THE PHANTOM OF THE OPERA
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 Auctioneer'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 franks? 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? Lot 665, ladies and gentlemen: a papier-maché 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 theater, still in working order.
PORTER: (holding it up.) Showing here.(He sets it in motion.)
AUCTIONEER: May I start at twenty francs? Fifteen, then? Fifteen I am bid.(The bidding continues. RAOUL eventually buys the box for thirty francs.) Sold, for thirty francs to the Vicomte de Chagny. Thank you sir.(The box is handed across to RAOUL, he studies it, as attention focuses on him for a moment.)
RAOUL:(quietly, half to himself, half to 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.)
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 reassembled. 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 ONE
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 GIUDICELLI. The two leading SLAVE GIRLS are played by MEG GIRY and CHRISTINE Daaé. 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 present from the approaching HANNIBAL, a bleeding severed head...)
CARLOTTA:(at the climax of an extravagant cadenza.) 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. (practicing.) Rome...Rome....
(Enter LEFÈVRE, the retiring manager of the Opera, with M. FIRMIN and M. ANDRÉ to whom he has just sold it...)
REYER: (to PIANGI.) Once again, then if you please, Signor: 'Sad to return...'
LEFÈVRE: (to ANDRÉ and FIRMIN.) This way, gentlemen, this way. Rehearsals, as you see, are under way, for a new production of Chalumeau's 'Hannibal'.
(Sensing a hiatus in the rehearsal, LEFÈVRE attempts to attract attention.)
LEFÈVRE: Ladies and gentlemen, some of you may already, perhaps, have met M. ANDRÉ and M. FIRMIN...
(The new managers are politely bowing, when REYER interrupts.)
REYER: I'm sorry, M. LEFÈVRE, we are rehearsing. If you wouldn't mind waiting a moment?
LEFÈVRE: My apologies, M. Reyer, Proceed, proceed...
REYER: Thank you, monsieur. (turning back to PIANGI.). 'Sad to return...', Signor....
LEFÈVRE: (sotto voice to ANDRÉ 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.
(The BALLET GIRLS begin their dance. LEFÈVRE, ANDRÉ and FIRMIN stand center-stage watching the ballet. They are in the way. The ballet continues under the following dialogue.)
LEFÈVRE: (indicating PIANGI.) Signor Piangi, our principal tenor. He does play so well 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?
LEFÈVRE: My apologies, Mme. Giry. (leading ANDRÉ and FIRMIN aside.) Madame 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?
LEFÈVRE: (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.)
ANDRÉ: Who's that girl, LEFÈVRE?
LEFÈVRE: Her? Meg Giry, Madame Giry's daughter. Promising dancer. M. ANDRÉ, most promising.
(CHRISTINE becomes prominent. She has absentmindedly fallen out of step.)
GIRY: (spotting her, bangs her cane again.) You! Christine Daaé! Concentrate, girl!
MEG: (quietly, to CHRISTINE.) Christine...What's the matter?
FIRMIN: (to LEFÈVRE.) Daaé? Curious name.
LEFÈVRE: Swedish
ANDRÉ: Any relation to the violinist?
LEFÈVRE: 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-size 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 LEFÈVRE claps his hands for silence. The elephant is led off. Two stage-hands are revealed operating it from within.)
LEFÈVRE: 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 ANDRÉ. (Polite applause. Some bowing. CARLOTTA makes her presence felt.) Gentlemen, Signora Carlotta Guidicelli, our leading soprano for five seasons now.
ANDRÉ: Of course, of course. I have experienced all your greatest roles, Signora.
LEFÈVRE: And Signor Ubaldo Piangi.
FIRMIN: An honour, Signor.
ANDRÉ: 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?
LEFÈVRE: Signora! Are you all right? Buquet! Where is Buquet?
PIANGI: Is no one concerned for our prima donna?
LEFÈVRE: Get that man down here! (to ANDRÉ 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.)
LEFÈVRE: 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...
ANDRÉ: Good heavens! Will you show a little courtesy?
FIRMIN: (to MEG and the OTHERS.) Mademoiselles, please!
