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ACT ONE - PARIS 1881

THE STAGE OF THE PARIS OPERA, 1905
(The contents of the opera house are being 
auctioned off. An AUCTIONEER, PORTERS, 
BIDDERS, and RAOUL, seventy now, but still 
bright of eye. The action commences with a 
blow from the AUCTlONEER's gavel) 
AUCTIONEER 
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, seven. Against you, sir, seven. Eight. 
Eight once. Selling twice. Sold, to Raoul, 
Vicomte de Chagny. 
Lot 664: a wooden pistol and three human 
skulls from the 1831 production of "Robert le 
Diable" by Meyerbeer. Ten francs for this. Ten, 
thank you. Ten francs still. Fifteen, thank you, 
sir Fifteen I am bid. Going at fifteen. Your 
number, sir? 
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. 
PORTER (holding it up) 
Showing here. (He sets it in motion) 
AUCTIONEER 
My I start at twenty francs? Fifteen, then? 
Fifteen I am bid. 
(the bidding continues. RAOUL. eventually 
buys the box for thirty francs) 
Sold, for thirty francs to the Vicomte de 
Chagny. Thank you, sir. 
(The box is handed across to RAOUL. He studies it, as 
attention focuses on him for a moment) 
RAOUL (quietly, half to himself, half to the 
box) 
A collector's piece indeed . . . 
every detail exactly as she said . . . 
She often spoke of you, my friend .... 
Your velvet lining, and your figurine of lead... 
Will you still play, 
when all the rest of us are dead? 
(Attention returns to the AUCTIONEER, as he 
resumes) 
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 workshops have 
restored it and fitted up parts of it with wiring 
for the new electric light, so that we may get a 
hint of what it may look like when re- 
assembled. Perhaps we may frighten away the 
ghost of so many years ago with a little 
illumination, gentlemen? 
(The AUCTIONEER switches on the chandelier 
There is an enormous flash, and the OVERTURE 
begins. During the overture the opera house is 
restored to its earlier grandeur. The chandelier 
immense and glittering, rises magically from 
the stage, finally hovering high above the 
stalls) 


