Phantom Draft

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Cue
CHARACTERS
PRINCIPAL AND FEATURED
The Phantom - a composer and magician known as the Opera Ghost (baritone/tenor)
High baritone with a contemporary sound.
Able to sustain top G# with ease in full voice and top C# in falsetto.
Christine Daae - a chorus girl
A beautiful lyric soprano.
Range from G below middle C to top E.
Raoul, Vicomte de Chagny - young, aristocratic man, childhood sweetheart of Christine
Contemporary tenor voice up to top G.
Carlotta Giudicelli - Middle aged coloratura soprano, the archetypal Diva

Range of middle C to top E.
Ubaldo Piangi - Middle aged operatic tenor, companion to Carlotta
Range to top C.
Monsieur Firmin - One of two theatre managers - the hard money man
A baritone with top E/F.
Monsieur Andre - The other manager - charming with an artistic temperament
High baritone/tenor with a lyric quality, to top G with ease.
Madame Giry - the ballet Mistress (mezzo-soprano)

Mezzo soprano to top Bb with no discernable break between head and chest
Meg Giry - Madame Giry's daughter, member of the ballet chorus, Christine's best friend
A young petite ballet dancer with a good head voice. Needs strong classical dance technique and
excellent pointe work.
Solo singing range to D. The Act One septet ("Notes/Prima Dona') requires a G above that.
ENSEMBLE CHARACTERS
Strong, trained singing voices, able to contribute to an operatic choral sound.
Joseph Buquet - Middle aged to elderly "Character Man." Chief flyman of the "Opera Populaire".
Bass but required to go to E.
Auctioneer (Baritone)
Madame Firmin (Mezzo soprano)
Monsieur Reyer - the chief repetiteur/director of the Paris Opera (spoken role)
Monsieur Lefevre - the previous owner of the Opera (spoken role)
Porter/Marksman/Fop (in "Il Muto")*
Don Attilo (in "Il Muto")/Passarino*
Slave Master (in "Hannibal")
Flunky/Stagehand*
Policeman
Page 1 & 2 (in "Don Juan Triumphant")
Porter/Chief Fire Officer*
Wardrobe Mistress/ Confidante (in "Il Muto")
Princess (in "Hannibal")
Innkeepers Wife (in "Don Juan Triumphant")
Two Fire Marshals
Two Epicene Men (a hairdresser and Jeweler)
The Ballet Chorus of the Opera (Corps de Ballet) - comprising six girls-and two boys
All must have strong classical training and the girls require excellent pointe work.
Ensemble: Stagehands, Policemen, Attendants
*Original Broadway cast doubling is indicated, but these parts may be split among the ensemble.
MUSICAL SYNOPSIS
ACTI
Prologue: The Stage of the Paris Opera, 1905
"Prologue" ... . Auctioneer, Raoul & Company
"Overture" ... ... Orchestra (Instrumental)
Scene 1: The Stage of the Paris Opera, 1881 - Rehearsals for "Hannibal" By Chalumeau
"The Dress Rehearsal of Hannibal" ... . The Company
"
Think of Me" ... . Carlotta, Christine & Raoul
Scene 2: Backstage, After the Gala
"
Angel of Music" ... ..Meg, Christine & The Phantom
Scene 3: Christine's Dressing Room
"Little Lotte/The Mirror (Angel of Music)" ... . Christine & Raoul
Scene 4: The Labyrinth Underground
"The Phantom of the Opera" ... ... Christine & The Phantom
Scene 5: Beyond the Lake
"
The Music of the Night" ... . The Phantc
Beyond the Lake, The Next Morning
"I Remember" ... ..Christine
"
Stranger Than You Dreamt It" ... ... The Phantom
Scene 5A: Box Five and the Stage
"
Magical Lasso" ... .. Buquet & Mme. Giry
Scene 6: The Manager's Office
"Notes" ... . Firmin, Andre, Raoul, Carlotta, Piangi, Giry, Meg & The Phantom
"Prima Donna" ... ... Firmin, Andre, Raoul, Carlotta, Piangi, Giry & Meg
Scene 7: A Performance of "ll Muto" on the Stage of the Opera House
"Poor Fool, He Makes Me Laugh" ... .. Carlotta & Company
Scene 8: The Roof of the Opera House
"Why Have You Brought Us Here?" ... .. Raoul & Christine
"
Raoul I've Been There" ... ... Raoul & Christine
"
All I Ask of You" ... ... Raoul & Christine
"All I Ask Of You" (Reprise) ... . The Phantom
ACT II
"
Entr'Acte... . Orchestra (Instrumental
Scene 1: The Staircase of the Opera, New Year's Eve
"Masquerade" ... .. Full Compan;
"Why So Silent" ... .. The Phantom & Full Companj
Backstage (Raoul & Mme Giry) ... .. Raoul and Mme Gir;
"Notes/Twisted Every Way" ... ... Andre, Firmin, Carlotta, Piangi, Raoul
Christine, Giry & The Phanton
Scene 3: A Music Call for "Don Juan Triumphant" ... ... Christine, Piangi, Reyer
Carlotta, Giry & The Compan3

"The Phantom of the Opera (Reprise)"/"Little Lotte (Reprise)" ... ...Christine
Scene 4: A Graveyard
"Wishing You Were Somehow Here Again" ... ..Christine
"Christine Wandering Child/ Bravo, Bravo" ... .Christine, The Phantom & Raou
Scene 5: The Stage of the Opera House Before the Premiere of "Don Juan Triumphant"
Before the Premiere of "Don Juan Triumphant" ... ... Raoul, Andre, Firmin,
Fireman & The Phantoir.
Scene 6: The Stage of the Opera House
Don Juan Triumphant ... ... Carlotta, Piangi, Passarino & The Company
"The Point of No Return" ... .. Christine & The Phantom
Scene 7: On Stage, Reverse View
"Down Once More/ Track Down This Murder" ... ... Full Company
Scene 8: The Phantom's Lair... Christine, The Phantom, Raoul & the Company
I-0-1
ACT I
Prologue: The Stage of the Paris Opera, 1905
(The contents of the Opera House are being auctioned off. An AUCTIONEER, PORTERS 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 francs? Five then. Five I am bid. Six, six, do I see seven? Seven. Against you, sir, seven.
Eight. Eight once. Selling twice. Sold,
(gavel down)
.to Raoul, Vicomte de Chagny. Thank you very much. Lot 664 then ladies and gentlemen: 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 I am bid. Ten franks still. Fifteen, thank you sir. Fifteen I am bid. Going at
fifteen.
(gavel down)
Your number, Sir? Lot 665, ladies and gentlemen: a papier-mache musical box, in the shape of a barrel-
organ. Attached, the figure of a monkey in Persian robes, playing the cymbals. This item, discovered in
the vaults of the theatre, still in working order, ladies and gentlemen.
PORTER
(holding it up)
Showing here.
(He sets it in motion)
MUSIC 01: ACT I / PROLOGUE
AUCTIONEER
May I commence at twenty francs? Oh come, come, ladies and gentlemen. Fifteen, then? Fifteen I am bid,
thank you. Yes, twenty from you sir, thank you very much.
GIRY
Twenty-five.
AUCTIONEER
Twenty-five on my left, thank you madam. Twenty-five I am bid. Thirty? Selling at thirty francs, then.
Thirty once, thirty twice, sold for thirty francs. To the Vicomte de Chagny. Thank you once again, sir.
RAOUL
Boy.
(The box is handed across to RAOUL. He studies it as attention focuses on him for a moment.)
I-1-2
A COLLECTORS
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...?
AUCTIONEER
Lot 666 then, a chandelier in pieces. Some of you may recall the strange affair of the Phantom of the
opera, a mystery never fully explained. We are told, ladies and gentlemen, that this is the very chandelier
which figures in the famous disaster. Our work shops have restored it and fitted parts of it with wiring for
the new electric light, so we may get a hint of how it may look when re-assembled. Perhaps we may
frighten away the ghost of so many years ago with a little illumination, gentlemen.
(The AUCTIONEER switches on the chandelier. There is an enormous flash and the OVERTURE
begins)
MUSIC 02: ACT I / OVERTURE
(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
orchestra)
Scene 1: The Stage of the Paris Opera, 1881 - 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 DAAE. MME. GIRY is the ballet Mistress. M REYER,
the repetiteur, is in charge.)
(We join the opera towards the end of ELISSA's [CARLOITA's] great aria. She is alone, holding
a present from the approaching HANNIBAL; a bleeding severed head.)
MUSIC 03: ACT I / SCENE I (HANNIBAL) - "Dress Rehearsal For Hannibal"
CARLOTTA
(At the climax of an extravagant cadenza)
THIS TROPHY FROM OUR SAVIOURS
FROM OUR SAVIOURS
FROM THE ENSLAVING FORCE OF ROME.
CARLOTTA & CHORUS
WITH FEASTING AND DANCING AND SONG,
TONIGHT IN CELEBRATION,
I- 1 -3
WE GREET THE VICTORIOUS THRONG,
RETURNED TO BRING SALVATION!
VOICES OFFSTAGE
THE TRUMPETS OF CARTHAGE RESOUND
HEAR ROMANS NOW AND TREMBLE,
HARK TO OUR STEP ON THE GROUND!
CARLOTTA & CHORUS
HEAR THE DRUMS,
HANNIBAL COMES!
(PIANGI enters as HANNIBAL)
PIANGI
SAD TO RETURN TO FIND THE LAND WE LOVE,
THREATENED ONCE MORE BY ROMA'S FAR-REACHING GRASP.
REYER
(entering from offstage, interrupting him)
No, no, no...Signor ...if you please: "Rome". We say "Rome", not "Roma".
(A STAGEHAND carries a ladder across the stage. OTHERS are seen still constructing parts of
the scenery. Hammering and shouting is heard.)