ANDRÉ: (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!
LEFÈVRE: 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.)
ANDRÉ: 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 LEFÈVRE 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.)
ANDRÉ: (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.
ANDRÉ: Madame, who is the understudy for this role?
REYER: There is no understudy, monsieur - the production is new.
MEG: Christine Daaé could sing it, sir.
FIRMIN: The chorus girl?
MEG: (to FIRMIN.) She's been taking lessons from a great teacher.
ANDRÉ: From whom?
CHRISTINE: (uneasily.) I don't know, sir...
FIRMIN: Oh, not you as well! (turning to ANDRÉ.) 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, maÕmÕselle.
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: ANDRÉ, this is doing nothing for my nerves.
ANDRÉ: 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? (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, GIRY keeping time with her stick. Variations of 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 the 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 CHRISTINE 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, ANDRÉ, FIRMIN, and MME. FIRMIN are seen making their way towards the dressing room, the MANAGERS in high spirits, bearing champagne.)
ANDRÉ: A tour de force! No other way to describe it!
FIRMIN: What a relief! Not a single refund!
MME. FIRMIN: Greedy.
ANDRÉ: Richard, I think we've made quite a discovery in Miss Daaé!
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.)
ANDRÉ: 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 Daaé, 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: '...Little Lotte thought: Am I fonder of dolls...'
BOTH: (CHRISTINE joining in.) '...or of goblins, of shoes...'
CHRISTINE: '...or of riddles, of frocks...'
RAOUL: Those picnics in the attic...'...or of chocolates...'
CHRISTINE: Father playing the violin...
RAOUL: As we read to each other dark stories of the North...
CHRISTINE: 'No - what I love best, Lotte said, is when I'm asleep in my bed, and the Angel of Music sings songs in my head!'
BOTH: '...The Angel of music sings songs 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 closed 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 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...
PHANTOM:
Sing, my Angel of Music!
CHRISTINE:
He's there the Phantom of the Opera...
(She begins to vocalize 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 candelabra 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...
Night-time sharpens, heightens each sensation...
Darkness stirs and wakes imagination...
Silently the senses abandon their defenses...
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 dustcover 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 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 theater 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-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...
SCENE 8
THE MANAGER'S OFFICE
(Desk, chairs, papers. FIRMIN is scornfully eyeing a newspaper article.)
FIRMIN: 'Mystery after gala night,' it 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!
ANDRÉ: (bursts in, in a temper.) Damnable! Will they all walk out? This is damnable!
FIRMIN: ANDRÉ, please don't shout...It's publicity! And the take is vast! Free publicity!
ANDRÉ: But we have no cast...
FIRMIN: But ANDRÉ, 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 ANDRÉ, who opens it and reads.)
ANDRÉ: 'Dear ANDRÉ, 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/ANDRÉ: Who would have the gall to send this? Someone with a puerile brain!
FIRMIN: (examining both letters.) These are both signed 'O.G.'...
ANDRÉ: Who the hell is he?
BOTH: (immediately realizing.) Opera ghost!
FIRMIN: (unamused.) It's really not amusing!
ANDRÉ: He's abusing our position!
FIRMIN: In addition he wants money!
ANDRÉ: 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?
ANDRÉ: You mean Carlotta?
RAOUL: I mean Miss Daaé - 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?
ANDRÉ: Of course not!
FIRMIN: Don't look at us!
RAOUL: She's not with you, then?
FIRMIN: Of course not!
ANDRÉ: We're in the dark...
RAOUL: Monsieur, don't argue. Isn't this the letter you wrote?
ANDRÉ: And what is it that I meant to have wrote? (Realizing his mistake.) Written!
(RAOUL hands the note to ANDRÉ, who reads it.)
ANDRÉ: 'Do not fear for Miss Daaé. 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?
ANDRÉ: 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!
ANDRÉ: As if he would!
CARLOTTA: 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 Daaé 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.)
ANDRÉ/FIRMIN: Far too many notes for my taste, and most of them about Christine! All we've heard since we came is Miss Daaé's name...