Scene 1
REHEARSALS FOR "HANNIBAL" BY CHALUMEAU
(We have reached the great choral scene in 
which HANNIBAL and his army return to save 
Carthage from the Roman invasion under 
Scipio. HANNIBAL is UBALDO PIANGI; 
ELISSA, Queen of Carthage (his mistress) is 
CARLOTTA GUIDICELLI. The two leading 
SLAVE GIRLS are played by MEG GIRY and 
CHRISTINE DAAE. MME. GIRY is the ballet 
mistress. M. REYER, the repetiteur, is in 
charge. 
We join the opera towards the end of ELISSA's 
(CARLOTTA's) great aria. She is alone, holding 
a present from the approaching HANNIBAL, a 
bleeding severed head) 
CARLOTTA (at the climax of an extravagant cade) 
This trophy from our saviours, from the 
enslaving force of Rome! 
(A STAGE HAND carries a ladder across the 
stage. OTHERS are seen still constructing 
parts of the scenery) 
GIRLS' CHORUS 
With feasting and dancing and song, 
tonight in celebration 
we greet the victorious throng, 
returned to bring salvation! 
MEN'S CHORUS 
The trumpets of Carthage resound ! 
Hear, Romans, now and tremble! 
Hark to our step on the ground! 
ALL 
Hear the drums - Hannibal comes! 
(PIANGI enters, as HANNIBAL) 
PIANGI (HANNIBAL) 
Sad to return to find the land we love 
threatened once more by Roma's far-reaching 
grasp. 
REYER (interrupting him) 
Signor . . . if you please: "Rome". We say 
"Rome' not "Roma" 
PIANGI 
Si, si, Rome, not Roma. Is very hard for me. 
(practising) Rome . . . Rome . . . 
(Enter LEFEVRE, the retiring manager of the 
Opera, with M. FIRMIN and M. ANDRE, to 
whom he has just sold it) 
REYER (to PIANGI) 
Once again, then, if you please, Signor: "Sad to 
return . . ." 
LEFEVRE (to ANDRE and FIRMIN) 
This way, gentlemen, this way. Rehearsals, as 
you see, are under way, for a new production of 
Chalumeau's "Hannibal". 
(seeing a hiatus in the rehearsal, LEFEVRE attempts to 
attract attention.) 
LEFEVRE 
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 
My apologies, M. Reyer. Proceed, proceed ... 
REYER 
Thank you, monsieur (turning back to PIANGI). 
"Sad to return..." Signor ... 
LEFEVRE (sotto voce to ANDRE and FIRMIN) 
M. Reyer, our chief repetiteur. Rather a tyrant, I'm 
afraid. 
(the rehearsal continues) 
PIANGI (HANNIBAL) 
Sad to return to find the land we love 
threatened once more by 
Rome's far-reaching grasp. 
Tomorrow we shall break 
the chains of Rome. 
Tonight, rejoice - your army has 
come home. 
BALLET GIRLS begin their dance. 
LEFEVRE, ANDRE and FIRMIN 
stand centr-stage watching the 
ballet. They are in the way. The 
ballet continues under the 
following dialogue.) 
LEFEVRE (indicating PIANGI) 
Signor Piangi, our principal 
tenor. He does play so opposite 
La Carlotta. 
GIRY (exasperated by their 
presence, bangs her cane angrily 
on the stage) 
Gentlemen, please! If you would 
kindly move to one side? 
LEFEVRE 
My apologies, Mme. Giry. 
(leading ANDRE and FIRMIN 
aside) 
Mme. Giry, our ballet mistress. I 
don't mind confessing, M. 
Firmin, I shan't be sorry to be rid 
of the whole blessed business. 
FIRMIN 
I keep asking you, monsieur, why 
exactly are you retiring? 
LEFEVRE (ignoring this, calls 
his attention to the continuing 
ballet) 
We take a particular pride here in 
the excellence of our ballets. 
(MEG becomes prominent among the dancers) 
ANDRE 
Who's that girl, Lefevre? 
LEFEVRE 
Her? Meg Giry, Madame Giry's 
daughter. Promising dancer, M. 
Andre, most promising. 
(CHRISTINE becomes prominent. She has absent- 
mlndedly fallen out-of-step) 
GIRY (spotting her, bangs her cane again) 
You! Christine Daae! Concentrate, girl! 
MEG (quietly, to CHRISTINE) 
Christine . . . What's the matter? 
FIRMIN (to LEFEVRE) 
Daae? Curious name. 
LEFEVRE 
Swedish. 
ANDRE 
Any relation to the violinist? 
LEFEVRE 
His daughter, I believe. Always has her head in the 
clouds, I'm afraid. 
(The ballet continues to its climax and ends. The 
CHORUS resumes) 
CHORUS 
Bid welcome to Hannibal's guests - 
the elephants of Carthage! 
As guides on our conquering quests, 
Dido sends 
Hannibal's friends! 
(the ELEPHANT, a life-sized mechanical replica, enters. 
PIANGI is lifted, in triumph, onto its back) 
CARLOTTA (ELISSA) 
Once more to my 
welcoming arms 
my love returns 
in splendour! 
PIANGI (HANNIBAL) 
Once more to those 
sweetest of charms 
my heart and soul 
surrender! 
CHORUS 
The trumpeting elephants sound 
hear, Romans, now and tremble! 
Hark to their step on the ground 
hear the drums! 
Hannibal comes! 
(At the end of the chorus LEFEVRE claps 
his hands for silence. The elephant is led 
off. Two stage-hands are revealed operating 
it from within) 
LEFEVRE 
Ladies and gentlemen - Madame Giry, thank 
you - may I have your attention, please? 
As you know, for some weeks there have 
been rumours of my Imminent retirement. I 
can now tell you that these were all true and 
it is my pleasure to introduce to you the 
two gentlemen who now own the Opera 
Populaire, M. Richard Firmin and M. 
Gilles Andre. 
(Polite applause. Some bowing. 
CARLOTTA makes her presence felt) 
Gentlemen, Signora Carlotta Giudicelli, our 
leading soprano for five seasons now. 
ANDRE 
Of course, of course. I have experienced all 
your 
greatest roles, Signora. 
LEFEVRE 
And Signor Ubaldo Piangi. 
FIRMIN 
An honour, Signor. 
ANDRE 
If I remember rightly, Elissa has a rather 
fine aria in Act Three of "Hannibal". I 
wonder, Signora, if, as a personal favour, 
you would oblige us with a private 
rendition? (Somewhat acerbic). Unless, of 
course, M. Reyer objects . . . 
CARLOTTA 
My manager commands . . . 
M. Reyer? 
REYER 
My diva commands. Will two bars 
be sufficient introduction? 
FIRMIN 
Two bars will be quite sufficient 
REYER (ensuring that CARLOTTA is ready) 
Signora? 
CARLOTTA 
Maestro. 
(The introduction is played on the piano) 
CARLOTTA 
Think of me, 
think of me fondly, 
when we've said 
goodbye. 
Remember me 
once in a while - 
please promise me 
you'll try. 
When you find 
that, once 
again, you long 
to take your heart . . . 
(As CARLOTTA is singing a backdrop crashes to the 
floor cutting her off from half the cast) 
MEG/BALLET GIRLS/CHORUS 
He's here: 
the Phantom of the Opera . . . 
He is with us . . . 
It's the ghost . . . 
PIANGI (looking up, furiously) 
You idiots! 
(He rushes over to CARLOTTA) 
Cara! Cara! Are you hurt? 
LEFEVRE 
Signora! Are you all right? Buquet! 
Where is Buquet ? 
PIANGI 
Is no one concerned for our prima donna? 
LEFEVRE 
Get that man down here ! 
(to ANDRE and FIRMIN) 
Chief of the flies. He's responsible for this. 
(The drop is raised high enough to reveal upstage an old 
stagehand, JOSEPH BUQUET, holding a length of rope, 
which looks almost like a noose) 
LEFEVRE 
Buquet! For God's sake, man, what's going on up there? 
BUQUET 
Please monsieur 
don't look at me: 
as God's my witness, 
I was not at my post. 
Please monsieur 
there's no one there: 
and if there is, well 
then, it must be a ghost . . . 
MEG (looking up) 
He's there; the Phantom of the Opera ... 
ANDRE 
Good heavens! 
Will you show a little courtesy? 
FIRMIN (to MEG and the OTHERS) 
Mademoiselle, please! 
ANDRE (to CARLOTTA) 
These things do happen. 
CARLOTTA 
Si! These things do happen! Well, until you stop these 
things happening, this thing does not happen! 
Ubaldo! Andiamo! 
(PIANGI dutifully fetches her furs from the wings) 
PIANGI 
Amateurs ! 
LEFEVRE 
I don't think there's much more to assist you, 
gentlemen. Good luck. If you need me, I shall be in 
Frankfurt . 
(He leaves. The COMPANY looks anxiously at the NEW 
MANAGERS) 
ANDRE 
La Carlotta will be back. 
GIRY 
You think so, messieurs? I have a message, sir, from the 
Opera Ghost. 
(The GIRLS twitter and twirl in fear) 
FIRMIN 
God in Heaven, you're all obsessed! 
GIRY 
He merely welcomes you to his opera house and 
commands you to continue to leave Box Five empty for 
his use and reminds you that his salary is due. 
FIRMIN 
His salary? 
GIRY 
Monsieur Lefevre paid him twenty thousand francs a 
month. Perhaps you can afford more, with the Vicomte de 
Chagny as your patron. 
(Reaction to this from the BALLET GIRLS. 
CHRISTINE takes hold of MEG nervously) 
ANDRE (to GIRY) 
Madame, I had hoped to have made that 
announcement myself. 
GIRY (to FIRMIN) 
Will the Vicomte be at the performance tonight, 
monsieur? 
FIRMIN 
In our box. 
ANDRE 
Madame, who is the understudy for this role? 
REYER 
There is no understudy, monsieur - the 
production is new. 
MEG 
Christine Daae could sing it, sir. 
FlRMIN 
The chorus girl ? 
MEG (to FIRMIN) 
She's been taking lessons from a great teacher 
ANDRE 
From whom ? 
CHRISTINE (uneasily) 
I don't know, sir . . . 
FIRMIN 
Oh, not you as well! 
(turning to ANDRE) 
Can you believe it? A full house - and we have to cancel ! 
GIRY 
Let her sing for you, monsieur. She has been well taught. 
REYER (after a pause) 
From the beginning of the aria then, mam'selle. 

THINK OF ME
CHRISTINE 
Think of me 
think of me fondly, 
when we've said goodbye. 
Remember me 
once in a while - 
please promise me 
you'll try. 
FIRMIN 
Andre, this is doing nothing for my nerves. 
ANDRE 
Don't fret, Firmin. 
CHRISTINE 
When you find 
that, once 
again, you long 
to take your heart back 
and be free - 
if you 
ever find 
a moment, 
spare a thought 
for me 
(Transformation to the Gala. CHRISTINE is 
revealed in full costume) 
We never said 
our love 
was evergreen, 
or as unchanging 
as the sea - 
but if 
you can still 
remember 
stop and think 
of me . . . 
Think of August 
when the trees were green- 
don't think about the way 
things might have been . . . 
Think of me, 
think of me waking, 
silent and 
resigned. 
Imagine me, 
trying too hard 
to put you 
from my mind. 
Recall those days 
look back 
on all those times, 
think of the things 
we'll never do - 
there will 
never be 
a day, when 
I won't think 
of you . . 
(Applause, bravos. Prominent among the bravos, those 
of the young RAOUL in the MANAGERS' box) 
RAOUL 
Can it be? 
Can it be Christine? 
Bravo! 
(he raises his opera-glasses) 
Long ago,BR> It seems so long ago, 
How young and innocent we were! 
(lowering his opera-glasses) 
She may 
not remember 
me, but 
I remember 
her... 
CHRISTINE 
We never said 
our love 
was evergreen, 
or as unchanging 
as the sea - 
but please 
promise me, 
that sometimes 
you will think 
of me! 