PIANGI
Si, si. Rome, not Roma. Is veryhard for me.
I (Practicing)
Rome ...Rome.
(Enter LEFEVRE, the retiring Manager of the Opera, with M FIRMIN and M ANDRE, to whom
HE has just sold it.)
REYER
Once again, then, if you please, Signor: "Sad to return..."
LEFEVRE
(Overlapping)
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, LEFEVRE attempts to attract attention.)
Ladies and gentlemen, some of you may already, perhaps, have met M. Andre and M. Firmin...
(The new managers are politely bowing, when REYER interrupts)
REYER
I'm sorry, M. Lefevre, we ARE rehearsing. If you wouldn't mind waiting a moment ?
LEFEVRE
(Bowing apologetically)
My apologies, M. Reyer. Proceed, proceed...
I-1-4
REYER
Thank you, monsieur,
(Turning back to PIANGI)
"Sad to return...", Signor...
LEFEVRE
(Sotto voce to ANDRE and FIRMIN)
M. Reyer, our chief repetiteur, rather a tyrant, I'm afraid.
(The rehearsal continues)
PIANGI
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. LEFEVRE, ANDRE and FIRMIN stand centre-stage,
watching the ballet. THEY are in the way. The ballet continues under the following dialogue.)
LEFEVRE
(Indicating PIANGI)
Signor Piangi, our principal Tenor. He does play so well opposite La Carlotta.
GIRY
(Exasperated by their presence, bangs her cane angrily on the stage)
Gentlemen please! If you would kindly stand to one side?
LEFEVRE
My apologies, Madame Giry.
(Leading ANDRE and FIR MAN aside)
Madame Giry, our ballet-mistress. I don't mind confessing, Monsieur Firmin, I shan't be sorry to be rid of
the whole blessed business.
FIRMIN
I keep asking you, monsieur, why exactly are you retiringly?
LEFEVRE
(Ignoring this, calls his attention to the continuing ballet)
We take particular pride here in the excellence of our ballets.
(MEG becomes prominent among the DANCERS.)
ANDRE
Who's that girl, Lefevre?
LEFEVRE
Her? Meg Giry, Madame- Giry's daughter. Promising dancer, Monsieur Andre, most promising.
(CHRISTINE becomes prominent. SHE has absent-mindedly fallen out of step. GIRY, spotting
her, bangs her cane again)
GIRY
You! Christine Daae! Concentrate, girl!
MEG
(Quietly to CHRISTINE)
Christine... What's the matter?
FIRMIN
Daae? Curious name.
LEFEVRE
Swedish.
ANDRE
Any relation to the violinist?
LEFEVRE
His daughter, I believe. Always has her head in the clouds, I'm afraid.
(The ballet continues to its climax and ends. The CHORUS resumes)
CHORUS
BID WELCOME TO HANNIBAL'S GUESTS
THE ELEPHANTS OF CARTHAGE
AS GUIDES ON OUR CONQUERING QUESTS,
DIDO SENDS
HANNIBAL'S FRIENDS!
(The ELEPHANT, a life-size, mechanical replica, is wheeled on. PIANGI is lifted in triumph onto
its back.)
CARLOTTA
ONCE MORE TO MY
WELCOMING ARMS
MY LOVE RETURNS
IN SPLENDOUR! AH...
PIANGI
ONCE MORE TO THE
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!
I-1-6
(At the end of the chorus LEFEVRE claps his hands for silence. The ELEPHANT is led off. TWO
STA GE HANDS are revealed operating it from within)
LEFEVRE
Ladies and gentlemen - Madame Giry, thank you. May I have your attention please? As you know, for
some weeks there have been rumours of my imminent retirement. I can now tell you that these were all
true, and it is my pleasure to introduce you to the two gentlemen who now own the Opera Populaire:
Monsieur Richard Firmin and Monsieur Giles Andre.
(Polite applause. Some bowing. CARLOTTA makes her presence felt)
Gentlemen, Signora Carlotta Giudicelli, our leading soprano for five seasons now.
(Polite bow from ANDRE and FIR MIN.)
ANDRE
Of course, of course, I have experienced all your greatest roles, signora.
LEFEVRE
And Signor Unaldo Piangi.
(Another bow)
FIRMIN
An honour, Signor.
PAINGI
Piaceri.
ANDRE
(Keen to impress)
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, Monsieur Reyer objects.
CARLOTTA
(Flattered)
My manager commands... Monsieur Reyer?
REYER
(A polite bow to CARLOTTA)
My DIVA commands. Will two bars be sufficient introduction?
FIRMIN
Two bars will be quite sufficient.
REYER
(Ensuring that CARLOT7A is ready)
Signora?
CARLOTTA
Maestro.
I-1-7
"Think of Me" (Carlotta)

(The introduction is played on the piano)
THINK OF ME
THINK OF ME, FONDLY,
WHEN WE'VE SAID GOODBYE.
REMEMBER ME
EVERY SO OFTEN
PROMISE ME YOU'LL TRY
ON THAT DAY
THAT NOT SO
DISTANT DAY
WHEN YOU ARE FAR AWAY
AND FREE
IF YOU EVER FIND
A MOMENT
SPARE A THOUGHT
FOR ME...
THINK OF ME,
THINK OF ME WARMLY
(As CARLOTTA is singing, a backdrop crashes to the stage, cutting her off from half the cast.)
MEG
HE'S HERE
MEG & BALLET GIRLS
THE PHANTOM OF THE OPERA
OPERA CHORUS
HE IS WITH US
IT'S THE GHOST
MEG & BALLET GIRLS

HE'S HERE
ANDRE
GOOD HEAVENS!
WILL YOU SHOW A LITTLE COURTESY.
FIRMIN
Mademoiselle please.
LEFEVRE
Signora! Are you all right? Buquet! Where is Buquet?
I- 1 -8
PIANGI
Is no-one concerned for our Prima Donna?
LEFEVRE
Get that man down here!
(To ANDRE and FIR MIN)
Buquet, Chief of the Flys. He's responsible for this.
(The drop is raised enough to reveal upstage an old stagehand, JOSEPH BUQUET, holding a
length of rope, which looks almost like a noose)
LEFEVRE
Buquet! For God's sake, man, what's going on up there?
BUQUET
PLEASE MONSIEUR
DON'T LOOK AT ME
AS GOD'S MY WITNESS
I WAS NOT AT MY POST.
PLEASE MONSIEUR
THERE'S NO-ONE THERE
AND IF THERE IS, WELL THEN
IT MUST BE A GHOST.
MEG
(Looking up)
HE'S THERE: THE PHANTOM OF THE OPERA

FIRMIN
GOOD HEAVENS!
I HAVE NEVER KNOWN SUCH INSOLENCE!
ANDRE
(To CARLOTTA)
SIGNORA PLEASE...
These things DO happen...
CARLOTTA
These things DO happen? You have been here five minutes, what do you know? Si, these things do
happen - all the time. For the past three years these things DO happen.
(To LEFEVRE)
And did you stop them happening? No!
(To FIR MIN and ANDRE)
And you... You're as bad as him "These things do happen!" Well, until you stop these things happening,
THIS thing does not happen! Ubaldo! Andiamo!
PIANGI
Amateurs!
(PIANGI and CARLOTTA sweep out.)
I-1-9
LEFEVRE
(After a pause)
I don't think there's much more I can do to assist you, gentlemen. Good luck. If you need me, I shall be in
Frankfurt.
(He leaves. The COMPANY looks anxiously at the NEW MANAGERS.)
ANDRE
La Carlotta will be back.
GIRY
You think so, messieurs? I have a message, sir, from the Opera Ghost.
(The GIRLS twitter and twirl in fear.)
FIRMIN
God in Heaven, you're all obsessed!
GIRY
He merely welcomes you to his Opera house, commands that you continue to leave box five empty for his
use and reminds you that his salary is due.
FIRMIN
His salary?
GIRY
Monsieur Lefevre paid him twenty-thousand francs a month. Perhaps you can afford more, with the
Vicomte de Chagny as your patron?
(Reaction to this from the BALLET GIRLS. CHRISTINE takes hold of MEG, nervously)
ANDRE
(To GIRY)
Madame, I had hoped to have made that announcement myself.
GIRY
(Ignoring him, to FIR MIN)
Will the Vicomte be at the performance this evening, monsieur?
ANDRE
Madame, who is the understudy for the role?
REYER
There is no understudy, monsieur-the production is new.
MEG
Christine Daae could sing it, sir.
FIRMIN
The chorus girl?
I-1 -10
(EVERYONE glares at her, but she continues tentatively.)
MEG
She's been taking lessons from a great teacher.
ANDRE
(To CHRISTINE)
From whom?
CHRISTINE
(Uneasily)
I don't know, sir...
FIRMIN
Oh, not you as well!
(Turning to ANDRE)
Can you believe it? A full house... and we have to cancel!
GIRY
Let her sing for you, monsieur. She has been well taught.
ANDRE
Very well.
REYER
(After a pause)
From the beginning of the aria then, mam'selle. Gentlemen.

MUSIC 04: ACT I / SCENE I (THINK OF ME)
CHRISTINE
THINK OF ME
THINK OF ME FONDLY
WHEN WE'VE SAID
GOODBYE.
REMEMBER ME
EVERY SO OFTEN...
PROMISE ME
YOU'LL TRY.
FIRMIN
Andre. This is doing nothing for my nerves.
ANDRE
Don't fret Firmin.
CHRISTINE
ON THAT DAY
THAT NOT SO
DISTANT DAY
WHEN YOU ARE FAR AWAY
AND FREE
IF YOU EVER FIND
A MOMENT,
SPARE A THOUGHT
FOR ME...
(Lights dim and the surroundings dissolve, as we are transported to:
THE GALA
CHRISTINE is revealed in full stage costume. She is now accompanied by an orchestra. Stage
boxes have appeared on either side)
CHRISTINE
AND THOUGH IT'S CLEAR
THOUGH IT WAS
ALWAYS CLEAR
THAT THIS WAS NEVER MEANT
TO BE,
IF YOU HAPPEN
TO REMEMBER
STOP AND THINK OF ME.
THINK OF AUGUST
WHEN THE TREES
WERE GREEN -
DON'T THINK ABOUT
THE WAY THINGS
MIGHT HAVE BEEN...
THINK OFME
THINK OF ME WAKING,
SILENT AND
RESIGNED.
IMAGINE ME
TRYING TOO HARD TO
PUT YOU FROM
MY MIND.
THINK OF ME
PLEASE SAY YOU'LL
THINK OF ME,
WHATEVER ELSE YOU CHOOSE
TO 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 MANAGER 's
box.)
I-2-12
RAOUL
CAN IT BE?
CAN IT BE CHRISTINE?
Bravo! Bravo!
LONG AGO...
IT SEEMS SO
LONG AGO...
HOW YOUNG AND INNOCENT
WE WERE.
SHE MAY NOT REMEMBER ME,
BUT I REMEMBER HER...
CHRISTINE
FLOWERS FADE
THE FRUITS OF
SUMMER FADE
THEY HAVE THEIR SEASON,
SO DO WE,
BUT PLEASE PROMISE ME
THAT SOMETIMES
YOU WILL THINK...
AH...
OF ME!
Scene 2: Backstage, After the Gala
(Reverse view of the stage. The applause continues and we see CHRISTINE, from behind, taking
her bows. The house curtains close upstage and BALLET GIRLS, from the wings, gush around
CHRISTINE. REYER stiffly gives his approval. GIRY also appears)
GIRY
(To CHRISTINE)
Yes, you did well. He will be pleased.
(To the DANCERS)
And you! You were a disgrace tonight! Such temps de cuisse! Such rondes de jambe! Come... 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 reach
the dressing room door, SHE hears the PHANTOM'S voice out of nowhere.)
MUSIC 05: ACT I / SCENE 2 (BACKSTAGE) - "Angel Of Music"
PHANTOM
BRAVA, BRAVA, BRAVISIMA.
MEG
CHRISTINE... CHRISTINE...
PHANTOM
CHRISTINE...
(CHRISTINE is bewildered by the voice)
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?
(Slowly, CHRISTINE enters the dressing room, MEG following)
CHRISTINE
(Abstracted)
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
I WATCHED YOUR FACE FROM THE SHADOWS -
DISTANT THROUGH ALL
THE APPLAUSE...
I HEAR YOUR VOICE
I-2-14
IN THE DARKNESS
YET THE WORDS
AREN'T YOURS...
CHRISTINE
(Not hearing her, ecstatic)
ANGEL OF MUSIC!
GUIDE
AND GAURDIAN!
GRANT TO ME YOUR GLORY!
MEG
(To herse f)
WHO IS THIS ANGEL?
THIS...
BOTH
ANGEL OF MUSIC
HIDE NO
LONGER!
SECRET AND STRANGE
ANGEL...
CHRISTINE
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 rejoins the DANCERS.)
My dear, I was asked to give you this.
I-3-15
CHRISTINE
(Still in her daze)
"A red scarf'... "the attic"... "Little Lotte"...

(Meanwhile, RAOUL, ANDRE, FIRMIN and MME. FIR MIN are seen making theirway towards
the dressing room, the MANAGERS in high spirits, bearing champagne)
ANDRE
A tour de force! No other way to describe it!
FIRMIN
What a relief! Not a single refund!
MME. FIRMIN
Greedy.
ANDRE
Richard, I think we've made quite a discovery in Miss Daae!
FIRMIN
(To RAOUL, indicating CHRISTINE'S dressing room)
Here we are, Monsieur le Vicomte.
RAOUL
Gentlemen, if you wouldn't mind. This is one visit I should prefer to make unaccompanied.
(He takes the champagne from FIRMIN.)
ANDRE
As you wish, Monsieur.
(They bow and move off.)
FIRMIN
(Exiting)
They appear to have met before...