(GIRY suddenly appears, accompanied by MEG.)
GIRY: Miss Daaé has returned.
FIRMIN: (dryly.) I trust her midnight oil is well and truly burned.
ANDRÉ: 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/ANDRÉ: Let me see it!
FIRMIN: (snatching it.) Please!
FIRMIN: (opens the letter and reads. The PHANTOM'S voice gradually takes over.) 'Gentlemen, I have now sent you several notes of the most amiable nature, detailing how my theater is to be run. You have not followed my instructions. I shall give you one last chance...'
PHANTOM'S VOICE: (taking over.) Christine Daaé 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 Daaé in the role of Countess. The role which Miss Daaé 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!
ANDRÉ: 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?
ANDRÉ: (to CARLOTTA, in protest.) Signora!
CARLOTTA: (half to the MANAGERS, half to herself.) O traditori!
FIRMIN: (to CARLOTTA.) This is a joke!
ANDRÉ: This changes nothing!
CARLOTTA: O mentitori!
FIRMIN: Signora!
ANDRÉ: You are our star!
FIRMIN: And always will be!
ANDRÉ: Signora...
FIRMIN: The man is mad!
ANDRÉ: We don't take orders!
FIRMIN: (announcing it to EVERYONE.) Miss Daaé will be playing the Pageboy-the silent role...
ANDRÉ/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, 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!
ANDRÉ/FIRMIN: Signora, pardon us...
CARLOTTA: You have replaced me!
ANDRÉ/FIRMIN: Please, Signora we beseech you...
GIRY: This hour shall see your darkest fears...
MEG/RAOUL: I must see her...
CARLOTTA: Abbandonata! Deseredata! O, sventurata!
GIRY: The angel knows, the angel hears...
RAOUL: Where did she go...?
CARLOTTA: Abbandonata! Disgraziata!
ANDRÉ/FIRMIN: Signora, sing for us! Don't be a martyr...
RAOUL/GIRY/MEG: What new surprises lie in store...?
ANDRÉ/FIRMIN: Our star...!
CARLOTTA: Non vo'cantar!
(All look at CARLOTTA, as the MANAGERS approach her lovingly.)
ANDRÉ: Your public needs you!
FIRMIN: We need you, too!
CARLOTTA: (unassuaged.) Would you not rather have your precious little ingenue?
ANDRÉ/FIRMIN: Signora, no! The world wants you!
(The MANAGERS adopt their most persuasive attitudes.)
ANDRÉ/FIRMIN: Prima donna, first lady of the stage! Your devotees are on their knees to implore you!
ANDRÉ: 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!
ANDRÉ: Think of your muse...
FIRMIN: And of the queues round the theater!
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!
ANDRÉ/FIRMIN: (to CARLOTTA.) Think of your public! 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...
ANDRÉ/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...?
ANDRÉ: (to FIRMIN.) We get our opera...
FIRMIN: (to ANDRÉ.) She gets her limelight!
CARLOTTA: Follow where the limelight leads you!
MEG: Is this ghost an angel or a madman...?
RAOUL: Angel or madman...?
ANDRÉ/FIRMIN: (aside.) Leading ladies are a trial!
CARLOTTA: Prima donna, your song shall never die!
MEG: Voice of hell, or of heaven...?
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...
ANDRÉ/FIRMIN: Tears...oaths...lunatic 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...
ANDRÉ/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!
ANDRÉ/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: O, fortunata! Non ancor abbandonata!
ANDRÉ/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...
ANDRÉ/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 driest 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 ALBRIZZIO
(During the overture RAOUL, ANDRÉ 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.
ANDRÉ: Do you really think that's wise, monsieur?
RAOUL: My dear ANDRÉ, 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 center-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 Jeweler. The Jewelers is attended by MEG. There is also an OLDER WOMAN, the COUNTESS' confidante. All apart from MEG are gossiping with relish about the 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!
(The canopy drapes part and we see the COUNTESS kissing SERAFIMO 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
ANDRÉ: Nothing like the old operas!
FIRMIN: Or the old scenery...
ANDRÉ: The old singers...