Scene 2
AFTER THE GALA
(The curtain closes upstage. BALLET GIRLS, from the 
wings gush around CHRISTINE who hands each a flower 
from her bouquet. REYER stiffly gives his approval) 
GIRY (to CHRISTINE) 
Yes, you did well. He will be pleased. 
(to the DANCERS) 
And you! You were a disgrace tonight! Such ronds de 
jambe! Such temps de cuisse! 
Come, we rehearse. Now! 
(She emphasizes this with her cane. 
The BALLET GIRLS settle into rehearsal upstage, GlRY 
keeping time with her stick. Variations on this continue 
throughout the scene) 

ANGEL OF MUSIC
(CHRISTINE moves slowly, downstage, away from the 
DANCERS as her dressing room becomes visible. 
Unseen by her, MEG also moves away and follows her. 
As CHRISTINE is about to open the dressing room door, 
she hears the PHANTOM's voice out of nowhere) 
PHANTOM'S VOICE 
Brava, brava, bravissima. . . 
(CHRISTINE is bewildered by the voice. MEG, 
following, has not heard it. CHRISTINE turns in 
surprise, and is relieved to see her) 
MEG 
Where in the world 
have you been hiding? 
Really, you were 
perfect! 
I only wish 
I knew your secret! 
Who is this new 
tutor? 
CHRISTINE (abstracted, entering the dressing room) 
Father once spoke 
of an angel . . . 
I used to dream he'd 
appear . . . 
Now as I sing, 
I can sense him . . . 
And I know 
he's here . . . 
(trance-like) 
Here in this room 
he calls me softly . . . 
somewhere inside . . . 
hiding . . . 
Somehow I know 
he's always with me . . . 
he - the unseen 
genius . . . 
MEG (uneasily) 
I watched your face from the shadows, 
distant through all the applause.. 
I hear your voice 
in the darkness... 
but the words 
aren't yours.. 
CHRISTINE (not hearing her, ecstatic) 
Angel of Music! 
Guide 
and guardian! 
Grant to me your 
glory! 
MEG (to herself) 
Who is this angel? 
This . . . 
BOTH 
Angel of Music! 
Hide no longer! 
Secret and strange 
angel . . . 
CHRISTINE (darkly) 
He's with me, even now . . . 
MEG (bewildered) 
Your hands are cold . . . 
CHRISTINE; 
All around me . . . 
MEG 
Your face, Christine, 
it's white . . . 
CHRISTINE 
It frightens me . . . 
MEG 
Don't be frightened . . . 
(THEY look at each other The moment is broken 
by the arrival of GIRY) 
GIRY 
Meg Giry. Are you a dancer? Then come and 
practice. 
(MEG leaves and joins the DANCERS) 
My dear, I was asked to give you this. 
(She hands CHRlSTlNE a note, and exits. 
CHRISTINE opens it and reads) 
CHRISTINE 
A red scarf . . . the attic . . . Little Lotte . . . 

Scene 3
CHRISTINE 'S DRESSING ROOM
(Meanwhile RAOUL ANDRE, FIRMIN, and MME. 
FIRMIN are seen making their way towards the dressing 
room, the MANAGERS in high spirits, bearing 
champagne) 
ANDRE 
A tour de force! No other way to describe it! 
FIRMIN 
What a relief ! Not a single refund! 
MME. FIRMIN 
Greedy. 
ANDRE 
Richard, I think we've made quite a discovery in Miss 
Daae! 
FIRMIN (to RAOUL, indicating CHRISTINE 'S 
dressing room) 
Here we are, Monsieur le Vicomte. 
RAOUL 
Gentlemen if you wouldn't mind. This is one visit I 
should prefer to make unaccompanied. 
(He takes the champagne from FIRMIN) 
ANDRE 
As you wish, monsieur. 
(They bow and move off) 
FIRMIN 
They appear to have met before . . . 
(RAOUL knocks at the door and enters) 
RAOUL 
Christine Daae, where is your red scarf? 
CHRISTINE 
Monsieur? 
RAOUL 
You can't have lost it. After all the trouble I took. 
I was just fourteen and soaked to the skin . . . 
CHRISTINE 
Because you had run into the sea to fetch my scarf. 
Oh, Raoul. So it is you! 
RAOUL 
Christine. 
(They embrace and laugh. She moves away and sits at her 
dressing table) 
RAOUL 
"Little Lotte let her mind wander . . ." 
CHRISTINE 
You remember that, too . . . 
RAOUL (continuing) 
". . . Little Lotte thought: Am I fonder 
of dolls . . ." 
BOTH (CHRISTINE joining in) 
". . . or of goblins, 
of shoes . . ." 
CHRISTINE 
". . . or of riddles. 
of frocks . . ." 
RAOUL 
Those picnics in the attic . . . 
". . . or of chocolates . . ." 
CHRISTINE 
Father playing the violin . . . 
RAOUL 
As we read to each other 
dark stories of the North . . . 
CHRISTINE 
"NoQwhat I love best, Lotte said, 
is when I'm asleep in my bed, 
and the Angel of Music sings songs in my 
head!" 
BOTH 
". . . the Angel of Music sings song in my 
head!" 
CHRISTINE (turning in her chair to look at him) 
Father said, "When I'm in heaven, child, I will send the 
Angel of Music to you". Well, father is dead, Raoul, and 
I have been visited by the Angel of Music. 
RAOUL 
No doubt of it. And now we'll go to supper! 
CHRISTINE 
No, Raoul, the Angel of Music is very strict. 
RAOUL 
I shan't keep you up late! 
CHRISTINE 
No, Raoul . . . 
RAOUL 
You must change. I must get my hat. Two minutes Little 
Lotte. 
(He hurries out) 
CHRISTINE (calling after him) 
Raoul! 
(quietly picking up her hand mirror) 
Things have changed, Raoul. 