(RAOUL knocks at the door and enters)
Scene 3*: Christine's Dressing Room
RAOUL
Christine Daae, where is your red scarf?
CHRISTINE
Monsieur?
Please note the discrepancies between scene number labels in the script and score for Act I, Scenes 3-5
I-3-16
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.)
MUSIC 06: ACT I / SCENE 4 (DRESSING ROOM)
"Little Lotle"
RAOUL (cont'd)
LITTLE LOTTE LET HER MIND WANDER...
CHRISTINE
You remember that, too?
RAOUL
LITTLE LOTTE THOUGHT
AM I FONDER
OF DOLLS...
BOTH
...OR OF GOBLINS...
..OF SHOES...
CHRISTINE
...OR OF RIDDLES OR FROCKS
RAOUL
Those picnics in the attic.
CHRISTINE
Father playing the violin...
RAOUL
... OR OF CHOCOLATES?
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 MY SINGS SONGS IN MY HEAD
BOTH
.THE ANGEL OF MUSIC SINGS SONGS IN MY HEAD.
I-3-17
CHRISTINE
Father said, "When I am 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 go to supper!
CHRISTINE
(Firmly)
No, Raoul, the Angel of Music is very strict.

RAOUL
I shan't keep you up late!
CHRISTINE
No, Raoul... Things have changed.
RAOUL
YOU must change. I must get my hat. Two minutes... Little Lotte.
(He hurries out.)
CHRISTINE
(Calling)
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.)
"The Mirror (Ansel of Music)"
PHANTOM
INSOLENT BOY!
THIS SLAVE
OF FASHION,
BASKING IN YOUR
GLORY!
IGNORANT FOOL!
THIS BRAVE
YOUNG SUITOR
SHARING IN MY
TRIUMPH.
CHRISTINE
(Spellbound)
ANGEL! I HEAR YOU SPEAK -
I LISTEN...
STAY BY MY SIDE.
I-3-18
GUIDE ME!
ANGEL, MY SOUL WAS WEAK -
FORGIVE ME...
ENTER AT LAST,
MASTER!
PHANTOM
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
ANGEL OF MUSIC!
GUIDE
AND GUARDIAN!
GRANT TO ME YOUR
GLORY!
ANGEL OF MUSIC
HIDE
NO LONGER!
COME TO ME, STRANGE
ANGEL...
PHANTOM
I AM YOUR ANGEL OF MUSIC...
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...
4
1-4-19
(CHRISTINE disappears through the mirror, which closes behind her. The door of the dressing
room suddenly unlocks and swings open and RAOUL enters to find the room empty.)
RAOUL
(Shouting, as the scene dissolves)
Christine!
(Blackout)
Angel!
Scene 4: The Labyrinth Underground
MUSIC 07: ACT I / SCENE 5 - "The Phantom of the Opera"
(Subterranean gloom, through which we can discern the PHANTOM leading CHRISTINE
through the darkness, deeper and deeper below the opera house, towards the PHANTOM's lair.
Disappearing first into a trap door in the stage, THEY then almost immediately reappear high
above the stage, descending by an immense zigzagging walkway. Candles rise from the stage,
and we see CHRISTINE and the PHANTOM in a boat which moves slowly across the misty
waters of an 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

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,
I-4-20
TO GLANCE BEHIND,
IS THERE -
INSIDE YOUR MIND...
CHRISTINE
THOSE WHO
HAVE SEEN YOUR FACE
DRAW BACK
IN FEAR...
IAM
THE MASK YOU WEAR...
PHANTOM
IT'S ME
THEY HEAR...
CHRISTINE
YOUR SPIRIT
AND YOUR VOICE
IN ONE COMBINED;
IS THERE -
INSIDE MY MIND
OFFSTAGE VOICE
HE'S THERE
BEWARE
PHANTOM
IN ALL
YOUR FANTASIES
YOU ALWAYS
KNEW
THAT MAN
AND MYSTERY...
CHRISTINE
... WERE BOTH
IN YOU...
CHRISTINE
AND IN
THIS LABYRINTH
WHERE NIGHT
IS BLIND
IS HERE
INSIDE MY MIND
I-4-2
PHANTOM
Sing for me. Sing my Angel of Music!
CHRISTINE
HE'S THERE,
THE PHANTOM OF THE OPERA...
(SHE begins to vocalize strangely, her song climbing higher and higher in pitch.
AH...
AH...
PHANTOM
Sing for me!
CHRISTINE
AH...
PHANTOM
Sing my Angel.
CHRISTINE
AH...
AH... All...
PHANTOM
Sing for me!
CHRISTINE
AH...
(As SHE reaches her final climactic note, we arrive in the PHANTOM's lair. Downstage tho
candles in the lake have lifted to reveal giant candelabras outlining the space.
The boat turns into a bed, occupying the centre of the stage, which is otherwise dominated by c
huge pipe organ on one side and an even larger mirror on the other, the latter covered by a dust
sheet.
The PHANTOM sits at the organ and takes over the accompaniment.)
PHANTOM
I HAVE BROUGHT YOU
TO THE SEAT OF SWEET
MUSIC'S THRONE...
WHERE ALL MUST PAY
HOMAGE TO MUSIC...
MUSIC...
YOU HAVE COME HERE
FOR ONE PURPOSE
AND ONE ALONE...
SINCE THE MOMENT
I-4-22
I FIRST HEARD YOU SING
I HAVE NEEDED
YOU WITH ME
TO SERVE ME,
TO SING FOR MY MUSIC
MY MUSIC...
"The Music Of The Night"
NIGHT TIME SHARPENS
HEIGHTENS EACH SENSATION
DARKNESS STIRS AND
WAKES IMAGINATION
SILENTLY THE SENSES
ABANDON THEIR DEFENCES...
(He breaks off`, then continuing...)
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 CARESS YOU...
HEAR IT, FEEL IT
SECRETLY POSSESS YOU...
OPEN UP YOUR MIND,
LET YOUR FANTASIES UNWIND
IN THIS DARKNESS WHICH
YOU KNOW YOU CANNOT FIGHT -
THE DARKNESS OF
I-5-23
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
(During all this, the PHANTOM has conditioned CHRISTINE to the coldness of this 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 the mirror from which he removes the 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)
YOU ALONE
CAN MAKE MY SONG TAKE FLIGHT -
HELP ME MAKE
(Blackout)
Scene 5 (continued): Beyond the Lake, The Next Morning
(The PHANTOM, in his Mandarin costume, is composing.
CHRISTINE lies on the bed under gauze. As the light brightens, we see him seated at the organ,
playing with furious concentration. There is a music box, in the shape of a barrel organ, beside
the bed. Mysteriously, its lid lifts as CHRISTINE wakes up. The music keeps her in a half trance)
I-5-24
"I Remember"
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,
ANDINTHEBOAT
THERE WAS A MAN...
(SHE rises during the musical interlude and approaches him from behind. As SHE reaches for his
mask, HE turns, almost catching HER. This is repeated until finally SHE pulls the mask from his
face)
WHO WAS THAT SHAPE

IN THE SHADOWS...?
WHOSE IS THE FACE
IN THE MASK...?
(The PHANTOMsprings 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...
(He becomes calm and addresses her at first with irony, then more warmly)
"Stranger Than You Dreamt It"
STRANGER
THAN YOU DREAMT IT...
CAN YOU EVEN
DARE TO LOOK
I-5-25
OR BEAR TO
THINK OF ME,
THIS LOATHSOME
GARGOYLE, WHO
BURNS IN HELL,
BUT SECRETLY
YEARS 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...
(A moment's pause, as their eyes meet. He holds out his hand for the mask which she gives him.
He puts it on, turning to the audience as he sings:)
COME, WE MUST RETURN -

THOSE TWO FOOLS
WHO RUN MY THEATRE
WILL BE MISSING YOU.
(The lair sinks to the floor as the PHANTOM and CHRISTINE leave)
Scene 5A: Box Five and the Stage
MUSIC 07 (continued): ACT I I SCENE 5A - "Magic Lasso"
(BUQUET appears in Box Five, 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 below on the stage level.)
BUQUET
LIKE YELLOW PARCHMENT
IS HIS SKIN...
A GREAT BLACK HOLE SERVES AS THE
NOSE WHICH NEVER GREW
I-6-27
ITS WEIGHT IN GOLD.
DIVA TENDERS
RESIGNATION!
COVER DOES A
MOONLIGHT FLIT.
HALF YOUR CAST DISAPPEARS,
BUT THE CROWD STILL CHEERS
OPERA!
TO HELL WITH GLUCK AND HANDEL
HAVE A SCANDAL, AND YOU'RE
SURE TO HAVE A HIT!
(ANDRE bursts in, in a temper.)
ANDRE
DAMNABLE?
WILL THEY ALL
WALK OUT?
THIS IS DAMNABLE!
FIRMIN
ANDRE, PLEASE DON'T SHOUT,
IT'S PULICITIY!
AND THE TAKE IS VAST!
FREE PUBLICITY!
ANDRE
(Groans)
BUT WE HAVE NO CAST.
FIRMIN
(Calmly)
BUT ANDRE,
HAVE YOU SEEN THE QUEUE?
(He has been sorting mail on his desk. Finding the two letters from the PHANTOM, FIRMIN
hands the letter to ANDRE who opens it and reads)
ANDRE
(Reading)
AH, IT SEEMS YOU
GOT ONE TOO.
"DEAR ANDRE,
WHAT A CHARMING GALA
CHRISTINE ENJOYED A GREAT SUCCESS!
WE WERE HARDLY BEREFT
WHEN CARLOTTA LEFT -
OTHERWISE
THE CHORUS WAS ENTRANCING
BUT THE DANCING WAS A
LAMENTABLE MESS!"
I-6-28
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 LIKE A DEBTOR
SO IT'S BETTER
IF MY ORDERS ARE OBEYED!"
BOTH
WHO WOULD HAVE THE
GALL TO SEND THIS?
SOMEONE WITH A
PEURILE BRAIN!
FIRMIN
THESE ARE BOTH SIGNED: "O.G."
ANDRE
WHO THE HELL IS HE?
BOTH
(Immediately realizing)
"OPERA GHOST!"
FIRMIN
IT'S REALLY NOT AMUSING!
ANDRE
HE'S ABUSING
OUR POSITION
FIRMIN
IN ADDITION
HE WANTS MONEY!
ANDRE
HE'S A FUNNY
SORT OF SPECTRE...
BOTH
...TO EXPECT A
LARGE RETAINER!
NOTHING PLAINER - j
HE IS CLERALY QUITE INSANE!
(THEY are interrupted by the arrival of RAOUL, who brandishes another of the PHANTOM'S
notes)
RAOUL
WHERE IS SHE?
ANDRE
YOU MEAN CARLOTTA?
RAOUL
I MEAN MISS DAAE,
WHERE IS SHE?
FIRMIN
WELL HOW SHOULD WE (KNOW)?
RAOUL
I WANT AN ANSWER!
I TAKE IT THAT YOU
SEND ME THIS NOTE?
FIRMIN
WHAT'S ALL THIS NONSENSE?
ANDRE
OF COURSE NOT!
FIRMIN
DON'T LOOK AT US
RAOUL
SHE'S NOT WITH YOU, THEN?
FIRMIN
OF COURSE NOTE!
ANDRE
WE'RE IN THE DARK!
RAOUL
MONSIEUR DON'T ARGUE -
ISN'T THIS THE
LETTER YOU WROTE?
(The MANAGERS look mystified)
FIRMING
AND WHAT IS IT
THAT WE'RE MEANT
TO HAVE WROTE?
(Realizing his mistake)
Written?
(RAOUL hands the note to ANDREwho reads it.)
I-6-30
ANDRE
"DO NOT FEAR FOR MISS DAAE
THE ANGEL OF MUSIC
HAS HER UNDER HIS WING.
MAKE NO ATTEMPT
TO SEE HER AGAIN."
(The MANAGERS look mystified.)
RAOUL
Well, if you didn't write it, then who did?
(CARLOTTA and PIANGI burst in. She too has a letter, which has cheered her no more than the
others)
CARLOTTA
WHERE IS HE?
ANDRE
WELCOME BACK.
CARLOTTA
YOUR PRECIOUS PATRON
CARLOTTA & PIANGI
WHERE IS HE?
RAOUL
WHAT IS IT NOW?
CARLOTTA
I HAVE YOUR LETTER
A LETTER WHICH I
RATHER RESENT!
FIRMIN
(To RAOUL)
AND DID YOU SEND IT?
RAOUL
OF COURSE NOT.
ANDRE
AS IF HE WOULD!
CARLOTTA & PIANGI
YOU DIDN'T SEND IT?
RAOUL
OF COURSE NOT.
FIRMIN
WHAT'S GOING ON?
CARLOTTA
YOU DARE TO TELL ME
THAT THIS IS NOT THE
LETTER YOU SENT?!
RAOUL
AND WHAT IS THAT I'M
MEANT TO HAVE SENT?
(RAOUL takes the letter and reads it.)
"YOUR DAYS
AT THE OPERA POPULAIRE ARE NUMBERED.
CHRISTINE DAAE
WILL BE SINGING ON YOUR BEHALF TONIGHT.
BE PREPARED
FOR A GREAT MISFORTUNE,
SHOULD YOU ATTEMPT
TO TAKE HER PLACE."
(The MANAGERS are beginning to tire of the intrigue)
ANDRE & FIRMIN

