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The Phantom of the Opera
By Andrew Lloyd Weber
Lyrics by Charles Hart
ACT TWO - Six Months Later
THE STAIRCASE OF THE OPERA HOUSE
(A gauze half conceals the tableau of guests at the
opera ball. The guests (whom we cannot yet see
clearly) are in fancy dress, a peacock, a lion, a
dragon, Mephistopheles, a highwayman, a clown,
knights, ladies, an executioner. M. ANDRE enters.
He is dressed as a skeleton in an opera cape. Almost
immediately M. FIRMIN arrives.He is also dressed
as a skeleton in an opera cape. The two skeletons see
each other and approach nervously)
ANDRE
M'sieur Firmin?
FIRMIN
M'sieur Andre?
(Each raises his mask to the other. They recognise each
other.)
FIRMIN
Dear Andre
what a splendid party!
ANDRE
The prologue
to a bright new year!
FIRMIN
Quite a night!
I'm impressed!
FIRMIN
Well, one does
one's best . . .
ANDRE/FIRMIN (raising their glasses)
Here's to us!
FIRMIN
I must say, all the same, that
it's a shame that 'Phantom'
fellow isn't here!
(The gauze lifts fully to reveal the staircase of the
opera house. The opera ball begins. Among the
GUESTS are four carrying strange percussion
instruments: a monkey with cymbals, a toy soldier
with a drum, a triangle, bells. Together they play
weirdly throughout)
CHORUS
Masquerade!
Paper faces on parade . . .
Masquerade!
Hide your face,
so the world will
never find you!
Masquerade!
Every face a different shade . . .
Masquerade!
Look around -
there's another
mask behind you!
Flash of mauve . . .
Splash of puce . . .
Fool and king . . .
Ghoul and goose . . .
Green and black . . .
Queen and priest . . .
Trace of rouge . . .
Face of beast . . .
Faces . . .
Take your turn, take a ride
on the merry-go-round . . .
in an inhuman race . . .
Eye of gold . . .
Thigh of blue . . .
True is false . . .
Who is who . . .?
Curl of lip . . .
Swirl of gown . . .
Ace of hearts . . .
Face of clown . . .
Faces . . .
Drink it in, drink it up,
till you've drowned
in the light . . .
in the sound . . .
RAOUL/CHRISTINE
But who can name the face . . .?
ALL
Masquerade!
Grinning yellows,
spinning reds . . .
Masquerade!
Take your fill -
let the spectacle
astound you!
Masquerade!
Burning glances,
turning heads . . .
Masquerade!
Stop and stare
at the sea of smiles
around you!
Masquerade!
Seething shadows
breathing lies . . .
Masquerade!
You can fool
any friend who
ever knew you!
Masquerade!
Leering satyrs,
peering eyes . . .
Masquerade!
Run and hide -
but a face will
still pursue you!
(The ENSEMBLE activity becomes background, as
ANDRE, FIRMIN, MEG, GIRY, PIANGI and CARLOTTA
come to the fore, glasses in hand)
GIRY
What a night
MEG
What a crowd!
ANDRE
Makes you glad!
FIRMIN
Makes you proud!
All the creme
de la creme!
CARLOTTA
Watching us watching them!
MEG/GlRY
And all our fears
are in the past!
ANDRE
Six months...
PIANGI
Of relief!
CARLOTTA
Of delight!
ANDRE/FIRMIN
Of Elysian peace!
MEG/GIRY
And we can breathe at last!
CARLOTTA
No more notes!
PIANGI
No more ghost!
GIRY
Here's a health!
ANDRE
Here's a toast:
to a prosperous year!
FIRMIN
To the new chandelier!
PIANGI/CARLOTTA
And may its
splendour never fade!
FIRMIN
Six months!
GIRY
What a joy!
MEG
What a change!
FIRMIN/ANDRE
What a blessed release!
ANDRE
And what a masquerade!
(They clink glasses and move off RAOUL and
CHRISTINE emerge. She is admiring a new acquisition:
an engagement ring from RAOUL, which she has
attached to a gold chain around her neck.)
CHRISTINE
Think of it!
A secret engagement!
Look - your future bride!
