)

". . . no thoughts
within her head,
but thoughts of joy!
No dreams
within her heart
but dreams of love!"

PASSARINO (onstage)

Master?

DON JUAN (PHANTOM - behind the curtain)

Passarino - go away!
For the trap is set and waits for its prey . . .

(PASSARINO leaves. CHRISTINE (AMINTA) enters. She takes off her cloak and sits down. Looks about her. No one. She starts on an apple. The PHANTOM, disguised as DON JUAN pretending to be PASSARINO, emerges. He now wears PASSARINO's robe, the cowl of which hides his face. His first words startle her)

DON JUAN (PHANTOM)

You have come here
in pursuit of
your deepest urge,
in pursuit of
that wish,
which till now
has been silent,
silent . . .

I have brought you,
that our passions
may fuse and merge -
in your mind
you've already
succumbed to me
dropped all defences
completely succumbed to me -
now you are here with me:
no second thoughts,
you've decided,
decided . . .

Past the point
of no return -
no backward glances:
the games we've played
till now are at
an end . . .
Past all thought
of "if" or "when" -
no use resisting:
abandon thought,
and let the dream
descend . . .

What raging fire
shall flood the soul?
What rich desire
unlocks its door?
What sweet seduction
lies before
us . . .?

Past the point
of no return,
the final threshold -
what warm,
unspoken secrets
will we learn?
Beyond the point
of no return . . .

AMINTA (CHRISTINE)

You have brought me
to that moment
where words run dry,
to that moment
where speech
disappears
into silence,
silence . . .

I have come here,
hardly knowing
the reason why . . .
In my mind,
I've already
imagined our
bodies entwining
defenceless and silent -
and now I am
here with you:
no second thoughts,


I've decided,
decided . . .

Past the point
of no return -
no going back now:
our passion-play
has now, at last,
begun . . .
Past all thought
of right or wrong -
one final question:
how long should we
two wait, before
we're one . . .?

When will the blood
begin to race
the sleeping bud
burst into bloom?
When will the flames,
at last, consume
us . . .?

BOTH

Past the point
of no return
the final threshold -
the bridge
is crossed, so stand
and watch it burn . . .
We've passed the point
of no return . . .

(By now the audience and the POLICE have realised that SIGNOR PIANGI is dead behind the curtain, and it is the PHANTOM who sings in his place. CHRISTINE knows it too. As final confirmation, the PHANTOM sings)

PHANTOM

Say you'll share with
me one
love, one lifetime . . .
Lead me, save me
from my solitude . . .

(He takes from his finger a ring and holds it out to her. Slowly she takes it and puts it on her finger.)

Say you want me
with you,
here beside you . . .
Anywhere you go
let me go too -
Christine
that's all I ask of . . .

(We never reach the word 'you', for CHRISTINE quite calmly reveals the PHANTOM'S face to the audience. As the FORCES OF LAW close in on the horrifying skull, the PHANTOM sweeps his cloak around her and vanishes.

MEG pulls the curtain upstage, revealing PIANGI'S body garotted, propped against the bed, his head gruesomely tilted to one side. She screams.)

TRANSFORMATION TO:

REVERSE VIEW OF THE STAGE
(POLICE, STAGEHANDS, etc. rush onto the stage in confusion. Also: ANDRE, FIRMIN, RAOUL, GIRY, CARLOTTA and MEG)

CARLOTTA

What is it? What has happened? Ubaldo!

ANDRE

Oh, my God . . . my God . . .

FIRMIN

We're ruined, Andre - ruined!

GIRY (to RAOUL)

Monsieur le Vicomte! Come with me!

CARLOTTA (rushing over to PIANGI's body)

Oh, my darling, my darling . . . who has done
this ...?

(Hysterical, attacking ANDRE)

You! Why did you let this happen?

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

GIRY

Monsieur le Vicomte, I know where they are.

RAOUL

But can I trust you?

GIRY

You must. But remember: your hand at the level of
your eyes!

RAOUL

But why . . .?

GIRY

Why? The Punjab lasso, monsieur. First Buquet. Now Piangi.

MEG (holding up her hand)

Like this, monsieur. I'll come with you.