FAR TOO MANY
NOTES FOR MY TASTE
AND MOST OF THEM
ABOUT CHRISTINE.
ALL WE'VE HEARD SINCE WE CAME
IS MISS DAAE'S NAME...
(GIRY suddenly appears accompanied by MEG)
GIRY
MISS DAAE HAS RETURNED.
FIRMIN
(Dryly)
IN WHICH CASE I THINK OUR MEETING IS ADJOURNED.
ANDRE
WHERE PRECISELY
IS SHE NOW?
GIRY
I THOUGHT IT BEST
THAT SHE WENT HOME...
MEG
SHE NEEDED REST...
I-6-32
RAOUL
MAY I SEE HER?
GIRY
NO MONSIEUR,
SHE WILL SEE NO ONE.
CARLOTTA & PIANGI
WILL SHE SING?
WILL SHE SING?
GIRY
HERE I HAVE A NOTE.
RAOUL, CARLOTTA, ANDRE & PIANGI
LET ME SEE IT.
FIRMIN
(Snatching it)
PLEASE!
(FIRMIN opens letter and reads. Dissolve into PHANTOM'S voice:)
"Gentlemen, I have no sent you several notes of the most amiable nature, detailing how my theatre is to
be run. You have not followed my instructions. I shall give you one last chance."
PHANTOM
CHRISTINE DAAE HAS RETURNED TO YOU,
AND I AM ANXIOUS HER CAREER
SHOULD PROGRESS.
IN THE NEW PRODUCTION OF "IL MUTO"
YOU WILL THEREFORE CAST CARLOTTA
AS THE PAGEBOY, AND PUT MISS DAAE
IN THE ROLE OF COUNTESS.
THE ROLE WHICH MISS DAAE PLAYS
CALLS FOR CHARM AND APPEAL.
THE ROLE OF THE PAGEBOY IS SILENT -
WHICH MAKES MY CASTING,
IN A WORD,
IDEAL.
I shall watch the performance from my normal seat in Bo x Five, which will be kept empty for me.
Should these commands be ignored, a disaster beyond yo ur imagination will occur.
FIRMIN
"I remain, Gentlemen, Your obedient servant, O.G."
MEG
CHRISTINE... CHRISTINE...
CARLOTTA
ANDRE
WHATEVER NEXT?
CARLOTTA & PIANGI
IT'S ALL A PLOY
TO HELP CHRISTINE!
FIRMIN
THIS IS INSANE...
CARLOTTA
I KNOW WHO SENT THIS:
(Pointing an accusing finger)
THE VICTOMTE, HER LOVER!

RAOUL
(Ironic)
INDEED?
(To the others)
CAN YOU BELIEVE THIS?
ANDRE
(To CARLOTTA, in protest)
SIGNORA!
CARLOTTA
O TRADITOI .
OH MENTITORI
FIRMIN
SIGNORA
ANDRE
YOU ARE OUR STAR
FIRMIN
AND ALWAYS WILL BE.
ANDRE
SIGNORA
FIRMIN
THE MAN IS MAD.
ANDRE
WE DON'T TAKE ORDERS.
FIRMIN
(Announcing it to everyone)
MISS DAAE WILL BE PLAYING
THE PAGEBOY - THE SILENT ROLE.
I-6-34
ANDRE & FIRMIN
CARLOTTA WILL BE
PLAYING THE LEAD!
PIANGI
YOU DON'T DESERVE HER!
CARLOTTA
IT'S USELESS TRYING TO
APPEASE ME!
PIANGI
...APPEASE HER...
CARLOTTA
YOU'RE ONLY SAYING THIS
PLEASE ME!
PIANGI
...TO PLEASE HER...
CARLOTTA
SIGNORI VERO
CARLOTTA & PIANGI
NO, NON VOLGIO'
UD1RE LASCIATEMI MORIRE
0 PADRE MIO! DIO!
GIRY
WHO SCORN HIS
WORD,
BEWARE TO THOSE... REVILED ME.
THE ANGEL SEES
THE ANGEL KNOWS
ANDRE & FIRMIN
SIGNORA PARDON US
CARLOTTA
YOU HAVE REPLACED ME.
ANDRE & FIRMIN
PLEASE SIGNORA
WE BESEECH YOU...
I-6-35
GIRY
THIS HOUR SHALL SEE
YOUR DARKEST
FEARS...
THE ANGEL KNOWS,
THE ANGEL HEARS
ANDRE & FIRMIN
SIGNORA SING FOR US
DON'T BE A MARTYR
I
OUR
STAR!
ANDRE
YOUR PUBLIC NEEDS YOU,
FIRMIN
WE NEED YOU TOO!
CARLOTTA
WOULD YOU NOT
RATHER HAVE YOUR
PRECIOUS LITTLE
INGENUE?
ANDRE & FIRMIN
SIGNORA, NO!
THE WORLD WANTS YOU!
"Prima Donna"
PRIMA DONNA,
FIRST LADY OF THE STAGE!
YOUR DEVOTEES
ARE ON THEIR KNEES
TO IMPLORE YOU!
ANDRE
CAN YOU BOW OUT
WHEN THEY'RE SHOUTING
YOUR NAME?
FIRMIN
THINK OF HOW THEY ALL
ADORE YOU!
ANDRE & FIRMIN
PRIMA DONNA,
ENCHANT US ONCE AGAIN
I-6-36
ANDRE
THINK OF YOUR MUSE...
FIRMIN
...AND OF THE QUEUES
ROUND THE THEATRE.
PIANGI, ANDRE & FIRMIN
CAN YOU DENY
US THE TRIUMPH
IN STORE?
SING, PRIMA DONNA
ONCE MORE!
RAOUL
CHRISTINE SPOKE OF AN ANGEL.
[Note: during the next few sections of "Prima Donna ", consult the vocal score for precise
overlapping and counterpoint.]
CARLOTTA
PRIMA DONNA
YOUR SONG SHALL LIVE AGAIN
YOU TOOK A SNUB,
BUT THERE'S A PUBLIC
WHO NEEDS YOU!
THINK OF THEIR CRY
OF UNDYING SUPPORT!
FOLLOW WHERE THE LIMELIGHT
LEADS YOU.
GIRY
(Referring to CHRISTINE)
SHE HAS HEARD THE VOICE
OF THE ANGEL OF MUSIC...
ANDRE, FIRMIN & PIANGI
THINK OF YOUR PUBLIC.
THOSE WHO HEAR YOUR VOICE
LIKEN YOU TO AN ANGEL!
ANDRE
WE GET OUR OPERA...
FIRMIN
SHE GETS HER LIME LIGHT.
ANDRE & FIRMIN
LEADING LADIES ARE A TRIAL.
RAOUL
IS THIS THE ANGEL
OF MUSIC?
PIANGI
THE LIMELIGHT ONCE AGAIN
SHALL SHINE UPON HER!
MEG
IS THIS GHOST
AN ANGEL OR A MADMAN...?
RAOUL
ANGEL OR MADMAN...?
e PRIMA DONNA
YOUR SONG SHALL NEVER DIE!
WHEN SHE SINGS
WE SEE HEAVEN.
VOICE OF HELL, OR OF HEAVEN...?
HEAVEN HELP YOU,
THOSE WHO DOUBT...
CARLOTTA
YOU'LL SING AGAIN
AND TO UNENDING
OVATION!
RAOUL
ORDERS! WARNING!
LUNATIC DEMANDS!
GIRY
..THIS MISCASTING
WILL INVITE DAMNATION...
ANDRE & FIRMIN
TEARS... OATHS...
LUNATIC DEMANDS
ARE REGULAR OCCURENCES.
I-6-38
PIANGI
UNENDING OVATION
NOW AND ALWAYS.
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...
PIANGI
SURELYHEADS WILL ROLL...
MEG
SURELY HE'LL STRIKE BACK...
ANDRE & FIRMIN
SURELY THERE'LL BE FURTHER SCENES -
WORSE THAT THIS!
GIRY
THINK, BEFORE THESE
DEMANDS ARE REJECTED!
RAOUL
...I MUST SEE THESE
PIANGI
...IF HER THREATS
AND DEMANDS ARE REJECTED!
MEG
...IF HIS THREATS AND
ANDRE & FIRMIN

WHO'D BELIEVE A DIVA
HAPPY TO BELIEVE 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!
RAOUL & PIANGI
CHRISTINE MUST BE PROTECTED!
HONOUR MUST BE PROTECTED!
CARLOTTA
O FORTUNATA
NON ANCOR ABANDONATA!
ANDRE & FIRMIN
YOU'D NEVER GET AWAY
WITH ALL THIS IN A PLAY
BUT IF IT'S LOUDLY SUNG,
AND IN A FOREIGN TONGUE,
IT'S JUST THE SORT OF STORY
AUDIENCES ADORE,
IN FACT, A PERFECT
OPERA!
RAOUL
HIS GAME IS OVER!
GIRY
THIS IS A GAME
YOU CANNOT HOPE TO WIN!
RAOUL
AND IN BOX FIVE
A NEW GAME WILL BEGIN...
GIRY
FOR, IF HIS CURSE
IS ON THIS OPERA...
MEG
BUT IF HIS CURSE IS ON THIS OPERA...
I-7-40
ANDRE & FIRMIN
PRIMA DONNA
THE WORLD IS AT YOUR FEET!
A NATION WAITS,
AND HOW IT HATES
TO BE CHEATED!
CARLOTTA & PIANGI
THE STRESS THAT FALLS UPON A
FAMOUS PRIMA DONNA!
TERRIBLE DISEASES,
COUGHS AND COLDS AND SNEEZES!
STILL THE DRYEST THROAT
WILL REACH THE HIGHEST NOTE
IN SEARCH OF PERFECT
OPERA!
GIRY & MEG
.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!
(Blackout)
Scene 7: A Performance of "II Muto" on the Stage of the Opera House
MUSIC 9: ACT I / SCENE 7 (IL MUTO)
(Overture to `71 Muto')
I-7-41
(Stage of the opera house. The red house curtains are in. RAOUL, ANDRE and FIRMIN take
their respective seats: RAOUL in Box Five, the MANAGERS in a box opposite.)
RAOUL
Gentlemen, if you would care to take your seats? I shall be sitting in Box Five.
ANDRE
Do you really think that's wise monsieur?
RAOUL
My dear Andre, there would appear to be no seats available other than Box Five.
(CURTAIN rises.
The house curtains part to reveal an 18`" Century salon, a canopied bed centre stage. The
COUNTESS is played by CARLOTTA. SERAFIMO, the pageboy, is disguised as her maid and is
played by CHRISTINE.
In the room are TWO EPICENE MEN: one a HAIRDRESSER and one a JEWELLER. The
JEWELLER is attended by MEG. There is also an OLDER WOMAN, the COUNTESS'
CONFIDANTE. ALL, 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 LORSHIP SURE
WOULD DIE OF SHOCK!
2ND FOP
HIS LORDSHIP IS
A LAUGHING STOCK!
CONFIDANTE
SHOULD HE SUSPECT HER,
GOD PROTECT HER!
ALL THREE
SHAME! SHAME! SHAME!
THIS FAITHLESS LADY'S
BOUND FOR HADES!
SHAME! SHAME! SHAME!
(THEY laugh conspiratorially. As the recitative begins, the lights and music dim on stage and
our attention turns to the MANAGERS in their box.)
(Note from HIP: any additional singing from the chorus comes from offstage)
IT7-42
(In the box:)
ANDRE
Nothing like the old operas.
FIRMIN
Or the old scenery...
ANDRE
The old singers...
FIRMIN
Hardly a disaster beyond imagination!
COUNTESS
(Entering)
SERAFIMO - YOUR DISGUISE IS PERFECT!