Just think of it!
RAOUL
But why is it secret?
What have we to hide?
CHRISTINE
Please, let's not fight . . .
RAOUL
Christine, you're free!
CHRISTINE
Wait till the time is right . . .
RAOUL
When will that be?
It's an engagement,
not a crime!
Christine,
What are you
afraid of?
CHRISTINE
Let's not argue . . .
RAOUL
Let's not argue . . .
CHRISTINE
Please pretend . . .
RAOUL
I can only hope I'll . . .
CHRISTINE
You will . . .
BOTH
. . . understand
in time . . .
(Dance section, in which CHRISTINE, almost
coquettish almost jittery, goes from man to man. But too
many of her partners seem to be replicas of the
PHANTOM, and each spins her with increasing force.
Eventually RAOUL rescues her and holds her tightly. He
whirls her back into the dance, as the music heads
towards its climax.)
ALL
Masquerade!
Paper faces on parade!
Masquerade!
Hide your face,
so the world will
never find you!
Masquerade!
Every face a different shade!
Masquerade!
Look around -
There's another
mask behind you!
Masquerade!
Burning glances,
turning heads . . .
Masquerade!
Stop and stare
at the sea of smiles
around you!
Masquerade!
Grinning yellows,
spinning reds . . .
Masquerade!
Take your fill -
let the spectacle
astound you!
(At the height of the activity a grotesque figure suddenly
appears at the lop of the staircase. Dressed all in
crimson, with a death's head visible inside the hood of
his robe, the PHANTOM has come to the party. With
dreadful wooden steps he descends the stairs and takes the
centre of the stage)
PHANTOM
Why so silent, good messieurs?
Did you think that I had left you for good?
Have you missed me, good messieurs?
I have written you an opera!
(He takes from under his robe an enormous bound
manuscript)
Here I bring the finished score -
"Don Juan Triumphant" !
(He throws it to ANDRE)
I advise you
to comply -
my instructions
should be clear -
Remember
there are worse things
than a shattered chandelier . . .
(CHRISTlNE, mesmerized, approaches as the
PHANTOM beckons her. He reaches out, grasps the
chain that holds the secret engagement ring, and rips it
from her throat)
Your chains are still mine -
you will sing for me!
(ALL cower in suspense as the music crescendos, until
suddenly, his figure evaporates)
(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 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 .an call
this gibberish "art" !
(RAOUL and CHRISTINE enter: CARLOTTA bristles)
CARLOTTA (dryly)
Ah! Here's our little flower!
FIRMIN
Ah Miss Daae
quite the lady
of the hour!
ANDRE (explaining)
You have
secured the largest role
in this "Don Juan".
CARLOTTA (half to herself)
Christine Daae?
She doesn't have
the voice!
FIRMIN (hearing this, to CARLOTTA)
Signora, please!
RAOUL (to the MANAGERS)
Then I take it
you're agreeing.
CARLOTTA (aside)
She's behind this . . .
ANDRE
It appears we have
no choice.
CARLOTTA (unable to contain herself any longer,
points accusingly)
She's the one
behind this!
Christine Daae!
CHRISTINE (who has been silent till now, incensed at
this)
How dare you!
CARLOTTA
I'm not a fool!
CHRISTINE
You evil woman!
How dare you!
CARLOTTA
You think I'm blind?
CHRISTINE
This isn't my fault!
I don't want any
part in this plot!
FIRMIN
Miss Daae, surely . . .
ANDRE
But why not?
PIANGI (baffled, to CARLOTTA)
What does she say?
FIRMIN (reasonably)
It's your decision -
(Suddenly rounding on her)
But why not?
CARLOTTA (to PIANGI)
She's backing out!
ANDRE
You have a duty!
CHRISTINE
I cannot sing it,
duty or not!
RAOUL (comforting)
Christine . . .
Christine . . .
You don't have to . . .
they can't make you . . .
(MEG and GlRY arrive, the latter bearing another note
from the PHANTOM)
GIRY
Please, monsieur:
another note.
(The MANAGERS gesture: "read it". As she reads, ALL
react variously, as they are singled out)
GIRY
"Fondest greetings
to you all !