FIRMIN: The old audience...
ANDRÉ: 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 hide over there to observe her!
DON ATTILIO: (to COUNTESS.) Addio!
BOTH: (to each other.) Addio!
(He goes, pretending to leave, then hides and watches the action.)
COUNTESS: Serafimo-away with this pretense! (She rips off SARAFIMO'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 Haah! etc. Time I tried to get a 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 unease. CARLOTTA and the CONDUCTOR confer and pick up the opening of the scene.)
CARLOTTA: (As the COUNTESS.) Serafimo, away with this pretense! 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, 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 MANAGER'S 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...
(ANDRÉ 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 Daaé.
ANDRÉ: (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 GIRLS enter, as a sylvan glade flies in. They begin the Dance of 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 garroted 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 POLICMEN 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 Ailée' - 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...
CHRISTINE: 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...
Anywhere you go, let me go too...
Love me-that's all I ask of you...
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...
Let 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 we see him high above the stage, perilously rocking the chandelier. The lights of the chandelier begin flickering and, at a great cry from him, it descends, swinging more and more madly over the orchestra pit...)
PHANTOM: Go!
!
(The chandelier falls to the stage at CHRISTINE'S feet.)
END OF ACT ONE
ACT TWO
SCENE ONE
THE STAIRCASE OF THE OPERA HOUSE
(A gauze half conceals the tableau of guests at the opera ball. The guests (whom we cannot yet see clearly.) are in fancy dress - a peacock, a lion, a dragon, Mephistopheles, a highwayman, a clown, knights, ladies, an executioner. M. ANDRÉ 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.)
ANDRÉ: M'sieur FIRMIN?
FIRMIN: M'sieur ANDRÉ?
(Each raises his mask to the other. They recognize each other.)
FIRMIN: Dear ANDRÉ, what a splendid party!
ANDRÉ: The prologue to a bright new year!
FIRMIN: Quite a night! I'm impressed!
ANDRÉ: Well, one does one's best...
ANDRÉ/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 you 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...
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 ANDRÉ, FIRMIN, MEG, GIRY, PIANGI and CARLOTTA come to the fore, glasses in hand.)
GIRY: What a night!
MEG: What a crowd!
ANDRÉ: Makes you glad!
FIRMIN: Makes you proud! All the crÈme de la crÈme!
CARLOTTA: Watching us watching them!
MEG/GIRY: And all our fears are in the past!
ANDRÉ: Six months...
PIANGI: Of relief!
CARLOTTA: Of delight!
ANDRÉ/FIRMIN: Of Elysian peace!
MEG/GIRY: And we can breathe at last!
CARLOTTA: No more notes!
PIANGI: No more ghost!
GIRY: Here's to health!
ANDRÉ: Here's a toast: to a prosperous year!
FIRMIN: To the new chandelier!
PIANGI/CARLOTTA: And may its splendour never fade!
FIRMIN: Six months!
GIRY: What a joy!
MEG: What a change!
FIRMIN/ANDRÉ: What a blessed release!
ANDRÉ: 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 toward its climax.)
ALL:
Masquerade!
Paper faces on parade!
Masquerade!
Hide your face, so the world will never find you!
(At the height of the activity a grotesque figure suddenly appears at the top 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 center 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 ANDRÉ.) I advise you to comply, my instructions should be clear. Remember, there are worse things than a shattered chandelier...
(CHRISTINE, mesmerized, approaches as the PHANTOM beckons her. He reaches out, grasps the chain that holds the secret engagement ring, and rips it from her throat.)
Your chains are still mine... you will sing for me!
(ALL cower in suspense as the music crescendos, until, suddenly, his figure evaporates.)
SCENE 2
BACKSTAGE
(GIRY is hurrying across. RAOUL appears and calls after HER.)
RAOUL: Madame Giry. Madame Giry...
GIRY: Monsieur, don't ask me, I know no more than anyone else.
(She moves off again. He stops her.)
RAOUL: That's not true. You've seen something, haven't you?
GIRY: (uneasily.) I don't know what I've seen...Please don't ask me, monsieur...