(A knock on the door.)
WHY WHO CAN THIS BE?
DON ATTILIO
(Offl
GENTLE WIFE, ADMIT
YOUR LOVING HUSBAND
(The COUNTESS admits DONATTILO. He is an old fool.)
ANDRE
Every seat sold!
FIRMIN
Hardly a disaster beyond imagination!
DON ATTILIO
MY LOVE, I AM CALLED TO ENGLAND
ON AFFAIRS OF STATE AND MUST
LEAVE YOU WITH YOUR NEW MAID.
(Aside)
Though I'd happily take the maid with me!
COUNTESS
(Aside)
The old fool's leaving!
DON ATTILIO
(Aside)
I SUSPECT MY YOUNG BRIDE
IS UNTRUE TO ME,
I SHALL NOT LEAVE, BUT
SHALL HIDE OVER THERE
TO OBSERVE HER!
I-7-43
(To COUNTESS)
ADDIO!
COUNTESS
ADDIO!
BOTH
(To each other)
ADDIO!
(He goes to the door, pretending to leave, opens and shut it, then hides and watches the action)
COUNTESS
SERAFIMO - AWAY WITH THIS PRETENCE!
(She rips off SERAFIMO's shirt to reveal his manly breeches)
COUNTESS
YOU CANNOT SPEAK,
BUT KISS ME IN
MY HUSBAND'S ABSENCE!
"Poor Fool, He Makes Me Laugh"
POOL FOOL HE MAKES ME LAUGH
HA HA
HA HA (etc)
TIME I TRIED TO GET A BETTER HALF
COUNTESS & CHORUS
POOR FOOL HE DOESN'T KNOW!
HO HO
HO HO (etc)
IF HE KNEW THE TRUTH HE'D NEVER EVER GO!
(CARLOTTA lets fly a few fiorituri. The PHANTOM's theme - "He's here" - begins to loom in.
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...
(A chilling pause. General reaction of bewilderment. CHRISTINE looks fearfully about her.)
CHRISTINE
It's him... I know it... it's him...
I-7-44
CARLOTTA
(Finding a scapegoat in CHRISTINE, hisses at her)
YOUR part is silent, little toad!
(But the PHANTOM has heard her.)
PHANTOM'S VOICE
A toad, Madame? Perhaps it is YOU who are the toad...
(Again general unease, this time turning to alarm. A few murmurs from the audience)
CARLOTTA
(To CONDUCTOR)
Maestro, we go back to my recitative.
COUNTESS (CARLOTTA)
SARAFIMO, AWAY WITH THIS PRETENCE!
(Viciously tears off CHRISTINE's wig.)
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 perturbin€
however, is a new sound: the PHANTOM is laughing - quietly at first, then more and mor
hysterical.)
POOR FOOL, HE MAKES ME LAUGH!
HA HA
HA HA
CROAK CROAK CROAK (etc)
(Stopped by MANAGERS. As before. This time a growing wave of consternation from th
audience. The PHANTOM's laughter rises. The croaking continues as the chandelier's light
blink on and of The PHANTOM's laughter by this time overpowering, now crescendos into
great cry.)
PHANTOM'S VOICE
Behold, she is singing to bring down the chandelier!
(CARLOTTA looks tearfully at the MANAGER's box and shakes her head.)
CARLOTTA
Non posso piu... I cannot... I cannot go on...
PIANGI
Cara, cars... I'm here... It's all right... Come... I'm here...
I-8-45
(ANDRE and FIRMIN rush out of the box onto the stage. ANDRE ushers the now sobbing
CARLOTTA into the hands of REYER, who leads her off, while FIR MIN addresses the audience)
FIRMIN
Ladies and gentlemen, we apologize. The performance will continue in ten minutes' time...
(He addresses Box Five, keeping one eye on the chandelier as it returns to normal.)
...when the role of the Countess will be sung by Miss Christine Daae.
CHRISTINE
Raoul!
CHRISTINE
Don't worry! I'm with you.
ANDRE
(Improvising)
Yes, well - in the meantime, ladies and gentlemen, we shall be giving you the ballet from Act Three of
tonight's opera.
(To the CONDUCTOR)
Maestro, bring the ballet forward. The ballet - now!
(The MANAGERS leave, the stage is cleared and the music starts again. The BALLET GIRLS,
who have been upstage, move down as a sylvan glade flies in. They begin the dance of the
country nymphs.
Upstage, behind the drop, a series of threatening shadows of the PHANTOM. MEG is aware of
them and dances out of step. When that culminates in one gigantic, oppressive, bat-like shadow,
the body of JOSEF BUQUET falls on the stage, causing the sylvan glade to fly out. RAOUL
rushes out of his box. Silence. Then pandemonium. [Pounding music begins.])
MUSIC 10: ACT 1/ SCENE 8 (THE ROOF)
FIRMIN
(Attempting to placate the audience, as STAGEHANDS, POLICEMEN, etc. crowd onto the
stage.)
Ladies and gentlemen, please remain in your seats. Do not panic, it was an accident... simply an
accident.
RAOUL
Christine, come with me.

CHRISTINE
We must go up to the roof. We'll be safe there.
(Lights fade on the confusion)
Scene 8: The Roof of the opera house

(A huge statue of "La Victoire Ailee " - the same as that which tops the proscenium.
A panorama of stars, roofs, street lamps and spires visible in the distance. Light
I-8-46
stairwell leading down into the opera house and from this RAOUL and CHRISTINE rush c
in an incoherent frenzy of blind terror, he constantly interjecting in an attempt to calm her.)
"Why Have You Brought Us Here"

RAOUL
WHY HAVE YOU BROUGHT US HERE?
CHRISTINE
DON'T TAKE ME BACK THERE!
RAOUL
WE MUST RETURN!
CHRISTINE
HE'LL KILL ME. 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
WILL KILL AND KILL AGAIN!
MY GOD WHO IS
THIS MAN
WHO HUNTS TO KILL...?
I CAN'T ESPACE
FROM HIM...
I NEVER WILL!
AND IN THIS
LABYRINTH,
WHERE NIGHT IN BLIND

IS HERE:
INSIDE [YOUR/MY] MIND...
RAOUL
THERE IS NO PHANTOM
OF THE OPERA...
taoul I've Been There"
CHRISTINE
RAOUL, I'VE BEEN THERE
TO HIS WORLD OF
UNEDURING NIGHT...
TO A WORLD WHERE
THE DAYLIGHT DISSOLVES
INTO DARKNESS...
DARKNESS...
RAOUL, I'VE SEEN HIM!
CANIEVER
FORGET THAT SIGHT?
CANIEVER
ESCAPE 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!
ANDIHEARD
AS I'D NEVER
HEARD BEFORE...
RAOUL
WHAT YOU HEARD
WAS A DREAM
AND NOTHING MORE...
CHRISTINE
YET IN HIS EYES,
I-8-48
ALL THE SADNESS
OF THE WORLD...
THOSE PLEADING EYES,

THAT BOTH THREATEN
AND ADORE...
CHRISTINE, CHRISTINE...
(Unseen)
CHRISTINE...
(Scared)
What was that?
(A moment, as their eyes meet. The mood changes)
Oh Christine.
Oh Raoul.
MUSIC 11: ACT 1/ SCENE 8 (ALL I ASK OF YOU)

RAOUL
NO MORE TALK OF DARKNESS
FORGET THESE WIDE EYED FEARS
I'M HERE
NOTHING CAN HARM YOU
MY WORDS WILL
WARM AND CALM YOU.
LET ME BE YOUR FREEDOM
LET DAYLIGHT DRY YOUR TEARS
I'M HERE
WITH YOU, BESIDE YOU
TO GUARD YOU
AND TO GUIDE YOU...
CHRISTINE
SAY YOU LOVE ME
EVERY WAKING MOMENT
TURN MY HEAD
WITH TALK OF SUMMERTIME...
SAY YOU NEED ME WITH YOU,
NOW AND ALWAYS...
PROMISE ME THAT ALL
YOU SAY IS TRUE -

THAT'S ALL I ASK OF YOU.
RAOUL
LET ME BE YOUR SHELTER
LET ME BE YOUR LIGHT
YOU'RE SAFE
NO ONE WILL FIND YOU
YOUR FEARS ARE
FAR BEHIND YOU...
CHRISTINE
ALL I WANT IS FREEDOM
A WORLD WITH NO MORE NIGHT
AND YOU
ALWAYS BESIDE ME
TO HOLD ME AND TO HIDE ME.
RAOUL
THEN SAY YOU'LL SHARE WITH ME
ONE LOVE, ONE LIFETIME,
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,
ANYWHERE YOU GO
LET ME GO TOO.
I-8-50
LOVE ME,
(They kiss. Suddenly, we hear offstage, the distant sound of a street barrel organ. CHIT
starts from her reverie.)
CHRISTINE
I MUST GO
THEY'LL WONDER WHERE
IAM...
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)
"All I Ask Of You" (Reprise)
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.
CHRISTINE & RAOUL
(Offstage)
ONE LOVE, ONE LIFETIME...
SAY THE WORD
AND I WILL FOLLOW YOU
SHARE EACH DAY WITH ME
EACH NIGHT, EACH MORNING
I-8-51
PHANTOM
YOU WELL CURSE THE DAY
YOU DID NOT DO
ALL THAT THE PHANTOM ASKED OF YOU.
(As the roof of the opera house disappears, we hear loud applause. The opera curtain closes and
the PRINCIPALS appear through it for their bows. CHRISTINE conspicuously dressed in
CARLOTTA's costume.
The PHANTOM starts shaking chandelier.
PHANTOM causes chandelier to come crashing down.
Chandelier lands on stage with a blinding flash at CHRISTINE's feet.)
END OF ACT ONE
II-1-52
ACT II
MUSIC 12: ACT II / ENTR'ACTE
Scene 1: The Staircase of the Opera, New Year's Eve
MUSIC 13: ACT II / SCENE I (MASQUERADE)
(A gauze half conceals the tableau of guests at the Opera Ball. The gues
see clearly) are infancy dress - a peacock a lion, a dragon, Mephistop,
clown, knights, ladies, Louis I-XVI, Napoleon, an executioner.
Enter M ANDRE. He is dressed as a skeleton, in an opera cape.
FIR MIN arrives. He is also dressed as a skeleton in an opera cape. The