A few instructions
just before
rehearsal starts:
Carlotta must be
taught to act . . . ,"
(The PHANTOM'S voice gradually takes over
from her)
PHANTOM'S VOICE
. . . not her normal trick
of strutting round the stage.
Our Don Juan must
lose some weight -
it's not healthy in
a man of Piangi's age.
And my managers
must learn
that their place is in
an office, not the arts.
As for Miss Christine Daae . . .
No doubt she'll
do her best - it's
true her voice is
good. She knows, though,
should she wish to excel
she has much still
to learn, if pride will
let her
return to me, her
teacher,
her teacher . . .
Your obedient friend . . .
(The PHANTOM'S voice fades out and GIRY takes over)
GIRY
". . . and Angel . . ."
(Attention now focuses on RAOUL whose eyes are
suddenly bright with a new thought)
RAOUL
We have all been
blind - and yet the
answer is staring us
in the face . . .
This could be the
chance to ensnare our
clever friend . . .
ANDRE
We're listening . . .
FIRMIN
Go on.
RAOUL
We shall play his
game - perform his
work - but remember we
hold the ace . . .
For, if Miss Daae
sings, he is certain
to attend . . .
ANDRE (carried along by the idea)
We make certain
the doors are barred . . .
FIRMIN (likewise)
We make certain
our men are there . . .
RAOUL
We make certain
they're armed . . .
RAOUL/ANDRE/FIRMIN (savouring their victory)
The curtain falls -
his reign will end!
(ALL have been listening intently. GIRY is the first to
express a reaction. CHRISTINE remains silent and
withdrawn)
GIRY
Madness!
ANDRE
I'm not so sure . . .
FIRMIN
Not if it works . . .
GIRY
This is madness!
ANDRE
The tide will turn!
GIRY
Monsieur, believe me -
there is no way of
turning the tide!
FIRMIN (to GIRY)
You stick to ballet!
RAOUL (rounding on GIRY)
Then help us!
GIRY
Monsieur, I can't . . .
RAOUL
Instead of warning us . . .
RAOUL/ANDRE/FIRMIN
Help us!
GIRY
I wish I could . . .
RAOUL/ANDRE/FIRMIN
Don't make excuses!
RAOUL
Or could it be that
you're on his side?
GIRY (to RAOUL)
Monsieur, believe me,
I intend no ill . . .
(to ANDRE and FIRMIN)
But messieurs, be careful -
we have seen him kill . . .
ANDRE/FIRMIN (to GIRY)
We say he'll fall
and fall he will!
CARLOTTA
She's the one behind this!
Christine!
This is all her doing!
PIANGI
This is the truth!
Christine Daae!
RAOUL
This is his undoing!
ANDRE/FIRMIN (to RAOUL)
If you succeed
you free us all -
this so called "angel"
has to fall!
RAOUL
Angel of music,
fear my fury -
Here is where you fall!
GIRY (to RAOUL)
Hear my warning!
Fear his fury!
CARLOTTA
What glory can
she hope to gain?
It's clear to all
the girl's insane!
ANDRE (to FIRMIN)
Christine sings
We'll get our man . . .
PIANGI
She is crazy!
She is raving!
FIRMIN (to ANDRE)
If Christine helps
us in this plan . . .
RAOUL
Say your prayers,
black angel of death!
CHRISTINE (vainly pleading amidst the tumult)
Please don't . . .
ANDRE (to FIRMIN)
If Christine won't,
then no-one can . . .
GIRY (to RAOUL)
Monsieur, I beg you,
do not do this . . .
PIANGI/CARLOTTA
Gran Dio!
Che imbroglio!
ANDRE/FIRMIN
This will seal his fate!
CHRISTINE (bursting through the hubbub with a
great cry)
If you don't stop,
I'll go mad! ! !
(to RAOUL, pleading)
Raoul, I'm frightened -
don't make me do this . . .
Raoul, it scares me -
don't put me through this
ordeal by fire . . .
he'll take me, I know . . .
we'll be parted for ever . . .
he won't let me go . . .
What I once used to dream
I now dread . . .
if he finds me, it won't
ever end . . .
and he'll always be there,
singing songs in my head . . .
he'll always be there,
singing songs in my head . . .