GIRY

No, Meg! No, you stay here!

(To RAOUL)

Come with me, monsieur. Hurry, or we shall be too
late . . .

THE LABYRINTH UNDERGROUND (SCENE 8)

(Meanwhile, down below, we see the PHANTOM and CHRISTINE in the boat, crossing the underground lake)

PHANTOM (furiously propelling the boat onwards)

Down once more
to the dungeon
of my black despair!
Down we plunge
to the prison
of my mind!
Down that path
into darkness
deep as hell!

(He rounds on her, bitterly)

Why, you ask,
was I bound and chained
in this cold and dismal place?
Not for any
mortal sin, but the
wickedness of
my abhorrent face!

(He hears the offstage voices of the pursuing MOB)

MOB (offstage)

Track down this murderer!
He must be found!

PHANTOM (moving off again)

Hounded out by
everyone!
Met with hatred
everywhere!
No kind word from
anyone!
No compassion
anywhere!

Christine, Christine . . .
Why, why . . .?

(RAOUL and GIRY appear above. They make their way down, meeting a pack of rats. GlRY screams and lowers her guard. The rats and the RATCATCHER pass them. GIRY raises her hand again)

GIRY

Your hand at the level of your eyes!

RAOUL

. . . at the level of your eyes . . .

MOB (offstage)

Your hand at the level of your eyes!

GIRY

He lives across the lake, monsieur. This is as far as
I dare go.

RAOUL

Madame Giry, thank you.

(She turns to go back up the slope. RAOUL looks at the water. He removes his coat and plunges in. The MOB appears at the top of the slope. They come down to the lake edge, their torches flickering.)

MOB

Track down this
murderer -
He must be found!
Hunt out this
animal,
who runs to ground!
Too long he's
preyed on us -
but now we know:
the Phantom of the Opera
is there
deep down below . . .

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

(They turn back up the slope. Perhaps there is another way in. The gate to the lair descends, as the rest of the lair appears.)

BEYOND THE LAKE (SCENE 9)

(The dummy of CHRlSTlNE sits crumpled on a large throne. The PHANTOM drags CHRISTINE roughly out of the boat. She frees herself and backs away as he stares blackly out front. Braving her terror, she addresses him fiercely).

CHRISTINE

Have you gorged yourself
at last, in your
lust for blood?

(no reply)

Am I now to be
prey to your
lust for flesh?

PHANTOM (coldly)

That fate, which
condemns me
to wallow in blood
has also
denied me
the joys of the flesh . . .
this face -
the infection
which poisons our love . . .

(He lakes the bridal veil front the dummy, and moves slowIy towards her)

This face,
which earned
a mother's fear
and loathing . . .
A mask,
my first
unfeeling scrap
of clothing . . .

(He places the veil on her head)

Pity comes
too late -
turn around
and face your fate:
an eternity of this
before your eyes!

(They are almost touching. She looks calmly and coldly into his face)

CHRISTINE

This haunted face
holds no horror
for me now . . .
It's in your soul
that the true
distortion lies . . .

(The PHANTOM suddenly senses RAOUL'S presence. Behind the portcullis, RAOUL climbs out of the water)

PHANTOM

Wait! I think, my dear,
we have a guest!

(To RAOUL)

Sir, this is indeed
an unparalleled delight!
I had rather hoped
that you would come.
And now my wish comes true -
you have truly made my night!

RAOUL (pleading, grasping the bars of the gate)

Free her!
Do what you like
only free her!
Have you no pity?

PHANTOM (to CHRISTINE, dryly)

Your lover makes
a passionate plea!

CHRISTINE

Please, Raoul, it's useless . . .

RAOUL

I love her!
Does that mean nothing?
I love her!
Show some compassion . . .

PHANTOM (snarls furiously at RAOUL)

The world showed no
compassion to me!

RAOUL

Christine . . .
Christine . . .

(to PHANTOM)

Let me see her . . .

PHANTOM (drily)

Be my guest, sir . .

(He gestures, and the fence rises. RAOUL enters)

Monsieur, I
bid you welcome!
Did you think that
I would harm her?
Why should I make
her pay
for the sins which
are yours?