other and approach nervously.)
ANDRE
M'sieur Firmin?
FIRMIN
M'sieur Andre?
(Each raises his mask to the other. They recognize each other. Relief and
FIRMIN
DEAR ANDRE,
WHAT A SPLENDID PARTY!
ANDRE
THE PROLOGUE
TO A BRIGHT NEW YEAR!
FIRMIN
QUITE A NIGHT!
I'M IMPRESSED!
ANDRE
WELL, ONE DOES
ONE'S BEST!
BOTH
HERE'S TO US!
ANDRE
A TOAST TO
ALL THE CITY!
FIRMIN
SUCH A PITY
THAT THE PHANTOM
CAN'T BE HERE!
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 BEAT
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,
I I-1 -54
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
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 & GIRY
AND ALL OUR FEARS
ARE IN THE PAST
ANDRE
SIX MONTHS...
PIANGI
.OF RELIEF...
CARLOTTA
.OF DELIGHT...
ANDRE
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
CARLOTTA & PIANGI
AND MAY ITS
SPLENDOUR
NEVER FADE!
GIRY
WHAT A JOY!
MEG
WHAT A CHANGE!
ANDRE & FIRMIN
WHAT A BLESSED RELEASE
ANDRE
.AND WHAT A MASQUERA DE!
1T-1-56
(They clink glasses and move off. RAOUL and CHRISTINE emerge. She is admiring a n,
acquisition: an engagement ring from RAOUL, which she has attached to a gold chain arou
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
YOU PROMISED ME.
RAOUL
YOU PROMISED ME.
CHRISTINE
NO, RAOUL, PLEASE DON'T
THEY'LL SEE.
RAOUL
THEN LET THEM SEE
IT'S AN ENGAGEMENT,
NOT A CRIME!
CHRISTINE,
WHAT ARE YOU AFRAID OF?
CHRISTINE
LET'S NOT ARGUE
PLEASE PRETEND
YOU WILL
UNDERSTAND IN TIME!
(Orchestral chorus in which CHRISTINE, half coquettish, half 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.)
CHORUS
MASQUERADE
PAPER FACE ON PARADE
MASQUERADE
HIDE YOUR FACE
SO THE WORLD
WILL NEVER FIND YOU.
II-1-57
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 heights of the activity, a GROTESQUE FIGURE suddenly appears at the top of the
staircase, ten feet tall, dressed all in crimson, with a death's head. The PHANTOM has come to
the party. He descends the stairs and takes centre of the stage)
"Why So Silent"
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 rope 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.
(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. He holds it aloft.)
I I-1 -58
YOUR CHAINS ARE STILL MINE,
YOU WILL SING FOR ME.
(Suspense as the music crescendos until suddenly his figure evaporates)
Backstage
(GIRY is hurrying through the gloom. 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 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, conjurers, 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
Oh, a prodigy, Monsieur! Scholar, architect, musician...
RAOUL
(Thinking aloud)
A composer...
II-1 -59
GIRY
And an inventor too, Monsieur. They boasted had once built for the Shah of Persia a maze of mirrors...
RAOUL
(Mystified and impatient, cuts in)
Who was this man?
GIRY
A FREAK OF NATURE
MORE MONSTER THAN MAN...
RAOUL
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
(Beginning to understand, darkly)
But he didn't die, did he?
GIRY
THE WORLD FORGOT HIM
BUTINEVERCAN...
FOR IN THIS DARKNESS
I HAVE SEE HIM AGAIN...
RAOUL
AND SO OUR PHANTOM'S
THIS MAN...?
GIRY
I have said too much, Monsieur...
RAOUL
No! Wait!
II-2-60
GIRY
..Too much and there have been too many accidents.
(And before he can question her further, she has disappeared.)
RAOUL
Accidents?
(Running after her)
Madame Giry... !
(Blackout.)

MUSIC 14: ACT II / SCENE 2 - "Notes"
(The PHANTOM'S score lies open on the desk. ANDRE is impatiently flicking through it.
FIR MIN is sorting through papers, letters, etc)
ANDRE
LUDICROUS!
HAVE YOU SEEN THE SCORE?
FIRMIN
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 discovered two notes from the PHANTOM, one of which he hands to ANDRE, who opens
it and reads)
II-2-61
ANDRE
"DEAR ANDRE
RE MY ORCHESTRATIONS:
WE NEED ANOTHER
FIRST BASSOON.
EVERY NOTE'S OVER-BLOWN,
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 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...
II-2-62
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
(Stabbing a finger at the open score)
THE THING I HAVE TO

DO FOR MY ART!
PIANGI
IF YOU CAN CALL THIS
GIBBERISH "ART"!
CARLOTTA
Ah.
(RAOUL and CHRISTINE enter. CARLOTTA bristles)
HERE'S OUR LITTLE FLOWER!
FIRMIN
AH, MISS DAAE, QUITE THE LADY
OF THE HOUR.
ANDRE
YOU HAVE SECURED THE LARGEST ROLE
IN THIS DON JUAN.
CARLOTTA
(Half to herse f)
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
(Unable to contain herself any longer points accusingly)
SHE'S BEHIND THIS.
ANDRE
IT APPEARS WE HAVE NO CHOICE.
CARLOTTA
SHE'S THE ONE
BEHIND THIS,
CHRISTINE DAAE!
CHRISTINE
(Incensed)
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 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
BUT WHY NOT?
CARLOTTA
(To PIANGI)
SHE'S BACKING OUT!
II-2-64
ANDRE
YOU HAVE A DUTY!
CHRISTINE
I CANNOT SING IT, DUTY OF NOT!
RAOUL
(Puzzled)
CHRISTINE, CHRISTINE,
YOU DON'T HAVE TO,
THEY CAN'T MAKE YOU...
(She is prevented from replying by the arrival of MEG and GIRY, 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.)
I
"FONDEST GREETINGS TO YOU ALL.
A FEW INSTRUCTIONS JUST BEFORE
REHERASAL STARTS:
GIRY & PHANTOM
CARLOTTA MUST BE TAUGHT TO ACT,
NOT HER NORMAL TRICK
OF STRUTTING
ROUND THE STAGE...
(The PHANTOM's voice gradually takes over from her.)
PHANTOM
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... 1
I I-2-65
your obedient friend...
(V. 0. fades out, GIRY takes over.)
GIRY
"And Angel".
(ALL look at CHRISTINE.)
CHRISTINE
(Quietly)
I can't... I won't do it...
(A pause. Attention 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!
I I-2-66
RAOUL, ANDRE & FIRMIN
(Savoring 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.
ANDRE & FIRMIN
DON'T MAKE
EXCUSES!
RAOUL
OR COULD IT BE
THAT YOU'RE ON
HIS SIDE?
CARLOTTA & PIANGI
SHE'S HIS ACCOMPLICE!
GIRY
(To RAOUL)
MONSIEUR, BELIEVE ME.
I INTEND NO ILL.
(To ANDRE and FIRMIIV)
BUT MESSIEURS
BE CAREFUL, WE HAVE
SEEN HIM KILL...
ANDRE & FIRMIN
(To GIR19
WE'LL SAY HE'LL FALL
AND FALL HE WILL.
CARLOTTA
SHE'S THE ONE BEHIND THIS.
CHRISTINE!
PIANGI
THIS IS THE TRUTH.
CARLOTTA
THIS IS ALL HER DOING.
PIANGI
CHRISTINE DAAE.
RAOUL
THIS IS HIS UNDOING.
ANDRE & FIRMIN
IF YOU SUCCEED
YOU FREE US ALL.
THIS SO CALLED ANGEL
HAS TO FALL!
RAOUL
ANGEL OF MUSIC
FEAR MY FURY
THIS IS WHERE YOU FALL.
GIRY
HEAR MY WARNING!
I I-2-68
HEAR HIS FURY.
CARLOTTA
WHAT GLORY CAN SHE HOPE TO GAIN,
IT'S CLEAR TO ALL
THE GIRL'S INSANE!
PIANGI
SHE IS CRAZY...
ANDRE & FIRMIN
IF CHRISTINE SINGS
WE'LL GET OUR MAN.
CHRISTINE
PLEASE DON'T.
PIANGI
SHE IS RAVING!
ANDRE & FIRMIN
IF CHRISTINE WON'T
THEN NO-ONE CAN.
THIS WILL SEAL HIS FATE.
RAOUL
SAY YOUR PRAYERS
BLACK ANGEL OF DEATH...
GIRY
MONSIEUR I BEG YOU
DO NOT DO THIS.
PIANGI
DIO! CHE IMBROGLIO
CARLOTTA
DIO! CHE IMBROGLIO
CHRISTINE
IF YOU DON'T STOP
I'LL GO MAD!
(To RAOUL tearfully 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 FOREVER,
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
(Murmurs)
She's mad...
RAOUL
(Trying to reason)
YOU SAID YOURSELF

HE WAS NOTHING BUT A MAN...
YET WHILE HE LIVES
HE WILL HAUNT US TILL WE'RE DEAD.
"Twisted Every Way"
CHRISTINE
TWISTED EVERY WAY,
WHAT ANSWER CAN I GIVE?
AM I TO RISK MY LIFE
TO WIN THE CHANCE TO LIVE?
CAN I BETARY THE MAY
WHO ONCE INSPIRED MY VOICE?
CAN 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
DON'T THINK THAT I DON'T CARE
BUT EVERY HOPE
AND EVERY PRAYER
RESTS ON YOUR NOW.
(CHRISTINE, overcome by her conflicting emotions, turns away and hurries out.)
I I-3-70
(Calling after her)
Christine!
(RAOUL stride forward and addresses an imaginary PHANTOM.)
4
So it is to be war between us! But this time, my clever friend, the disaster will be yours!
(As lights fade, ATTENDANTS stretch a velvet rope across the downstage area. OTHERS bring
on gilt chairs. CARLOTTA, P)ANGI and GIRY move downstage to take their places for the next
scene.)
Scene 3: A Music Call For "Don Juan Triumphant"

(REYER supervises the learning of the new piece from the piano. Present are PIANGI,
CHRISTINE, CARLOTTA, GIRY and CHORUS.)
MUSIC 15: ACT 11 / SCENE 3
CHORUS
HIDE YOUR SWORD NOW, WOUNDED KNIGHT,
YOUR VAINGLORIOUS GASCONADE
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
THOSE WHO TANGLE WITH DON JUAN...
REYER
No, no! Chorus please rest. Don Juan, Signor Piangi, this is the phrase.
THOSE WHO TANGLE WITH DON JAUN
If you please.
PIANGI
(Still wrong)
REYER
No, nearly - but no.
THOSE WHO TAN- TAN- TAN-
PIANGI
(Still wrong)
CARLOTTA
(To the others)
II-3-71
His way is better. At least he makes it sound like music!
GIRY
(To CARLOITA)
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, if you please, Signor Piangi - after seven.
(He gives the note and counts in)
Five, six, seven...
PIANGI
(Wrong again)
THOSE WHO TANGLE WITH DON JAUN...