(ALL stare at her)
CARLOTTA
She's mad . . .
RAOUL (to CHRISTINE)
You said yourself
he was nothing
but a man . . .
Yet while he lives,
he will haunt us
till we're dead . . .
(CHRISTINE turns away unhappily)
CHRISTINE
Twisted every way,
what answer can I give?
Am I to risk my life,
to win the chance to live?
Can I betray the man
who once inspired my voice?
Do I become his prey?
Do I have any choice?
He kills without a thought,
he murders all that's good . . .
I know I can't refuse
and yet, I wish I could . . .
Oh God - if I agree,
what horrors wait for me
in this, the Phantom's opera . . .?
RAOUL (to CHRISTINE, very tenderly)
Christine, Christine,
don't think that I don't care -
but every hope
and every prayer
rests on you now . . .
(CHRISTINE, overcome by her conflicting emotions
turns away and hurries out. RAOUL strides forward and
addresses an imaginary PHANTOM)
RAOUL
So, it is to be war between us! But this time, clever
friend, the disaster will be yours!
(As lights fade, ATTENDANTS stretch a red, velvet rope
across the downstage area. OTHERS bring on gilt chairs.
CARLOTTA PIANGI and GIRY move downstage to take
their places for the next scene)
(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 barnQ
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/CHRISTINE
Yet your/the soul
obeys . . .
RAOUL
. . . to the arms
of her angel . . .
angel or demon . . .
still he calls her . . .
luring her back, from the grave . . .
angel or dark seducer . . .?
Who are you, strange
angel . . .?
PHANTOM
Angel of Music!
You denied me,
turning from true beauty . . .
Angel of Music!
Do not shun me . . .
Come to your strange
Angel . . .
CHRISTINE
Angel of Music!
I denied you,
turning from true beauty . . .
Angel of Music!
My protector . . .
Come to me, strange
Angel . . .
(CHRISTINE moves towards the figure of the
PHANTOM)
PHANTOM (beckoning her)
I am your Angel of Music . . .
Come to me: Angel of Music . . .
RAOUL (suddenly calling out)
Angel of darkness!
Cease this torment!
(Inexorably the PHANTOM continues to beckon
CHRISTINE)
PHANTOM
I am your Angel of Music . . .
Come to me: Angel of Music . . .
RAOUL (in desperation)
Christine! Christine listen to me!
Whatever you may believe, this man . . .
this thing . . . is not your father!
(to the PHANTOM)
Let her go! For God's sake, let her go! Christine !
(Coming out of her trance CHRISTINE turns and
mouths the words):
CHRISTINE
Raoul . . .
(She turns lo RAOUL who embraces her protectively.
The PHANTOM freezes for a moment and then suddenly
seizes a pike upon which is impaled a skull. At a
movement from him a flash of fire streaks from the
gaping mouth of the skull and lands at RAOUL's feet)
PHANTOM
Bravo, monsieur!
Such spirited words!
(Another fireball)
RAOUL
More tricks, monsieur?
PHANTOM
Let's see, monsieur
how far you dare go!
(Another fireball)
RAOUL
More deception? More violence?
CHRISTINE (to RAOUL)
Raoul, no . . .
(RAOUL has begun to walk slowly and resolutely
towards the PHANTOM the fireballs always landing
just ahead of him)
PHANTOM
That's right, that's right,
monsieurQ
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)
THE OPERA HOUSE ON THE NIGHT OF THE
PREMIERE OF "DON JUAN TRIUMPHANT''
(The orchestra is tuning. A whistle soundsQthe
CHIEF FIRE OFFICER is reviewing two FIRE
MARSHALLS in tin helmets. A worklight on a
stand illuminates them. Also present are RAOUL,
ANDRE and FIRMIN, supervising the proceedings, and a
MARKSMAN, at present hidden in the pit)
CHIEF
You understand your instructions?
FIREMEN (severally)
Sir!
CHIEF
When you hear the whistle, take up your positions.
I shall then instruct you to secure the doors. It is
essential that all doors are properly secured.
FIRMIN'
Are we doing the right thing, Andre?