RAOUL: (desperately.) Madame, for all our sakes...
GIRY: (she has glanced nervously about her and, suddenly deciding to trust him, cuts in.) Very well. It was years ago. There was a traveling 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...locked in a cage...
RAOUL: In a cage...?
GIRY: A prodigy, monsieur! Scholar, architect, musician...
RAOUL: (piecing together the jigsaw.) A composer...
GIRY: And an inventor, too, monsieur. They boasted he had once built for the Shah of Persia, a maze of mirrors...
RAOUL: (mystified and impatient, cuts in.) Who was this man...?
GIRY: (with a shudder.) A freak of nature...more monster than man...
RAOUL:(a murmur.) Deformed...?
GIRY: From birth, it seemed...
RAOUL: My God...
GIRY: And then...he went missing. He escaped.
RAOUL: Go on.
GIRY: They never found him. It was said he had died...
RAOUL: (darkly.) But he didn't die, did he?
GIRY: The world forgot him, but I never can...For in this darkness I have seen him again...
RAOUL: And so our Phantom's this man...
GIRY: (starts from her daze and turns to go.) I have said too much, monsieur. (She moves off into the surrounding blackness.) And there have been too many accidents...
RAOUL: (ironical.) Accidents!?
GIRY: Too many...
(And before he can question her further, she has disappeared.)
RAOUL: (running after her.) Madame Giry...!
SCENE 3
THE MANAGERS' OFFICE
(The PHANTOM'S score lies open on the desk. ANDRÉ is impatiently flicking through it.)
ANDRÉ: Ludicrous! Have you seen the score?
FIRMIN: (entering.) Simply ludicrous!
ANDRÉ: It's the final straw!
FIRMIN: This is lunacy! Well, you know my views...
ANDRÉ: Utter lunacy!
FIRMIN: But we daren't refuse...
ANDRÉ: (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 ANDRÉ, who opens it and reads.)
ANDRÉ: 'Dear ANDRÉ, 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: 'Dear FIRMIN, vis à 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...
ANDRÉ: Now what's the matter?
CARLOTTA: Have you seen the size of my part?
ANDRÉ: Signora, listen...
PIANGI: It's an insult!
FIRMIN: Not you as well!
PIANGI: Just look at this! It's an insult!
FIRMIN: Please, understand...
ANDRÉ: 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 Daaé, quite the lady of the hour!
ANDRÉ: (explaining.) You have secured the largest role in this 'Don Juan'.
CARLOTTA: (half to herself.) Christine Daaé? 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...
ANDRÉ: It appears we have no choice.
CARLOTTA: (unable to contain herself any longer, points accusingly.) She's the one behind this! Christine Daaé!
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 Daaé, surely...
ANDRÉ: 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!
ANDRÉ: 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 GIRY 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.)
...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 Daaé...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...
ANDRÉ: We're listening...
FIRMIN: Go on...
RAOUL: We shall play his game-perform his work-but remember we hold the ace...For, if Miss Daaé sings, he is certain to attend...
ANDRÉ: (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/ANDRÉ/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!
ANDRÉ: I'm not so sure...
FIRMIN: Not if it works...
GIRY: This is madness!
ANDRÉ: 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/ANDRÉ/FIRMIN: Help us!
GIRY: I wish I could...
RAOUL/ANDRÉ/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 ANDRÉ and FIRMIN.) But messieurs, be careful-we have seen him kill...
ANDRÉ/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 Daaé!
RAOUL: This is his undoing!
ANDRÉ/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!
ANDRÉ: (to FIRMIN.) If Christine sings we'll get our man...
PIANGI: She is crazy! She is raving!
FIRMIN: (to ANDRÉ.) If Christine helps us in this plan...
RAOUL: Say your prayers, black angel of death!
CHRISTINE: (vainly pleading amidst the tumult.) Please don't...
ANDRÉ: (to FIRMIN.) If Christine won't, then no one can...
GIRY: (to RAOUL.) Monsieur, I beg you, do not do this...
PIANGI/CARLOTTA: Gran Dio! Che imbroglio!