(CARLOTTA talks through this, and 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
Signora, have patience.
CARLOTTA
No-one will know if it is
right or wrong! No-one will
CARE if it is right or
wrong!
GIRY
(To CHRISTINE)
You sing the part well,
mam'selle.
H-4-72
CHRISTINE
Thank you.
GIRY
I am sure that you will do more
than justice to the role.
CARLOTTA
Cessate! Cessate! Mi torturate I'anima!!
(At the heights of the mayhem, the piano suddenly begins to demonstrate the music unaided. It
plays with a great force of 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
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 by the ghostly figure, sing.(
independently.)
"The Phantom of the Opera (Reprise)"/ "Little Ltte (Reprise)"
CHRISTINE
IN SLEEP HE SANG TO ME
IN DREAMS HE CAME,
THAT VOICE WHICH
CALLS TO ME
AND SPEAKS MY NAME.
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 4: A Graveyard
(A mausoleum with hanging moss. It is dusk.)
MUSIC 16: ACT II / SCENE 4 - "Wishing You Were Somehow Here Again"
CHRISTINE
YOU WERE ONCE MY ONE COMPANION,
YOU WERE ALL THAT MATTERED.
II-4-73
YOU WERE ONCE A FRIEND AND FATHER,
THEN MY WORLD WAS SHATTERED.
WISHING YOU WERE SHOWHOW 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.
THREE LONG YEARS I'VE KNELT IN SILENCE
HELD YOUR MEMORY NEAR ME.
THREE LONG YEARS
OF MURMURED SORROWS
WILLING YOU TO HEAR ME.
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,
HELP ME SAY GOODBYE.
(The figure of the PHANTOM emerges from behind the cross. He watches from the shadows)
"Christine Wandering Child/ Bravo, Bravo"
PHANTOM
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?
I I-4-74
PHANTOM
HAVE YOU FORGOTTEN
YOUR ANGEL?
CHRISTINE
ANGEL, OH SPEAK...
WHAT ENDLESS LONGINGS
ECHO
IN THIS WHISPER...
(RAOUL appears in the downstage gloom and watches for a moment, transfixed.)
PHANTOM
TOO LONG YOU'VE
WANDERED
IN WINTER,
FAR FROM MY
FATHERING GAZE...
YOU RESIST YET YOUR
SOUL OBEYS...
ANGEL OF MUSIC!
YOU DENIED ME
TURNING FROM TRUE
BEAUTY
ANGEL OF MUSIC!
DO NOT SHUN ME.
COME TO ME
STRANGE ANGEL
PHANTOM
I AM YOUR ANGEL OF MUSIC,
COME TO ME, ANGEL OF MUSIC.
(Inexorably the PHANTOM continues to

beckon CHRISTINE)
I AM YOUR ANGEL OF MUSIC.
COME TO ME ANGEL OF MUSIC.
Let her go, for God's sake, let her go! Christine!
II-4-75
(Coming out of her trance, CHRISTINE turns and mouths the word.- `RAOUL!')
(She runs to RAOUL, who embraces her protectively. The PHANTOMfreezes for a moment and
then to new music, 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.
RAOUL
More tricks, monsieur?
PHANTOM
Let's see Monsieur how far you dare go.
RAOUL
More deception, more violence?
CHRISTINE
Raoul, no!
(RAOUL has begun to walk, slowly and resolutely, toward the PHANTOM, the fireballs always
landing just ahead of him)

PHANTOM
That's right, keep walking this way.
RAOUL
You can't win her love by making her your prisoner.
CHRISTINE
Raoul, no!
RAOUL
Stay back.
(RAOUL is almost at the PHANTOM's feet.)
PHANTOM
I'm here Monsieur. I'm here the angel of death. Come on, come on, monsieur, don't stop.
(A confrontation is imminent when CHRISTINE suddenly rushes across to RAOUL)
CHRISTINE
Raoul! Come back...
(She pulls him away.)
PHANTOM
Don't go!
II-5-76
(As they are exiting, the PHANTOM declaims in fury):
So be it! Now let there be war upon you BOTH!

(And with this, HE causes a wall of flame to shoot from the ground. Simultaneously afash
lightning.
Blackout.
We immediately hear the oboe A' of the next scene)

MUSIC 17: ACT 11 / SCENE 5 - "Before The Premiere Of "Don Juan Triumphant"
Scene 5: The Stage of the Opera House Before the Premier of "Don Juan Triumphant"
(An oboe sounds an "A " and the ORCHESTRA begins to tune. A whistle sounds - the CHIEF'
FIRE OFFICER is reviewing TWO FIRE MARSHALS in tin helmets. A work light on a stand,
illuminates them.
The ORCHESTRA continues to tune and warm up throughout the scene. All 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
(To ANDRE)
Are we doing the right thing, Andre?
ANDRE
Have you got a better idea?
CHIEF
Monsieur le Vicomte, am Ito give the order?
RAOUL
Give the order?
(The CHIEF blows his whistle, the FIREMEN fan out, leaving RAOUL, the CHIEF and(`
MANAGERS onstage. The orchestra has now completed tuning and individual players can't�e
heardPracticingftaSments of the "Don Juan "score. )
I
II-5-77
RAOUL (cont'd)
(To the MARKSMAN, from Box Five)
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.
(The MARKSMAN repositions himself to improve his view.)
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.
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!"
etc.
The orchestra falls silent.
A short pause as we hear the echo of the last door.
Very quietly, from nowhere, we hear the voice of the PHANTOM.)
PHANTOM'S VOICE
I'M HERE, THE PHANTOM OF THE OPERA
I'M HERE, THE PHANTOM OF THE OPERA
I'm here, I'm here, I'm here,
(All look around apprehensively. FIREMEN start to run in the direction of the voice)
II-6-78
PHANTOM'S VOICE (cont'd)
(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 the
confusion, the MARKSMANfires a shot. RAOUL rounds on the MARKSMANfuriously.)
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 6: The Stage of the Opera House - "Don Juan Triumphant"
MUSIC 18: ACT II / SCENE 6 - "Don Juan Triumphant"
(The stage of the opera. 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 o),
sixteenth century ruff
ians 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 & 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
II-6-79
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 (PIANGI)
PASSARINO, FAITHFUL FRIEND
ONCE AGAIN RECITE THE PLAN.
PASSARINO
YOUR YOUNG GUEST BELIEVE I'M YOU,
I THE MASTER, YOU THE MAN.
DON JUAN
WHEN YOU MET YOU WORE MY CLOAK
SHE COULD NOT HAVE SEEN 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 USED YOUR VOICE,
SLAM THE DOOR LIKE CRACK OF DOOM.
DONJAUN
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...
(Laughing, DON JUAN puts on PASSARINO's clothes and goes into the curtained alcove where
the bed awaits. Although we do not know it yet, the Punjab Lasso has done its work and SIGNOR
PIANGO is no more. When we next see DON JUAN it will be the PHANTOM. Meanwhile we
hear AMINTA [CHRISTINE] singing happily in the distance)
AMINTA
(Offstage, entering)
NO THOUGHTS WITHIN HER HEAD
BUT THOUGHTS OF JOY!
I I-6-80
NO DREAM WITHIN HER HEART
BUT DREAMS OF LOVE!
PASSARINO
(Onstage)
MASTER?
PHANTOM
(Behind curtain)
PASSARINO, GO AWAY!
FOR THE TRAP IS SET
AND WAITS FOR ITS PREY...
(PASSARINO exits. AMIIVTA enters. A pretty, adventurous girl, or she would not be here. ShJ
takes off her cloak and sits down. Looks about her. No-one. She starts on a leg of chicken.
The PHANTOM, disguised as DON JUAN pretending to be PASSARINO, emerges. He no
wears one of the servant's robes, 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.
"The Point of No Return"
PAST THE POINT
OF NO RETURN,
NO BACKWARD GLANCES,
OUR GAMES OF
MAKE BELIEVE
ARE AT AN END.
PAST ALL THOUGHT
OF "IF" OR "WHEN",
NO USE RESISTING:
ABANDON THOUGHT
AND LET THE REAM
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
WHEN 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,
II-7-82
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 SECURITY MEN have realized that SIGNOR PIANGI is de,
behind the curtain, and it is the PHANTOM who sings in his place. CHRISTINE knows it too.
final confirmation, the PHANTOM sings)
PHANTOM
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 h
finger.)
SAY YOU'LL WANT ME WITH YOU

HERE BESIDE YOU,
ANYWHERE YOU GO
LET ME GO TOO.
CHRISTINE,
THAT'S ALL I ASK OF...
(We never hear the word `you" for CHRISTINE quite calmly reveals the PHANTOM's face .
the audience. Gunshot. As the FORCES OF LAW close in on the horrifying skull, j
PHANTOMsweeps his cloak around her and vanishes.
MEG pulls the curtain upstage, revealing PIANGI's garroted body, propped against the bed, ,
head gruesomely tilted to one side. She screams)
Scene 7: On Stage, Reverse View
MUSIC 19: ACT 11 / SCENE 7
II-7-83
(Same as the previous scene, but in reverse view, with the house curtains, upstage, closed.
POLICMEN, STAGEHANDS, etc. rush onto the stage in confusion. Also: ANDRE, FIRMIN,
RAOUL, GIRY, CARLOTTA and MEG.)
ANDRE
Oh my God... my God...
FIRMIN
We're ruined, Andre - ruined!
CARLOTTA
What is it? What has happened? Ubaldo! Oh my darling... my darling... Who has done this...?
(Hysterical, attacking ANDRE)
You! Why did you let this happen?

GIRY
(To RAOUL)
Monsieur le Vicomte! Come with me! I know where they are!
RAOUL
And can I trust you?
GIRY
You must. But remember, keep your hand at the level of your eyes!
MEG
Like this, Monsieur...
RAOUL
But why?
GIRY
The Punjab Lasso, Monsieur, First Buquet, now Piangi.
MEG
I'll come with you...
GIRY
No, Meg! You stay here!
(To RAOUL)
Come with me, monsieur, do as I say. But hurry or we shall be too late...
(The Labyrinth Underground)
(Meanwhile, down below, we see the PHANTOM and CHRISTINE in the boat, cros sing the
underground lake)
"Down Once More/Track Down This Murder"
PHANTOM
DOWN ONCE MORE
I I-7-84
TO THE DUNGEONS
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, a great outburst of rhetorical self-pity.)
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 OFFSTAGE VOICE of a pursuing MOB and moves off again)
CHORUS
TRACK DOWN THIS MURDERER!
HE MUST BE FOUND.
PHANTOM
HOUNDED OUT BY EVERYONE!
E M T WITH HATRED EVERYWHERE!
NO KIND WORD FROM ANYONE!
NO COMPASSION ANYWHERE!
CHRISTINE, CHRISTINE
WHY? WHY?
(They disappear. RAOUL and GIRY appear at the edge of the lake.)
GIRY
YOUR HAND AT THE LEVEL
OF YOUR EYES...
RAOUL
AT THE LEVEL OF YOUR EYES...
(They hold their hands up. Just as well, for a noose descends over RAOUL and he is able to free
himself.)
CHORUS
(Offstage)
YOUR HAND AT THE LEVEL
OF YOUR EYES...
H-8-85
(This taunting chorus continues as they make their way down. They meet a pack of rats. GIRY
screams and lowers her guard The rats and the RATCATCHER pass them. GIRY raises her
hand.)
GIRY
He lives across the lake, Monsieur. This is as far as I dare go.
RAOUL
Madam 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.)
CHORUS
TRACK DOWN THIS MURDERER
HE MUST BE FOUND
TRACK DOWN THIS MURDERER
HE MUST BE FOUND
HUNT DOWN THIS ANIMAL
WHO RUNS TO GROUND
TOO LONG HE'S PREYED ON US,
BUT NOW WE KNOW:
IS HERE,
HE'S HERE,
DEEP DOWN BELOW.
(They turn back up the slope. Perhaps there is another way in. The gate to the lair rises from the
floor, shutting the boat from view as the rest of the lair appears)
HE'S HERE, THE PHANTOM OF THE OPERA

HE'S HERE, THE PHANTOM OF THE OPERA
Scene 8: The Phantom's Lair
MUSIC 20: ACT II / SCENE 8
(The wax doll of CHRISTINE sits crumpled on a large throne. The PHANTOM enters dragging
CHRISTINE roughly. She is wearing a white wedding dress. He is carrying a bridal veil. 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?
AM I NOW TO BE
PREY TO YOUR
LUST FOR FLESH?
II - 8 - 86
PHANTOM
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...
THIS FACE WHICH EARNED
A MOTHER'S FEAR AND LOATHING
A MASK, MY FIRST
UNFEELING SCRAP OF CLOTHING.
(Now standing behind her, he places the veil on her head.)
PITY COMES TOO LATE,