(So saying, he takes the Punjab lasso and, before RAOUL has a chance to move, catches him by the neck. The end of the rope, of which the PHANTOM has let go, remains magically suspended in mid-air)

(taunting)
Order your fine horses now!
Raise up your hand to the level of your eyes!
Nothing can save you now -
except perhaps Christine . . .

(He turns to her)

Start a new life with me -
Buy his freedom with your love!
Refuse me, and you send your lover to his
death!
This is the choice -
This is the point of no return!

CHRISTINE (to the PHANTOM)

The tears I might have shed
for your dark fate
grow cold, and turn to tears
of hate . . .

RAOUL (despairing)

Christine, forgive
me please forgive me . . .
I did it all
for you, and all for
nothing . . .

CHRISTINE (looking at the PHANTOM but to herself)

Farewell
my fallen idol
and false friend . . .
One by one
I've watched
illusions shattered . . .

PHANTOM

Past all hope
of cries for help:
no point in fighting -

RAOUL

Either way
you choose,
he has to win . . .

PHANTOM

For either way
you choose,
you cannot win!

So, do you end
your days with me,
or do you send
him to his grave?

RAOUL (to PHANTOM)

Why make her lie
to you, to save
me?

CHRISTINE

Angel of Music . . .

PHANTOM

Past the point
of no return -

RAOUL

For pity's sake,
Christine, say no!

CHRISTINE

. . . why this torment?

PHANTOM

. . . the final threshold . . .

RAOUL

Don't throw your life
away for my sake . . .

CHRISTINE

When will you see
reason . . .?

PHANTOM

His life is now the prize
which you must earn!

RAOUL

I fought so hard
to free you . . .

CHRISTINE

Angel of Music . . .

PHANTOM

You've passed the point
of no return . . .

CHRISTINE

. . . you deceived me -
I gave my mind
blindly . . .

PHANTOM (to CHRISTINE)

You try my patience -
make your choice!

(She reflects for a moment, then with resolution moves slowly towards the PHANTOM)

CHRISTINE

(quietly at first, then with growing emotion)
Pitiful creature
of darkness . . .
What kind of life
have you known . . .?

God give me courage
to show you
you are not
alone . . .

(Now calmly facing him, she kisses him long and full on the lips. The embrace lasts a long time. RAOUL watches in horror and wonder.

The PHANTOM lakes a lighted candle and holds it above RAOUL's head. A tense moment. But the suspended rope suddenly falls harmlessly - the PHANTOM has burned the thread by which the noose was held. Resigned, he addresses RAOUL, as we hear the offstage voices of the approaching MOB)

MOB (SOME)

Track down this
murderer -
he must be found!
Hunt out this
animal,
who runs to ground!

Too long he's
preyed on us -
but now we know:
the Phantom of the Opera
is there
deep down below . .

MOB (OTHERS)

Who is this monster,
this murdering beast?
Revenge for Piangi!
Revenge for Buquet!
This creature
must never go free . . .

PHANTOM

Take her - forget me - forget all of this . . .
Leave me alone - forget all you've seen . . .
Go now - don't let them find you!
Take the boat - leave me here - go now,
don't wait . . .
Just take her and go - before it's too late . . .
Go . . .
Go now - go now and leave me!

(RAOUL and CHRISTINE move off towards the boat. The PHANTOM looks mockingly at his mask. The musical box starts up magically, and he listens to it)

Masquerade . . .
Paper faces on parade . . .
Masquerade . . .
Hide your face
so the world will
never find you . . .

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

PHANTOM

Christine, I love you...

(She hurries off The PHANTOM puts the ring on his finger. In the distance, to RAOUL, as the boat pulls away in the shadow)

CHRISTINE

Say you'll share with
me, one
love, one lifetime . . .
say the word
and I will follow you . .

RAOUL

Share each day with me . . .

CHRISTINE

. . . each night . . .

BOTH

. . . each morning . . .

PHANTOM (looking after her)

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

(The PHANTOM walks slowly towards the throne. He takes his place on it, sitting on his cloak.

The MOB including MEG, appears above, climbing down the portcullis. As the MOB enters the lair, the PHANTOM wraps his cloak around himself and disappears.

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