ANDRÉ/FIRMIN: This will seal his fate!
CHRISTINE: (bursting through the hubbub with a great cry.) If you don't stop, I'll go mad!!! (to RAOUL, pleading.) Raoul, I'm frightened-don't make me do this...Raoul, it scares me-don't put me through this ordeal by fire...he'll take me, I know... we'll be parted for ever...he won't let me go... What I once used to dream I now dread...if he finds me, it won't ever end...and he'll always be there, singing songs in my head... He'll always be there, singing songs in my head...
(ALL stare at her.)
CARLOTTA: She's mad...
RAOUL: (to CHRISTINE.) You said yourself he was nothing but a man...yet while he lives, he will haunt us till we're dead...
(CHRISTINE turns away, unhappily.)
CHRISTINE: Twisted every way, what answer can I give? Am I to risk my life, to win the chance to live? Can I betray the man, who once inspired my voice? Do I become his prey? Do I have any choice? He kills without a thought, he murders all that's good...I know I can't refuse, and yet, I wish I could...Oh God-if I agree, what horrors wait for me in this, the Phantom's opera...?
RAOUL: (to CHRISTINE, very tenderly.) Christine, Christine, don't think that I don't care-but every hope and every prayer rests on you now...
(CHRISTINE, overcome by her conflicting emotions, turns away and hurries out. RAOUL strides forward and addresses an imaginary PHANTOM.)
RAOUL: So, it is to be war between us! But this time, clever friend, the disaster will be yours!
(As lights fade, ATTENDANTS stretch a red, velvet rope across the downstage area. OTHERS bring on gilt chairs. CARLOTTA, PIANGI and GIRY move downstage to take their places for the next scene.)
SCENE 4
A REHEARSAL FOR 'DON JUAN TRIUMPHANT'
(REYER supervises the learning of the new piece from the piano. Present are PIANGI, CHRISTINE, CARLOTTA, GIRY and CHORUS.)
CHORUS: Hide your sword now, wounded knight! Your vain, glorious 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! Chorus - rest 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 makes 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 to restore order.) Ladies...Signor Piangi...if you please...
(REYER thumps the piano keys, then leaves the piano, and attempts to attract attention using signals. At the height of the mayhem, the piano suddenly begins to demonstrate the music unaided. It plays with great force and rhythm. ALL fall silent and freeze, then suddenly start to sing the piece robotically and accurately. As they continue to sing, CHRISTINE moves away from the group.)
ALL EXCEPT CHRISTINE: Poor young maiden! For the thrill on your tongue of stolen sweets you will have to pay the bill - tangled in the winding sheets!
(As the ENSEMBLE becomes background, CHRISTINE, transfixed, sings independently.)
CHRISTINE: In sleep he sang to me, in dreams he came...That voice which calls to me and speaks my name...
(The scene begins to change. Trance-like, CHRISTINE moves slowly upstage. We hear the distant sound of bells.)
Little Lotte thought of everything and nothing...Her father promised her that he would send her the Angel of Music... Her father promised her...Her father promised her...
SCENE 5
A GRAVEYARD
(A mausoleum with hanging moss. In the center 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
Nor more gazing across the wasted years
Help me say goodbye.
(The PHANTOM emerges from behind the cross.)
PHANTOM: (very soft and enticing.) Wandering child...so lost...so helpless...yearning for my guidance...
(Bewildered, CHRISTINE looks up, and murmurs breathlessly.)
CHRISTINE: Angel...or father...friend...or Phantom...? Who is it there, staring...?
PHANTOM: (more and more hypnotic.) Have you forgotten your Angel...?
CHRISTINE: Angel...oh, speak...What endless longings echo in this whisper...!
(RAOUL appears in the shadows and watches for a moment, transfixed.)
PHANTOM: (now drawing CHRISTINE towards him.) Too long you've wandered in winter...
RAOUL: (to himself, a murmur.) Once again she is his...
PHANTOM: Far from my far-reaching gaze...
RAOUL: Once again she returns...
CHRISTINE: (increasingly mesmerized.) Wildly my mind beats against you...