TURN AROUND AND FACE YOUR FATE.
(He turns her round.)
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...
(A stunned silence. It is broken as the PHANTOM'S suddenly senses RAOUL's presence.)
PHANTOM
WAIT, I THINK MY DEAR,
WE HAVE A GUEST.
CHRISTINE
(Seeing RAOUL, stunned)
Raoul... !
PHANTOM
(Mock-courteous bow to RAOUL)
SIR THIS IS INDEED
AN UNPARELLELED DELIGHT!
I HAD RATHER HOPED
THAT YOU WOULD COME,
II-8-87
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
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
THE WORLD SHOWED NO
COMPASSION TO ME!
RAOUL
LET ME SEE HER...
PHANTOM
BE MY GUEST, SIR.
(He gestures and the fence rises. RAOUL staggers in)
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
ORDER YOUR FINE HORSES NOW!
II-8-88
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.
CHRSTINE
THE TEARS I MIGHT HAVE SHED
FOR YOUR DARK FATE
GROW COLD AND TURN
TO TEARS OF HATE...
(The final confrontation. All three pause for a moment. RAOUL breaks the moment with:)
RAOUL
CHRISTINE, FORGIVE ME
PLEASE FORGIVE ME...
RAOUL
IDID IT ALL
FOR YOU, AND ALL
FOR NOTHING...
PHANTOM
(To CHRISTINE)
TOO LATE FOR TURNING BACK,
TOO LATE FOR PRAYERS AND
USELESS PITY...
PAST ALL HOPE

OF CRIES FOR HELP:
NO POINT IN FIGHTING
FOR EITHER WAY
YOU CHOOSE
YOU CANNOT WIN!
PHANTOM
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
.WHO DESERVES THIS?
WHY DO
YOU CURSE
MERCY?
ANGEL
OF
MUSIC...
YOU DECEIVED ME -
I GAVE MY MIND
BLINDLY...
(A pause. The PHANTOMlooks coldly at CHRISTINE.)

PHANTOM
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 moment is broken, as we hear the approaching MOB offstage)
CHORUS
TRACK DOWN THIS MURDERER...
II-8-90
HE MUST BE FOUND.
(The PHANTOM takes a lit candle and holds it above RAOUL's head. A tense moment... but t,
suspended rope suddenly falls harmlessly. The PHANTOM has burnt the thread by which t,
noose was held. Resigned, he addresses RAOUL)
PHANTOM
TAKE HER, FORGET ME,
FORGET ALL OF THIS.
CHORUS
HUNT OUT THIS ANIMAL
WHO RUNS TO GROUND
TOO LONG HE'S
PREYED ON US -
BUT NOW WE KNOW:
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
LEAVE ME ALONE -
FORGET ALL YOU'VE SEEN...
TAKE THE BOAT - SWEAR TO ME
NEVER TO TELL
THE SECRET YOU KNOW
OF THE ANGEL IN HELL -
GO - GO NOW - GO NOW AND LEAVE ME!
(RAOUL and CHRISTINE off towards the boat. The musical box starts toplaythe
"Masquerade " tune)
PHANTOM
MASQUERADE
PAPER FACES ON PARADE
MASQUERADE
HIDE YOUR FACE
SO THE WORLD WILL
NEVER FIND YOU!
(CHRISTINE takes off her ring and gives it to the PHANTOM.)
CHRISTINE I LOVE YOU.
II-8-91
(She leaves. The PHANTOMputs the ring on his finger.)
CHRISTINE
(To RAOUL, not looking back, as the boat pulls away, upstage in the shadow)
SAY YOU'LL SHARE WITH ME,
ONE LOVE, ONE LIFETIME...
RAOUL
SAY THE WORD
AND I WILL FOLLOW YOU.
CHRISTINE
SHARE EACH DAY WITH ME,
EACH NIGHT, EACH MORNING.
PHANTOM
YOU ALONE CAN MAKE MY SONG
TAKE FLIGHT.
IT'S OVER NOW, THE MUSIC
OF THE NIGHT.
(The PHANTOM walks slowly towards the throne and sits on it, gathering his cloak around him.
At the same time, the MOB including MEG, appears above, climbing down the portcullis. By the
time they have reached the bottom and entered the lair, the PHANTOM has entirely covered
himself with the cloak.
MEG crosses to the throne, and tentatively, but courageously pulls the cloak away revealing
empty air. The PHANTOM has vanished, leaving only his white mask. In wonder, she reaches
out and picks up the mask in her small hand.)
(Curtain)
END OF ACT TWO
OPERA CHORUS
THE PHANTOM
HE IS WITH US
IT'S THE GHOST
PHANTOM
MY SPIRIT
AND MY VOICE
IN ONE COMBINED;
IS THERE -
INSIDE YOUR MIND
PHANTOM
ANDIN
THIS LABYRINTH
WHERE NIGHT
IS BLIND
IS THERE
INSIDE YOUR MIND
PIANGI FIRMIN ANDRE
HOW CAN YOU THIS IS A JOKE. THIS CHANGES
DO THIS? NOTHING!
CARLOTTTA
YOU HAVE
RAOUL
WHY DID
CHRISTINE FLY
YOU HAVE FROM MY MEG
REBUKED ME. ARMS...? CHRISTINE...
CARLOTTTA PIANGI RAOUL &MEG

ABBANDONATA THIS IS UNCALLED FOR I MUST SEE HER
DESIDERERATTA THIS IS UNFOUNDED.
OSVENTURATA RAOUL
DISGRAZIATA THIS IS UNHEARD OF? WHERE DID
ABANDONATA YOU ARE UNTHINKING. SHE GO?
CARLOTTA PIANGI RAOUL,
MEG & GIRY
ABBANDONATA YOU ARE
UNFEELING
WHAT NEW
NON VO' CAN- YOU GO TO SUPRISES ARE IN
TAR FAR! STORE...
RAOUL
THE PHANTOM IS A FABLE.
BELIEVE ME THERE IS NO PHANTOM
OF THE OPERA...
MY GOD
WHO IS THIS MAN,
THIS MASK OF DEATH?
WHO IS THIS
VOICE YOU HEAR
WITH EVERY BREATH...?
BOTH
RAOUL
PHANTOM
CHRISTINE
RAOUL
CHRISTINE
RAOUL
LET'S NOT ARGUE
I CAN ONLY
HOPE I'LL
UNDERSTAND IN TIME!
PIANGI REYER
(Trying again) (Attempting to restore
THOSE WHO Tan... Tan... order)

(To CHRISTINE) Ladies...
Is right? Signor Piangi...
if you please...
CHRISTINE
(To PIANGI)
Not quite Signor:
"THOSE WHO (REYER thumps the
TAN...TAN..." piano keys, then leaves
the piano and attempts to
(PIANGI looks miserably at attract attention using
CARLOTTA. GIRY catches signals)

CHRISTINE's eye)
PIANGI
(To CARLOTTA)
I do my best... but I do not
understand.
CARLOTTA
Don't listen to them, caro.
PIANGI REYER
Here is no beauty... no Settle down, now...
music... Settle down... (etc)
CARLOTTA
(Mocking)
"THOSE WHO TANGLE
WITH DON JUAN!"
RAOUL
ONCE AGAIN SHE IS HIS.
ONCE AGAIN SHE

RETURNS. CHRISTINE
WILDLY MY MIND
BEATS AGAINST YOU...
YET THE SOUL OBEYS(
TO THE ARMS OF HER

ANGEL ANGEL OF MUSIC!
ANGEL OR DEMON
STILL HE CALLS HER I DENIED YOU,
LURING TURNING FROM TRUE
BEAUTY.
HER BACK FROM THE
GRAVE.
ANGEL ANGEL OF MUSIC!
OR DARK SEDUCER? MY PROTECTOR,
WHO ARE YOU COME TO ME
STRANGE ANGEL? STRANGE ANGEL.
RAOUL
ANGEL OF DARKNESS,
CEASE THIS TORMENT
(In desperation)
Christine, Christine, listen to me, whatever you
may believe, this man... this thing is not your
father.
(Addressing the PHANTOM
Let her go, for God's sake, let her go! Christine!
CHRISTINE
(Looking at the PHANTOM but to herse f)
FAREWELL MY FALLEN IDOL
AND FALSE FRIEND
WE HAD SUCH HOPES
AND NOW THOSE HOPES
ARE SHATTERED
RAOUL
(To CHRISTINE)
SAY YOU
LOVE HIM,
AND MY LIFE IS OVER!
EITHER WAY
YOU CHOOSE
HE HAS TO WIN...
I I-8-89
PHANTOM
PAST THE POINT
OF NO RETURN RAOUL
FOR PITY'S SAKE
.THE FINAL CHRISTINE, SAY NO!
THRESHOLD... DON'T THROW YOUR
LIFE AWAY
FOR MY SAKE...
HIS LIFE IS NOW THE
PRIZE WHICH YOU MUST
EARN! I FOUGHT SO HARD
TO FREE YOU...
YOU'VE PASSED THE
POINT
OF NO RETURN...

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Light

Action Sound Action Secenery Flys Video Action

Carlotta Giudicelli - Middle aged coloratura soprano, the archetypal Diva

Madame Giry - the ballet Mistress (mezzo-soprano)

Carlotta, Giry & The Compan3

the scenery. Hammering and shouting is heard.)

My apologies, M. Reyer. Proceed, proceed...

"Think of Me" (Carlotta)

MEG & BALLET GIRLS

HE'S THERE: THE PHANTOM OF THE OPERA

From the beginning of the aria then, mam'selle. Gentlemen.

"A red scarf'... "the attic"... "Little Lotte"...

They appear to have met before...

No, Raoul, the Angel of Music is very strict.

He hears the voices and is puzzled. He tries the door. It is locked)

THE PHANTOM OF THE OPERA

WHO WAS THAT SHAPE

COME, WE MUST RETURN -

ANDRE & FIRMIN

THE VICTOMTE, HER LOVER!

ANDRE & FIRMIN

SERAFIMO - YOUR DISGUISE IS PERFECT!

Christine, come with me.

Scene 8: The Roof of the opera house

"Why Have You Brought Us Here"

THE PHANTOM OF THE OPERA

THOSE PLEADING EYES,

MUSIC 11: ACT 1/ SCENE 8 (ALL I ASK OF YOU)

YOU SAY IS TRUE -

FIR MIN arrives. He is also dressed as a skeleton in an opera cape. The

I ADVISE YOU TO COMPLY

Madame, for all our sakes...

Scene 2: The Manager's Office

THE THING I HAVE TO

THE CURTAIN FALLS

silent and withdrawn)

HE WON'T LET ME GO...

YOU SAID YOURSELF

Scene 3: A Music Call For "Don Juan Triumphant"

THOSE WHO TANGLE WITH DON JAUN...

YOU RESIST YET YOUR

(Inexorably the PHANTOM continues to

landing just ahead of him)

So be it! Now let there be war upon you BOTH!

We immediately hear the oboe A' of the next scene)

SAY YOU'LL WANT ME WITH YOU

You! Why did you let this happen?

HE'S HERE, THE PHANTOM OF THE OPERA

PITY COMES TOO LATE,

PAST ALL HOPE

.WHO DESERVES THIS?

(A pause. The PHANTOMlooks coldly at CHRISTINE.)

CARLOTTTA PIANGI RAOUL &MEG

THOSE WHO Tan... Tan... order)

CARLOTTA. GIRY catches signals)

ONCE AGAIN SHE

TO THE ARMS OF HER

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