ANDRE
Have you got a better idea?
CHIEF
Monsieur le Vicomte, am I to give the order?
RAOUL
Give the order.
(The CHIEF blows his whistle. The FIREMEN fan
out, leaving RAOUL, the CHIEF and the
MANAGERS on stage)
RAOUL (to the MARKSMAN)
You in the pit - do you have a clear view of this
box?
MARKSMAN (appearing from the pit)
Yes, sir.
RAOUL
Remember, when the time comes, shoot. Only if
you have to - but shoot. To kill.
MARKSMAN
How will I know, sir?
RAOUL
You'll know.
FIRMIN
Monsieur le Vicomte, are you confident that this
will work? Will Miss Daae sing?
RAOUL
Don't worry, Firmin. Andre?
ANDRE
We're in your hands, sir.
CHIEF
My men are now in position, sir.
RAOUL
Go ahead, then.
(Sounding his whistle again, the CHIEF shouts
into the auditorium):
CHIEF
Are the doors secure?
(Exit doors are slammed all over the building, The
FIREMEN answering one by one: "Secure."'
The orchestra falls silent. Very quietly from
nowhere, we hear the VOICE of the PHANTOM)
PHANTOM'S VOICE
I'm here: The Phantom of the Opera . . .
(ALL look around apprehensively. FIREMEN start to run
in the direction of the VOICE)
PHANTOM'S VOICE (from somewhere else)
I'm here: The Phantom of the Opera . . .
(Again, they follow the VOICE. This happens several
times, the PHANTOM'S VOICE darting more and more
bewilderingly from place to place. Finally it is heard
from Box Five, and in the confusion the
MARKSMAN fires a shot. RAOUL rounds on the
MARKSMAN furiously)
RAOUL
Idiot! You'll kill someone. I said: only when the
times comes!
MARKSMAN
But, Monsieur le Vicomte . . .
(The PHANTOM'S VOICE cuts in, filling the
building. All look up)
PHANTOM'S VOICE
No "buts"! For once, Monsieur le Vicomte is
right . . .
Seal my
fate tonight - I
hate to have to
cut the fun short
but the joke's
wearing thin . . .
Let the audience in . . .
Let my opera begin!
(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
(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.)
(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 from the dummy, and moves
slowIy towards her)
This face,
which earned
a mother's fear
and loathing . . .
A mask,
my first
unfeeling scrap
of clothing . . .
(He places the veil on her head)
Pity comes
too late -
turn around
and face your fate:
an eternity of this
before your eyes!
(They are almost touching. She looks calmly and coldly
into his face)
CHRISTINE
This haunted face
holds no horror
for me now . . .
It's in your soul
that the true
distortion lies . . .
(The PHANTOM suddenly senses RAOUL'S presence.
Behind the portcullis, RAOUL climbs out of the water)
PHANTOM
Wait! I think, my dear,
we have a guest!
(to RAOUL)
Sir, this is indeed
an unparalleled delight!
I had rather hoped
that you would come.
And now my wish comes true -
you have truly made my night!
RAOUL (pleading, grasping the bars of the gate)
Free her!
Do what you like
only free her!
Have you no pity?
PHANTOM (to CHRISTINE, dryly)
Your lover makes
a passionate plea!
CHRISTINE
Please, Raoul, it's useless . . .
RAOUL
I love her!
Does that mean nothing?
I love her!
Show some compassion . . .
PHANTOM (snarls furiously at RAOUL)
The world showed no
compassion to me!
RAOUL
Christine . . .
Christine . . .
(to PHANTOM)
Let me see her . . .
PHANTOM (drily)
Be my guest, sir . .
(He gestures, and the fence rises. RAOUL enters)
Monsieur, I
bid you welcome!
Did you think that
I would harm her?
Why should I make
her pay
for the sins which
are yours?
(So saying, he takes the Punjab lasso and, before RAOUL
has a chance to move, catches him by the neck. The end
of the rope, of which the PHANTOM has let go, remains
magically suspended in mid-air)
(taunting)
Order your fine horses now!
Raise up your hand to the level of your eyes!
Nothing can save you now -
except perhaps Christine . . .