THE MIRROR (ANGEL OF MUSIC)
(Tremulous music. CHRISTINE hears the 
PHANTOM'S voice, seemingly from behind her dressing 
room mirror) 
PHANTOM'S VOICE 
Insolent boy! 
This slave 
of fashion 
basking in your 
glory! 
Ignorant fool! 
This brave 
young suitor, 
sharing in my 
triumph! 
CHRISTINE (spell-bound) 
Angel! I hear you! 
Speak - 
I listen . . . 
stay by my side, 
guide me! 
Angel, my soul was weak - 
forgive me . . . 
enter at last, 
Master! 
PHANTOM'S VOICE 
Flattering child, 
you shall know me, 
see why in shadow 
I hide! 
Look at your face 
in the mirror - 
I am there 
inside! 
(The figure of the PHANTOM becomes discernible 
behind the mirror) 
CHRISTINE (ecstatic) 
Angel of Music! 
Guide and guardian! 
Grant to me your 
glory! 
Angel of Music! 
Hide no longer! 
Come to me, strange 
angel... 
PHANTOM"S VOICE 
I am your Angel ... 
Come to me: Angel of Music ... 
(CHRISTINE walks towards the glowing, 
shimmering glass. Meanwhile, RAOUL has 
returned. He hears the voices and is puzzled. He 
tries the door It is locked) 
RAOUL 
Whose is that voice . . .? 
Who is that in there . . .? 
(Inside the room the mirror opens. Behind it, in 
an inferno of white light, stands the PHANTOM. 
He reaches forward and takes CHRISTINE firmly, 
but not fiercely, by the wrist. His touch is cold, 
and CHRISTINE gasps) 
PHANTOM 
I am your Angel of Music . . . 
Come to me: Angel of Music . . . 
(CHRISTINE disappears through the mirror, 
which closes behind her The door of the dressing 
room suddenly unlocks and swings open, and 
RAOUL enters to find the room empty) 
RAOUL 
Christine! Angel! 

Scene 4
THE PHANTOM OF THE OPERA
THE LABYRINTH UNDERGROUND 
(The PHANTOM and CHRISTINE take their 
strange journey to the PHANTOM'S lair. Candles 
rise from the stage. We see CHRISTINE and the 
PHANTOM in a boat which moves slowly across 
the misty waters of the underground lake) 
CHRISTINE 
In sleep 
he sang to me, 
in dreams 
he came . . . 
that voice 
which calls to me 
and speaks 
my name . . . 
And do 
I dream again? 
For now 
I find 
the Phantom of the Opera 
is there - 
inside my mind . . . 
PHANTOM 
Sing once 
again with me 
our strange 
duet . . . 
My power 
over you 
grows stronger 
yet . . . 
And though 
you turn from me, 
to glance 
behind, 
the Phantom of the Opera 
is there - 
inside your mind . . . 
CHRISTINE 
Those who 
have seen your face 
draw back 
in fear . . . 
I am 
the mask you wear . . . 
PHANTOM 
It's me 
they hear . . . 
BOTH 
Your/my spirit 
and your/my voice, 
in one 
combined: 
the Phantom of the Opera 
is thereQ 
inside your/my mind . . . 
OFFSTAGE VOICES 
He's there, 
the Phantom of the Opera . . . 
Beware 
the Phantom of the Opera . . . 
PHANTOM 
In all 
your fantasies, 
you always 
knew 
that man 
and mystery . . . 
CHRISTINE 
. . . were both 
in you . . . 
BOTH 
And in 
this labyrinth, 
where night 
is blind, 
the Phantom of the Opera 
is there/hereQ 
inside your/my mind . . . 
Sing, my Angel of Music! 
CHRISTINE 
He's there, 
the Phantom of the Opera . . . 
(She begins to vocalise strangely, her song becoming 
more and more extravagant.) 

Scene 5
THE MUSIC OF THE NIGHT
BEYOND THE LAKE THE NEXT MORNING 
(Finally they arrive in the PHANTOM'S lair. Downstage 
the candles in the lake lift up revealing giant 
candelabrums outlining the space. The boat turns into a 
bed. There is a huge pipe organ. The PHANTOM sits at 
the organ and takes over the accompaniment) 
PHANTOM (281K) 
I have brought you 
to the seat of sweet 
music's throne . . . 
to this kingdom 
where all must pay 
homage to music . . . 
music . . . 
You have come here, 
for one purpose, 
and one alone . . . 
Since the moment 
I first heard you sing, 
I have needed 
you with me, 
to serve me, to sing, 
for my music . . . 
my music . . . 
(changing mood) 
Night-time sharpens, 
heightens each sensation . . . 
Darkness stirs and 
wakes imagination . . . 
Silently the senses 
abandon their defences . . . 
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 . . . 
Feel it, hear it, 
secretly possess you. . . 
Open up your mind, 
let your fantasies unwind, 
in this darkness which 
you know you cannot fight - 
the darkness of 
the music of the night . . . 
Let your mind 
start a journey through a 
strange new world! 
Leave all thoughts 
of the world 
you knew before! 
Let your soul 
Take you where you 
long to be ! 
Only then 
can you belong 
to me . . . 
Floating, falling, 
sweet intoxication! 
Touch me, trust me 
savour each sensation! 
Let the dream begin, 
let your darker side give in 
to the power of the music that I write - 
the power of the music of the night . . . 
(During all this, the PHANTOM has conditioned 
CHRISTINE to the coldness of his touch and her fingers 
are brave enough to stray to his mask and caress it, with 
no hint of removing it. The PHANTOM leads her to a 
large mirror from which he removes a dust cover and in 
which we see the image of CHRISTINE, a perfect wax- 
face impression, wearing a wedding gown. CHRISTINE 
moves slowly towards it when suddenly the image thrusts 
its hands through the mirror towards her She faints. The 
PHANTOM catches her and carries her to the bed, where 
he lays her down.) 
PHANTOM 
You alone can make my song take flight - 
help me make the music of the night . . . 

Scene 6
THE NEXT MORNING
(As the light brightens, we see the PHANTOM seated at 
the organ playing with furious concentration. He breaks 
off occasionally to write the music down. There is a 
musical box in the shape of a barrel organ beside the bed. 
Mysteriously, it plays as CHRISTINE 
wakes up. The music keeps her in a half-trance) 
CHRISTINE 
I remember 
there was mist . . . 
swirling mist 
upon a vast, glassy lake . . . 
There were candles 
all around 
and on the lake there 
was a boat, 
and in the boat 
there was a man . . . 
(She rises and approaches the PHANTOM who does not 
see her As she reaches for his mask, he turns, almost 
catching her. This happens several times) 
Who was that shape 
in the shadows? 
Whose is the face 
in the mask? 
(She finally succeeds in tearing the mask from his face. 
The PHANTOM springs up and rounds on her furiously. 
She clearly sees his face. The audience does not, as he is 
standing in profile and in shadow) 
PHANTOM 
Damn you! 
You little prying 
Pandora! 
You little demon - 
is this what you wanted to see? 
Curse you! 
You little lying 
Delilah! 
You little viper! 
now you cannot ever be free! 
Damn you . . . 
Curse you . . . 
(a pause) 
Stranger 
than you dreamt it - 
can you even 
dare to look 
or bear to 
think of me: 
this loathsome 
gargoyle, who 
burns in hell, but secretly 
yearns for heaven, 
secretly . . . 
secretly . . . 
But, Christine . . . 
Fear can 
Turn to love - you'll 
learn to see, to 
find the man 
behind the 
monster: this . . . 
repulsive 
carcass, who 
seems a beast, but secretly 
dreams of beauty, 
secretly . . . 
secretly . . . 
Oh, Christine . . . 
(He holds out his hand for the mask, which she gives to 
him. He puts it on, turning towards the audience as he 
sings): 
Come we must return - 
those two fools 
who run my theatre 
will be missing you. 
(The lair sinks into the floor as the PHANTOM and 
CHRISTINE leave) 