PHANTOM: You resist...
PHANTOM/CHRISTINE: Yet your/the soul obeys...
RAOUL: ...to the arms of her angel...angel or demon...still he calls her... luring her back, from the grave...angel or dark seducer...? Who are you, strange angel...?
PHANTOM: Angel of Music! You denied me, turning from true beauty... Angel of Music! Do not shun me...Come to your strange Angel...
CHRISTINE: Angel of Music! I denied you, turning from true beauty... Angel of Music! My protector...Come to me, strange Angel...
(CHRISTINE moves towards the figure of the PHANTOM.)
PHANTOM: (beckoning her.) I am your Angel of Music...Come to me: Angel of Music...
RAOUL: (suddenly calling out.) Angel of darkness! Cease this torment!
(Inexorably, the PHANTOM continues to beckon CHRISTINE.)
PHANTOM: I am your Angel of Music...Come to me: Angel of Music...
RAOUL: (in desperation.) Christine! Christine, listen to me! Whatever you may believe, this man...this thing... is not your father! (to the PHANTOM.) Let her go! For God's sake, let her go! Christine!
(Coming out of her trance, CHRISTINE turns and mouths the word.)
CHRISTINE: Raoul, no...
(She runs 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.)
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 MARSHALS in tin helmets. A worklight on a stand illuminates them. Also present are RAOUL, ANDRÉ and FIRMIN, supervising the proceedings, and a MARKSMAN, at present hidden in the pit.)
CHIEF: You understand your instructions?
FIREMEN: (several.) 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, ANDRÉ?
ANDRÉ: 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 Daaé sing?
RAOUL: Don't worry, FIRMIN, ANDRÉ?
ANDRÉ: 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 round 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 time comes!
MARKSMAN: But, Monsieur le Vicomte...
(The PHANTOM'S VOICE cuts in, filling the building. All look up.)
PHANTOM'S VOICE: No 'buts'! For once, Monsieur Le Vicomte is right...Seal my fate tonight - I hate to have to cut the fun short, but the joke's wearing thin...Let the audience in...Let my opera begin!
SCENE 7
'DON JUAN TRIUMPHANT'
(The set of the final scene of 'Don Juan Triumphant'. A huge hall with an arch. Behind the arch, which has curtains, is a bed, a fine table, laid for two. PASSARINO, DON JUAN'S servant, is directing the STAFF as they make the room ready. They are a crowd of sixteenth century ruffians and hoydens, proud of their master's reputation as a libertine.)
CHORUS: Here the sire may serve the dam, here the master takes his meat! Here the sacrificial lamb utters one despairing bleat!
CARLOTTA AND CHORUS: Poor young maiden! For the thrill on your tongue of stolen sweets you will have to pay the bill - tangled in the winding sheets! Serve the meal and serve the maid! Serve the master so that, when tables, plans and maids are laid, Don Juan triumphs once again!
(SIGNOR PIANGI, as Don Juan, emerges from behind the arch. MEG, a gypsy dancer pirouettes coquettishly for him. He throws her a purse. She catches it and leaves.)
DON JUAN: Passarino, faithful friend, once again recite the plan.
PASSARINO: Your young guest believes I'm you - I, the master, you, the man.
DON JUAN: When you met you wore my cloak, with my scarf you hid your face. She believes she dines with me, in her master's borrowed place! Furtively, we'll scoff and quaff, stealing what, in truth, is mine. When it's late and modesty starts to mellow, with the wine...
PASSARINO: You come home! I use your voice - slam the door like crack of doom!
DON JUAN: I shall say: 'come - hide with me! Where, oh, where? Of course - my room!'
PASSARINO: Poor thing hasn't got a chance!
DON JUAN: Here's my hat, my cloak and sword. Conquest is assured, if I do not forget myself and laugh...
(DON JUAN puts on PASSARINO'S cloak and goes into the curtained alcove where the bed awaits. Although we do not yet know it, the Punjam 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!'
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 defenses, 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, defenseless 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 passions-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 realized 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 garroted, 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: ANDRÉ, FIRMIN, RAOUL, GIRY, CARLOTTA and MEG.)