(He turns to her)
Start a new life with me -
Buy his freedom with your love!
Refuse me, and you send your lover to his
death!
This is the choice -
This is the point of no return!
CHRISTINE (to the PHANTOM)
The tears I might have shed
for your dark fate
grow cold, and turn to tears
of hate . . .
RAOUL (despairing)
Christine, forgive
me please forgive me . . .
I did it all
for you, and all for
nothing . . .
CHRISTINE (looking at the PHANTOM but to
herself)
Farewell
my fallen idol
and false friend . . .
One by one
I've watched
illusions shattered . . .
PHANTOM
Past all hope
of cries for help:
no point in fighting -
RAOUL
Either way
you choose,
he has to win . . .
PHANTOM
For either way
you choose,
you cannot win!
So, do you end
your days with me,
or do you send
him to his grave?
RAOUL (to PHANTOM)
Why make her lie
to you, to save
me?
CHRISTINE
Angel of Music . . .
PHANTOM
Past the point
of no return -
RAOUL
For pity's sake,
Christine, say no!
CHRISTINE
. . . why this torment?
PHANTOM
. . . the final threshold . . .
RAOUL
Don't throw your life
away for my sake . . .
CHRISTINE
When will you see
reason . . .?
PHANTOM
His life is now the prize
which you must earn!
RAOUL
I fought so hard
to free you . . .
CHRISTINE
Angel of Music . . .
PHANTOM
You've passed the point
of no return . . .
CHRISTINE
. . . you deceived me -
I gave my mind
blindly . . .
PHANTOM (to CHRISTINE)
You try my patience -
make your choice!
(She reflects for a moment, then with resolution moves
slowly towards the PHANTOM)
CHRISTINE (quietly at first, then with growing
emotion)
Pitiful creature
of darkness . . .
What kind of life
have you known . . .?
God give me courage
to show you
you are not
alone . . .
(Now calmly facing him, she kisses him long and full on
the lips. The embrace lasts a long time. RAOUL watches
in horror and wonder.
The PHANTOM lakes a lighted candle and holds it
above RAOUL's head. A tense moment. But the
suspended rope suddenly falls harmlessly - the
PHANTOM has burned the thread by which the noose was
held. Resigned, he addresses RAOUL, as we hear the
offstage voices of the approaching MOB)
MOB
Some:
Track down this
murderer -
he must be found!
Hunt out this
animal,
who runs to ground!
Too long he's
preyed on us -
but now we know:
the Phantom of the Opera
is there
deep down below . .
Others:
Who is this monster,
this murdering beast?
Revenge for Piangi!
Revenge for Buquet!
This creature
must never go free . . .
PHANTOM
Take her - forget me - forget all of this . . .
Leave me alone - forget all you've seen . . .
Go now - don't let them find you!
Take the boat - leave me here - go now,
don't wait . . .
Just take her and go - before it's too late . . .
Go . . .
Go now - go now and leave me!
(RAOUL and CHRISTINE move off towards the boat.
The PHANTOM looks mockingly at his mask. The
musical box starts up magically, and he listens to it)
Masquerade . . .
Paper faces on parade . . .
Masquerade . . .
Hide your face
so the world will
never find you . . .
(CHRISTINE re-enters and walks slowly towards him.
She takes off her ring and gives it to the PHANTOM)
PHANTOM
Christine, I love you . . .
(She hurries off The PHANTOM puts the ring on his
finger)
CHRISTINE (In the distance, to RAOUL, as the boat
pulls away in the shadow)
Say you'll share with
me, one
love, one lifetime . . .
say the word
and I will follow you . .
RAOUL
Share each day with me . . .
CHRISTINE
. . . each night . . .
BOTH
. . . each morning . . .
PHANTOM (looking after her)
You alone
can make my song take flight -
it's over now, the music of the night . . .
(The PHANTOM walks slowly towards the throne. He
takes his place on it, sitting on his cloak.
The MOB including MEG, appears above, climbing
down the portcullis. As the MOB enters the lair, the
PHANTOM wraps his cloak around himself and
disappears.
MEG crosses to the throne and picks up his mask in her
small hand)
END OF ACT TWO
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