Scene 7
BACKSTAGE
(BUQUET mysteriously appears, a length of fabric 
serving as a cloak, and a piece of rope as the Punjab 
lasso. He is showing off to the BALLET GIRLS) 
BUQUET 
Like yellow parchment 
is his skin . . . 
a great black hole served as the 
nose that never grew . . . 
(Demonstrating his method of self-defence against the 
Punjab lasso, he inserts his hand between his neck and 
the noose, and then pulls the rope taut. With a mixture of 
horror and delight, the BALLET GIRLS applaud this 
demonstration) 
(explaining to them) 
You must be always 
on your guard, 
or he will catch you with his 
magical lasso! 
(A trap opens up centre stage casting a shadow of the 
PHANTOM as he emerges. The GIRLS, linking hands, 
run off terrified. The PHANTOM, leading CHRISTINE, 
fixes his stare on BUQUET. Sweeping his cape around 
CHRISTINE, he exits with her But before they go GIRY 
has entered, observing. She turns on BUQUET) 
  
GIRY 
Those who speak 
of what they know 
find, too late, that prudent 
silence is wise. 
Joseph Buquet, 
hold your tongueQ 
he will burn you with the 
heat of his eyes . . . 

Scene 8
THE MANAGERS' OFFICE
(Desk, chairs, papers. FIRMIN is scornfully eyeing a 
newspaper article) 
FIRMIN 
"Mystery 
after gala night," 
if says, "Mystery 
of soprano's flight!" 
"Mystified 
baffled Surete say, 
we are mystified - 
we suspect foul play!" 
(He lowers the paper) 
Bad news on 
soprano scene - 
first Carlotta, 
now Christine! 
Still, at least 
the seats get soldQ 
gossip's worth 
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!BR> 
(ANDRE bursts in, in a temper) 
ANDRE 
Damnable! 
Will they all walk out? 
This is damnable! 
FIRMIN 
Andre, please don't shout . . . 
It's publicity! 
And the take is vast! 
Free publicity! 
ANDRE 
But we have no cast . . . 
FIRMIN (calmly) 
But Andre, 
have you seen the queue? 
(He has been sorting mail on his desk. Finding the two 
letters from the PHANTOM): 
Oh, it seems 
you've got one too . . . 
(He hands the letter to ANDRE, who opens it and reads): 
ANDRE 
"Dear Andre 
what a charming gala! 
Christine enjoyed a great success! 
We were hardly bereft 
when Carlotta left - 
otherwise 
the chorus was entrancing, 
but the dancing was a 
lamentable mess!" 
FIRMIN (reading his) 
"Dear Firmin, 
just a brief reminder: 
my salary has not been paid. 
Send it care of the ghost, 
by return of postQ 
P.T.O.: 
No-one likes a debtor, 
so it's better if my 
orders are obeyed!" 
FIRMIN/ANDRE 
Who would have the gall 
to send this? 
Someone with a puerile brain! 
FIRMIN (examining both letters) 
These are both signed "O.G." . . . 
ANDRE 
Who the hell is he? 
BOTH (immediately realizing) 
Opera ghost! 
FIRMIN (unamused) 
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 - 
he is clearly quite insane! 
(They are interrupted by the arrival of RAOUL, who 
brandishes another of the PHANTOM'S notes) 
RAOUL 
Where is she? 
ANDRE 
You mean Carlotta? 
RAOUL 
I mean Miss Daae - 
where is she? 
FIRMIN 
Well, how should we know? 
RAOUL 
I want an answer - 
I take it that you sent me this note? 
FIRMIN 
What's all this nonsense? 
ANDRE 
Of course not! 
FIRMIN 
Don't look at us! 
RAOUL 
She's not with you, then? 
FIRMIN 
Of course not! 
ANDRE 
We're in the dark . . . 
RAOUL 
Monsieur, don't argue - 
Isn't this the 
letter you wrote? 
FIRMIN 
And what is it, that we're 
meant to have wrote? 
(Realizing his mistake) 
Written ! 
(RAOUL hands the note to ANDRE, who reads it) 
ANDRE 
"Do not fear for Miss Daae. 
The Angel of Music 
has her under his wing. 
Make no attempt to see her again." 
(The MANAGERS look mystified) 
RAOUL 
If you didn't write it, who did? 
(CARLOTTA bursts in. She too has a letter, which has 
cheered her no more than the others) 
CARLOTTA 
Where is he? 
ANDRE 
Ah, welcome back! 
CARLOTTA 
Your precious patron - 
where is he? 
RAOUL 
What is it now? 
CARLOTTA (to RAOUL) 
I have your letter - 
a letter which I 
rather resent! 
FIRMIN (to RAOUL) 
And did you send it? 
RAOUL 
Of course not! 
ANDRE 
As if he would! 
CARLOTTA 
You didn't send it? 
RAOUL 
Of course not! 
FIRMIN 
What's going on . . .? 
CARLOTTA (to RAOUL) 
You dare to tell me, 
that this is not the 
letter you sent ? ! 
RAOUL 
And what is it that I'm 
meant to have sent? 
(RAOUL takes the letter and reads it) 
"Your days 
at the Opera Populaire are numbered. 
Christine Daae 
will be singing on your behalf tonight. 
Be prepared 
for a great misfortune, 
should you attempt 
to take her place." 
(The MANAGERS are beginning lo 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 (drily) 
I trust her midnight oil 
is well and truly burned. 
ANDRE 
Where precisely is she now? 
GIRY 
I thought it best 
that she went home . . . 
MEG 
She needed rest. 
RAOUL 
May I see her? 
GIRY 
No, monsieur, 
she will see no-one. 
CARLOTTA 
Will she sing? 
Will she sing? 
GIRY 
Here, I have a note . . . 
RAOUL/CARLOTTA/ANDRE 
Let me see it! 
FIRMIN (snatching it) 
Please! 
FIRMIN (Opens the letter and reads. The PHANTOM'S 
voice gradually lakes over) 
"Gentlemen, I have now sent you several notes of the 
most amiable nature, detailing how my theatre is to be 
run. You have not followed my instructions. 
I shall give you one last chance . . ." 
PHANTOM'S VOICE (taking over) 
Christine Daae has returned to you, 
and I am anxious her career 
should progress. 
In the new production of "Il Muto", 
you will therefore cast Carlotta 
as the Pageboy, and put Miss Daae 
in the role of Countess. 
The role which Miss Daae plays 
calls for charm and appeal. 
The role of the Pageboy is silent - 
which makes my casting, 
in a word 
ideal. 
I shall watch the performance from my normal seat in 
Box Five, which will be kept empty for me. Should 
these commands be ignored, a disaster beyond your 
imagination will occur. 
FIRMIN (taking over) 
"I remain, Gentlemen, 
Your obedient servant, O.G." 
CARLOTTA 
Christine! 
ANDRE 
Whatever next . . .? 
CARLOTTA 
It's all a ploy to help Christine! 
FIRMIN 
This is insane . . . 
CARLOTTA 
I know who sent this: 
(pointing an accusing finger) 
The Vicomte - her lover! 
RAOUL (ironical) 
Indeed? 
(to the OTHERS) 
Can you believe this? 
ANDRE (to CARLOTTA, in protest) 
Signora! 
CARLOTTA (half to the MANAGERS, half to herself) 
O traditori! 
FIRMIN (to CARLOTTA) 
This is a joke! 
ANDRE 
This changes nothing! 
CARLOTTA 
O mentitori! 
FIRMIN 
Signora! 
ANDRE 
You are our star! 
FIRMIN 
And always will be! 
ANDRE 
Signora . . . 
FIRMIN 
The man is mad! 
ANDRE 
We don't take orders! 
FIRMIN (announcing it to EVERYONE) 
Miss Daae will be playing 
the Pageboy - the silent role . . . 
ANDRE/FIRMIN 
Carlotta will be playing 
the lead! 
CARLOTTA (waxing melodramatic) 
It's useless trying to 
appease me! 
You're only saying this 
to please me! 
Signori, e vero? 
Non, non, non voglio udire ! 
Lasciatemi morire! 
O padre mio! 
Dio! 
GIRY 
Who scorn his word, 
beware to those . . . 
CARLOTTA (to MANAGERS) 
You have reviled me! 
GIRY 
The angel sees, 
the angel knows . . . 
RAOUL 
Why did Christine 
fly from my arms . . .? 
CARLOTTA 
You have rebuked me! 
ANDRE/FIRMIN 
Signora, pardon us . . . 
CARLOTTA 
You have replaced me! 
ANDRE/FIRMIN 
Please, Signora, 
we beseech you . . . 
GIRY 
This hour shall see 
your darkest fears . . . 
MEG/RAOUL 
I must see her . . . 
CARLOTTA 
Abbandonata! 
Deseredata! 
0, sventurata! 
GIRY 
The angel knows, 
the angel hears . . . 
RAOUL 
Where did she go . . .? 
CARLOTTA 
Abbandonata! 
Disgraziata! 
ANDRE/FIRMIN 
Signora, sing for us! 
Don't be a martyr . . . 
RAOUL/GIRY/MEG 
What new surprises 
lie in store . . .? 
ANDRE/FIRMIN 
Our star . . .! 
CARLOTTA 
Non vo' cantar! 