CARLOTTA: What is it? What has happened? Ubaldo!
ANDRÉ: Oh, my God...my God...
FIRMIN: We're ruined, ANDRÉ - 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 ANDRÉ.) 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 were they are.
RAOUL: But can I trust you?
GIRY: You must. But remember, your hand at the level of your eyes!
RAOUL: But why...?
GIRY: Why? The Punjab lasso, monsieur. First Buquet. Now Piangi.
MEG: (holding up her hand.) Like this, monsieur. I'll come with you.
GIRY: No, Meg! No, you stay here! (to RAOUL.) Come with me, monsieur. Hurry, or we shall be too late...
SCENE 8
THE LABYRINTH UNDERGROUND
(Meanwhile, down below, we see the PHANTOM and CHRISTINE in the boat, crossing the underground lake.)
PHANTOM: (furiously propelling the boat onwards.) Down once more to the dungeon of my black despair! Down we plunge to the prison of my mind! Down that path into darkness deep as hell! (He rounds on her, bitterly.) Why, you ask, was I bound and chained in this cold and dismal place? Not for any mortal sin, but the wickedness of my abhorrent face!
(He hears the offstage voices of the pursuing MOB.)
MOB: (offstage.) Track down this murderer! He must be found!
PHANTOM: (moving off again.) Hounded out by everyone! Met with hatred everywhere! No kind word from anyone! No compassion anywhere! Christine, Christine...Why, why....?
(RAOUL and GIRY appear above. They make their way down, meeting a pack of rats. GIRY screams and lowers her guard. The rats and the RATCHATCHER pass them. GIRY raises her hand again.)
GIRY: Your hand at the level of your eyes!
RAOUL: ...at the level of your eyes...
MOB: (offstage.) Your hand at the level of your eyes!
GIRY: He lives across the lake, monsieur. This is as far as I dare go.
RAOUL: Madame Giry, thank you.
(She turns to go back up the slope. RAOUL looks at the water. He removes his coat and plunges in. The MOB appears at the top of the slope. They come down to the lake edge, their torches flickering.)
MOB: Track down this murderer - He must be found! Hunt out this animal, who runs to ground! Too long he's preyed on us - but now we know: the Phantom of the Opera is there, deep down below... He's here: the Phantom of the Opera...
(They turn back up the slope. Perhaps there is another way in. The gate to the lair descends, as the rest of the lair appears.)
SCENE 9
BEYOND THE LAKE
(The dummy of CHRISTINE 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 takes the bridal veil from the dummy, and moves slowly 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: (dryly.) Be my guest, sir...(He gestured, 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.)
PHANTOM: (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: (to CHRISTINE.) To late for turning back, too late for prayers and useless pity...
RAOUL: (to CHRISTINE.) Say you love him, and my life is over!
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 your 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 takes a lighted candle and holds it above RAOUL'S head. A tense moment. But the suspended rope suddenly falls harmlessly - the PHANTOM as burnt the thread by which the noose was held. Resigned, he addresses RAOUL, as we hear the offstage voices of the approaching MOB.)
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...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 her - 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 you face, so the world will never find you...
(CHRISTINE re-enters and walks slowly towards him. She takes off her ring and gives it to the PHANTOM.)
PHANTOM: Christine, I love you...
(She hurries off. The PHANTOM puts the ring on his finger.)
CHRISTINE: (In the distance, to RAOUL, as the boat pulls away in the shadow.) Say you'll share with me, one love, one lifetime...say the word and I will follow you...
RAOUL: Share each day with me...
CHRISTINE: ...each night...
BOTH: ...each morning...
PHANTOM: (looking after her.) You alone can make my song take flight - its over now, the music of the night...
(The PHANTOM walks slowly towards the throne. He takes his place on it, sitting on his cloak. The MOB including MEG, appears above, climbing down the portcullis. As the MOB enters the lair, the PHANTOM wraps his cloak around himself and disappears. MEG crosses to the throne and picks up his mask in her small hand.)
END OF ACT TWO
FINIS