PRIMA DONNA
(ALL look at CARLOTTA, as the MANAGERS approach 
her lovingly) 
ANDRE 
Your public needs you! 
FIRMIN 
We need you, too! 
CARLOTTA (unassuaged) 
Would you not 
rather have your 
precious little 
ingenue? 
ANDRE/FIRMIN 
Signora, no! 
the world wants you! 
(The MANAGERS adopt their most persuasive attitudes) 
ANDRE/FIRMIN 
Prima donna 
first lady of the stage! 
Your devotees 
are on their knees 
to implore you ! 
ANDRE 
Can you bow out 
when they're shouting 
your name? 
FIRMIN 
Think of how they all 
adore you! 
BOTH 
Prima donna, 
enchant us once again! 
ANDRE 
Think of your muse . . . 
FIRMIN 
And of the queues 
round the theatre! 
BOTH 
Can you deny us the triumph 
in store? 
Sing, prima donna, once more! 
(CARLOTTA registers her acceptance as the 
MANAGERS continue to cajole and the OTHERS reflect 
variously on the situation) 
RAOUL 
Christine spoke of an angel . . . 
CARLOTTA (to herself, in triumph) 
Prima donna 
your song shall live again! 
ANDRE/FIRMIN (to CARLOTTA) 
Think of your public! 
CARLOTTA 
You took a snub 
but there's a public 
who needs you! 
GIRY (referring to CHRISTINE) 
She has heard the voice 
of the angel of music . . . 
ANDRE/FIRMIN (to CARLOTTA) 
Those who hear your voice 
liken you to an angel! 
CARLOTTA 
Think of their cry 
of undying 
support ! 
RAOUL 
Is this her angel of music . . .? 
ANDRE (to FIRMlN) 
We get our opera . . . 
FIRMIN (to ANDRE) 
She gets her limelight! 
CARLOTTA 
Follow where the limelight 
leads you! 
MEG 
Is this ghost 
an angel or a madman . . .? 
RAOUL 
Angel or madman . . .? 
ANDRE/FIRMIN (aside) 
Leading ladies are a trial! 
GIRY 
Heaven help you, 
those who doubt . . . 
CARLOTTA 
You'll sing again, 
and to unending 
ovation! 
RAOUL 
Orders! Warnings! 
Lunatic demands! 
GIRY 
This miscasting 
will invite damnation . . . 
ANDRE/FIRMIN 
Tears . . . oaths . . . 
Iunatic demands 
are regular occurrences! 
MEG 
Bliss or damnation? 
Which has claimed her . . .? 
CARLOTTA 
Think how you'll shine 
in that final encore! 
Sing, prima donna, 
once more! 
GIRY 
Oh fools, to have flouted his warnings! 
RAOUL 
Surely, for her sake . . . 
MEG 
Surely he'll strike back . . . 
ANDRE/FIRMIN 
Surely there'll be further scenes - 
worse than this! 
GIRY 
Think, before 
these demands are rejected! 
RAOUL 
. . .I must see 
these demands are rejected! 
MEG 
. . . if his threats 
and demands are rejected! 
ANDRE/FIRMIN 
Who'd believe a diva 
happy to relieve a chorus girl, 
who's gone and slept with the patron? 
Raoul and the soubrette, 
entwined in love's duet! 
Although he may demur, 
he must have been with her! 
MEG/RAOUL 
Christine must be protected! 
CARLOTTA 
0, fortunata! 
Non ancor 
abbandonata! 
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 . . . 
ANDRE/FIRMIN 
Prima donna 
the world is at your feet! 
A nation waits, 
and how it hates 
to be cheated! 
CARLOTTA 
The stress that falls upon a 
famous prima donna! 
Terrible diseases, 
coughs and colds and sneezes! 
Still, the dryest throat 
will reach the highest note, 
in search of perfect 
opera! 
MEG/GIRY 
. . . then I fear the outcome . . . 
RAOUL 
Christine plays the Pageboy, 
Carlotta plays the Countess . . . 
GIRY 
. . . should you dare to . . 
MEG 
. . . when you once again . . . 
ALL 
Light up the stage 
with that age old 
rapport! 
Sing, prima donna, 
once more! 
PHANTOM'S VOICE 
So, it is to be war between us! If these demands are not 
met, a disaster beyond your imagination will occur! 
ALL 
Once more! 

Scene 9
A PERFORMANCE OF 'IL MUTO' BY ALBRIZZI0
(During the overture 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 . . . 
(The front cloth rises to reveal an 18th Century salon, a 
canopied bed centre-stage. The COUNTESS is played by 
CARLOTTA. SERAFIMO, the page boy, is disguised as 
her maid and is played by CHRISTINE. At this point they 
are hidden behind the drapes of the bed, which are drawn. 
In the room are TWO EPICENE MEN: one a 
HAIRDRESSER and one a JEWELLER. The 
JEWELLER is attended by MEG. There is also an OLDER 
WOMAN, the COUNTESS' confidante. All a part from 
MEG are gossiping with relish aboutt he COUNTESS' 
current liaison with SERAFIMO) 
CONFIDANTE 
They say that this youth 
has set my Lady's 
heart aflame! 
1ST FOP 
His Lordship sure 
would die of shock! 
2ND FOP 
His Lordship is 
a laughing-stock! 
CONFIDANTE 
Should he suspect her 
God protect her! 
ALL THREE 
Shame! Shame! Shame! 
This faithless lady's 
bound for Hades! 
Shame! Shame! Shame! 
(The canopy drapes part and we see the COUNTESS 
kissing SERAFlMO passionately. As the recitative 
begins, the lights and music dim on stage, and our 
attention turns to the MANAGERS in their box) 
IN THE BOX 
: ANDRE 
Nothing like the old operas! 
FIRMIN 
Or the old scenery . . . 
ANDRE 
The old singers . . . 
FIRMIN 
The old audience . . . 
ANDRE 
And every seat sold! 
FIRMIN 
Hardly a disaster beyond all imagination! 
(They chuckle and nod to RAOUL in the opposite box. 
He acknowledges them) 
ON STAGE 
COUNTESS 
Serafimo - your disguise is perfect. 
(A knock at the door) 
Who can this be? 
DON ATTILI0 
Gentle wife, admit your loving 
husband. 
ATTENTION BACK ON STAGE 
(The COUNTESS admits DON ATTILI0. He is an old fool) 
DON ATTILI0 
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 ATTILI0 (aside) 
I suspect my young bride is untrue to me. I shall not 
leave, but shall hide over there to observe her! 
DON ATTILI0 (to COUNTESS) 
Addio! 
COUNTESS 
Addio! 
BOTH (to each other) 
Addio! 
(He goes, pretending to leave, then hides and 
watches the action) 
COUNTESS (CARLOTTA) 
Serafimo - away with this pretence! 
(She rips off SERAFIMO'S skirt to reveal his manly 
breeches) 
You cannot speak, but kiss me in my 
husband's absence! 
Poor fool, he makes me laugh! 
Haha, 
Haha! etc. 
Time I tried to get a better better half ! 
COUNTESS AND CHORUS 
Poor fool, he doesn't know! 
Hoho, 
Hoho! etc. 
If he knew the truth, he'd never, ever go! 
(Suddenly from nowhere, we hear the voice of the 
PHANTOM) 
PHANTOM'S VOICE 
Did I not instruct that Box Five was to be kept empty? 
MEG (terrified) 
He's here: the Phantom of the Opera . . . 
(General reaction of bewilderment. 
CHRISTINE looks fearfully about her) 
CHRISTINE 
It's him . . . I know it . . . it's him . . . 
CARLOTTA (Finding a scapegoat in CHRISTINE, 
hisses at her) 
Your part is silent, little toad! 
(But the PHANTOM has heard her) 
PHANTOM'S VOICE 
A toad, madame? Perhaps it is you 
who are the toad . . . 
(Again general unease. CARLOTTA and the 
CONDUCTOR confer and pick up from the opening of the 
scene) 
CARLOTTA (As the COUNTESS) 
Serafimo, away with this pretence! 
You cannot speak, but kiss me in my croak! 
(Instead of singing she emits a great croak like a toad. A 
stunned silence. CARLOTTA is as amazed as anyone but 
regains herself and continues. More perturbing, 
however, is a new sound: the PHANTOM is laughing - 
quietly at first, then more and more hysterically) 
CARLOTTA (as the COUNTESS) 
Poor fool, he makes me laugh - 
Hahahahaha! 
Croak, croak, croak, 
croak, croak, croak, etc. 
(As before. The PHANTOM'S laughter rises. The 
croaking continues as the chandelier's lights blink on 
and off. The PHANTOM'S laughter, by this time 
overpowering, now crescendos into a great cry): 
PHANTOM'S VOICE 
Behold! She is singing to bring down the 
chandelier! 
(CARLOTTA looks tearfully up at the MANAGERS ' box 
and shakes her head) 
CARLOTTA 
Non posso piu . . . 
I cannot . . . I cannot go on . . . 
PIANGI (rushing on) 
Cara, cara . . . I'm here . . . 
is all right . . . Come . . . I'm here . . . 
(ANDRE and FIRMIN hurry out of the box onto the 
stage. PIANGI ushers the now sobbing CARLOTTA 
offstage, while the MANAGERS tackle the audience) 
FIRMIN 
Ladies and gentlemen, the performance will 
continue in ten minutes' time . . . 
(He addresses Box Five, keeping one eye on the 
chandelier as it returns to normal) 
. . . when the role of the Countess will be sung by Miss 
Christine Daae. 
ANDRE (improvising) 
In the meantime, ladies and gentlemen, we shall be 
giving you the ballet from Act Three of tonight's opera. 
(to the CONDUCTOR) 
Maestro - the ballet - now! 
(The MANAGERS leave, the stage is cleared and music 
starts again. The BALLET GlRLS enter as a sylvan glade 
flies in. They begin the Dance of the Country Nymphs. 
Upstage, behind the drop, a series of threatening 
shadows of the PHANTOM. MEG is aware of them and 
dances out of step. When this culminates in one 
gigantic, oppressive, bat-like shadow, the garotted body 
of JOSEPH BUQUET falls onto the stage, causing the 
sylvan glade to fly out. Pandemonium.) 
CHRISTINE (calling for help) 
Raoul! Raoul! 
(RAOUL runs on stage and embraces her) 
RAOUL (to CHRISTINE, leading her away) 
Christine, come with me . . . 
CHRISTINE 
No. . . to the roof. We'll be safe there. 
(CHRISTINE and RAOUL hurry off) 
FIRMIN (Attempting to placate the audience as STAGE- 
HANDS and POLICEMEN crowd onto the stage) 
Ladies and gentlemen, please remain in your seats. Do 
not panic. It was an accident . . . simply an accident . . . 

Scene 10
THE ROOF OF THE OPERA HOUSE
(A statue of 'La Victoire Ailee' - the same as that which 
tops the proscenium. It is twilight. CHRISTINE and 
RAOUL rush on) 
RAOUL 
Why have you brought us here? 
CHRISTINE 
Don't take me back there! 
RAOUL 
We must return! 
CHRISTINE 
He'll kill me! 
RAOUL 
Be still now . . . 
CHRISTINE 
His eyes will find me there! 
RAOUL 
Christine, don't say that . . . 
CHRISTINE 
Those eyes that burn! 
RAOUL 
Don't even think it . . . 
CHRlSTlNE 
And if he has to kill 
a thousand men - 
RAOUL 
Forget this waking nightmare . . . 
CHRISTINE 
The Phantom of the Opera will kill . . . 
RAOUL 
This phantom is a fable . . . 
Believe me . . . 
CHRISTINE 
. . . and kill again! 
RAOUL 
There is no Phantom of the Opera . . . 
CHRISTINE 
My God, who is this man . . . 
RAOUL 
My God, who is this man . . . 
CHRISTINE 
. . . who hunts to kill . . .? 
RAOUL 
. . . this mask of death . . .? 
CHRISTINE 
I can't escape from him . . . 
RAOUL 
Whose is this voice you hear . . . 
CHRISTINE 
. . .I never will! 
RAOUL 
. . . with every breath . . .? 
BOTH 
And in this 
labyrinth, 
where night is blind 
the Phantom of the Opera 
is here: 
inside your/my mind . . . 
RAOUL 
There is no Phantom of the Opera . . . 
CHRISTINE 
Raoul, I've been there - 
to his world of 
unending night . . . 
To a world where 
the daylight dissolves 
into darkness . . . 
darkness . . . 
Raoul, I've seen him! 
Can I ever 
forget that sight? 
Can I ever 
escape from that face? 
So distorted, 
deformed, it 
was hardly a face, 
in that darkness . . . 
darkness . . . 
(trancelike, then becoming more and more ecstatic) 
But his voice 
filled my spirit 
with a strange, sweet sound . . . 
In that night 
there was music 
in my mind . . . 
And through music 
my soul began 
to soar! 
And I heard 
as I'd never 
heard before . . . 
RAOUL 
What you heard 
was a dream 
and nothing more . . . 
CHRISTINE 
Yet in his eyes 
all the sadness 
of the world . . . 
Those pleading eyes, 
that both threaten 
and adore . . . 
RAOUL (comforting) 
Christine . . . 
Christine . . . 
PHANTOM (unseen, a ghostly echo of RAOUL's words) 
Christine . . . 
CHRISTINE 
What was that? 

ALL I ASK OF YOU
(A moment, as their eyes meet. The mood changes.) 
RAOUL 
No more talk 
of darkness, 
Forget these 
wide-eyed fears. 
I'm here, 
nothing can harm you - 
my words will 
warm and calm you. 
Let me be 
your freedom, 
let daylight 
dry -your tears. 
I'm here, 
with you, beside you, 
to guard you 
and to guide you . . . 
CHRISTINE 
Say you love me 
every 
waking moment, 
turn my head 
with talk of summertime . . . 
Say you need me 
with you, 
now and always . . . 
promise me that all 
you say is true - 
that's all I ask 
of you . . . 
RAOUL 
Let me be 
your shelter, 
let me 
be your light. 
You're safe: 
No-one will find youQ 
your fears are 
far behind you . . . 
CHRISTINE 
All I want 
is freedom, 
a world with 
no more night . . . 
and you 
always beside me 
to hold me 
and to hide me . . . 
RAOUL 
Then say you'll share with 
me one 
love, one lifetime . . . 
Iet me lead you 
from your solitude . . . 
Say you need me 
with you 
here, beside you . . . 
anywhere you go, 
let me go too - 
Christine, 
that's all I ask 
of you . . . 
CHRISTINE 
Say you'll share with 
me one 
love, one lifetime . . . 
say the word 
and I will follow you . . . 
BOTH 
Share each day with 
me, each 
night, each morning . . . 
CHRISTINE 
Say you love me . . . 
RAOUL 
You know I do . . . 
BOTH 
Love me - 
that's all I ask 
of you . . . 
(They kiss) 
Anywhere you go 
let me go too . . . 
Love me - 
that's all I ask 
of you . . 
(CHRISTINE starts from her reverie) 
CHRISTINE 
I must go - 
they'll wonder where I am . . . 
wait for me, Raoul! 
RAOUL 
Christine, I love you! 
CHRISTINE; 
Order your fine horses! 
Be with them at the door! 
RAOUL 
And soon you'll be beside me! 
CHRISTINE 
You'll guard me, and you'll guide me . . . 
(They hurry off. The PHANTOM emerges from 
behind the statue) 
PHANTOM 
I gave you my music . . . 
made your song take wing . . . 
and now, how you've 
repaid me: 
denied me 
and betrayed me . . . 
He was bound to love you 
when he heard you sing . . . 
Christine ... 
Christine ... 
RAOUL/CHRISTINE (offstage) 
Say you'll share with 
me one 
love, one lifetime . . . 
say the word 
and I will follow you . . . 
Share each day with 
me, each 
night, each morning . . . 
PHANTOM 
You will curse the day 
you did not do 
all that the Phantom asked 
of you . . .! 
(As the roof of the opera house disappears, the opera 
curtain closes and the PRINCIPALS in 'Il Muto' appear 
through it for their bows, CHRISTINE conspicuously 
dressed in CARLOTTA'S costume. simultaneously, we 
hear the maniacal laughter of the PHANTOM and see him 
high above the stage, perilously rocking the chandelier. 
The lights of the 
chandelier begin flickering and, at a great cry from him, 
it descends, swinging more and more madly over the 
orchestra pit) 
PHANTOM 
Go! ! 
(The chandelier falls to the stage at CHRISTINE'S feet) 
 Act 2